(2011), No. 2 Math Alphabets and the Mathalfa Package Michael Sharpe
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The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
Glyphs! Data Communication for Primary Mathematicians. REPORT NO ISBN-1-56417-663-0 PUB DATE 97 NOTE 68P
DOCUMENT RESUME ED 401 134 SE 059 203 AUTHOR O'Connell, Susan R. TITLE Glyphs! Data Communication for Primary Mathematicians. REPORT NO ISBN-1-56417-663-0 PUB DATE 97 NOTE 68p. AVAILABLE FROM Good Apple, 299 Jefferson Road, P.O. Box 480, Parsippany, NJ 07054-0480 (GA 1573). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS *Communication Skills; *Data Analysis; *Data Interpretation; Elementary Education; Learning Activities; *Mathematics Instruction; Teaching Methods; Thinking Skills ABSTRACT Glyphs, a way of representing data pictorially, are a new way for elementary students to collect, display, and interpret data. This book contains a number of glyph activities that can be used as creative educational tools -for grades 1=-3. Each glyph_has three essential construction elements: the glyph survey (the questions that are asked), the glyph directions (tell what to draw based on the answers given), and the glyph pattern (a reproducible provided in this book or a shape that is hand drawn on a sheet of paper). Glyph activities begin with the collection of data followed by displaying the data by following a series of directions. Once glyphs are created they can be analyzed and interpreted' in many ways. In the process of exploring their glyphs students are provided' with opportunities to communicate their mathematical thinking both orally and in writing. Along with building data analysis and communication skills, glyphs also stimulate students' mathematical reasoning as they compare, contrast, and draw conclusions. (JRH). *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
Kahk' Uti' Chan Yopat
Glyph Dwellers Report 57 September 2017 A New Teotiwa Lord of the South: K’ahk’ Uti’ Chan Yopat (578-628 C.E.) and the Renaissance of Copan Péter Bíró Independent Scholar Classic Maya inscriptions recorded political discourse commissioned by title-holding elite, typically rulers of a given city. The subject of the inscriptions was manifold, but most of them described various period- ending ceremonies connected to the passage of time. Within this general framework, statements contained information about the most culturally significant life-events of their commissioners. This information was organized according to discursive norms involving the application of literary devices such as parallel structures, difrasismos, ellipsis, etc. Each center had its own variations and preferences in applying such norms, which changed during the six centuries of Classic Maya civilization. Epigraphers have thus far rarely investigated Classic Maya political discourse in general and its regional-, site-, and period-specific features in particular. It is possible to posit very general variations, for example the presence or absence of secondary elite inscriptions, which makes the Western Maya region different from other areas of the Maya Lowlands (Bíró 2011). There are many other discursive differences not yet thoroughly investigated. It is still debated whether these regional (and according to some) temporal discursive differences related to social phenomena or whether they strictly express literary variation (see Zender 2004). The resolution of this question has several implications for historical solutions such as the collapse of Classic Maya civilization or the hypothesis of status rivalry, war, and the role of the secondary elite. There are indications of ruler-specific textual strategies when inscriptions are relatively uniform; that is, they contain the same information, and their organization is similar. -
BOONDOX Math Alphabets
BOONDOX math alphabets Michael Sharpe msharpe at ucsd dot edu The BOONDOX fonts are PostScript versions of subsets of the STIX fonts corresponding to regular and bold weights of three alphabets—calligraphic, fraktur and double struck, aka blackboard bold. Support files are provided so that they can be called up from LATEX math mode using the commands \mathcal, \mathbcal, \mathfrak, \mathbfrak, \mathbb and \mathbbb. The font family name derives from the fact that, at least in the US, the phrase “in the boondox” implies “in the stix.” The base PostScript fonts were constructed from STIXGeneral.otf and STIXGeneralBol.otf using a FontForge script, resulting in zxxrl8a.pfb % BOONDOXDoubleStruck-Regular zxxbl8a.pfb % BOONDOXDoubleStruck-Bold zxxrw8a.pfb % BOONDOXCalligraphic-Regular zxxbw8a.pfb % BOONDOXCalligraphic-Bold zxxrf8a.pfb % BOONDOXFraktur-Regular zxxbf8a.pfb % BOONDOXFraktur-Bold together with the corresponding .afm files. (The names are almost Berry conformant: the initial z warns that they break the rules, and the font id xx is completely unblessed by any authority. The remaining parts are nearly OK, except that the font lack many glyphs normally in 8a encoding, but all glyphs are in the correct slots.) Using afm2tfm, the afm files were transformed to raw tfm files (kern information discarded) zxxrl7z.tfm zxxbl7z.tfm zxxrw7z.tfm zxxbw7z.tfm zxxrf7z.tfm zxxbf7z.tfm zxxrow7z.tfm % same as zxxrw7z, less oblique zxxbow7z.tfm % same as zxxbw7z, less oblique which serve as the basis for further virtual math fonts. Finally, using FontForge scripts and manual adjustments to the metrics to suit my personal taste, produces (no pretense of using Berry names): 1 BOONDOX-r-cal.tfm BOONDOX-b-cal.tfm BOONDOX-r-calo.tfm BOONDOX-b-calo.tfm BOONDOX-r-frak.tfm BOONDOX-b-frak.tfm BOONDOX-r-ds.tfm BOONDOX-b-ds.tfm and the corresponding .vf files. -
Surviving the TEX Font Encoding Mess Understanding The
Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24. -
JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands. -
Nastaleeq: a Challenge Accepted by Omega
Nastaleeq: A challenge accepted by Omega Atif Gulzar, Shafiq ur Rahman Center for Research in Urdu Language Processing, National University of Computer and Emerging Sciences, Lahore, Pakistan atif dot gulzar (at) gmail dot com, shafiq dot rahman (at) nu dot edu dot pk Abstract Urdu is the lingua franca as well as the national language of Pakistan. It is based on Arabic script, and Nastaleeq is its default writing style. The complexity of Nastaleeq makes it one of the world's most challenging writing styles. Nastaleeq has a strong contextual dependency. It is a cursive writing style and is written diagonally from right to left. The overlapping shapes make the nuqta (dots) and kerning problem even harder. With the advent of multilingual support in computer systems, different solu- tions have been proposed and implemented. But most of these are immature or platform-specific. This paper discuses the complexity of Nastaleeq and a solution that uses Omega as the typesetting engine for rendering Nastaleeq. 1 Introduction 1.1 Complexity of the Nastaleeq writing Urdu is the lingua franca as well as the national style language of Pakistan. It has more than 60 mil- The Nastaleeq writing style is far more complex lion speakers in over 20 countries [1]. Urdu writing than other writing styles of Arabic script{based lan- style is derived from Arabic script. Arabic script has guages. The salient features`r of Nastaleeq that many writing styles including Naskh, Sulus, Riqah make it more complex are these: and Deevani, as shown in figure 1. Urdu may be • Nastaleeq is a cursive writing style, like other written in any of these styles, however, Nastaleeq Arabic styles, but it is written diagonally from is the default writing style of Urdu. -
Installation
APPENDIX A Installation In case you do not already have a LATEX installation, in Sections A.1 and A.2, we describe how to install LATEX on your computer, a PC or a Mac. The installation is much easier if you obtain TEX Live 2007 (or later) from the TEX Users Group, TUG (see Section E.2). It contains both the TEX implementations we discuss. No installation is given for UNIX computers. The attraction of UNIX to its users is the incredibly large number of options, from the UNIX dialect, to the shell, the editor, and so on. A typical UNIX user downloads the code and compiles the system. This is obviously beyond the scope of this book. Nevertheless, TEX Live 2007 (or later) from the TEX Users Group supplies the compiled (binaries) of LATEX for a number of UNIX variants. First read Chapter 1, so that in this Appendix you recognize the terminology we introduce there. I will assume that you become sufficiently familiar with your LATEX distribution to be able to perform the editing cycle with the sample documents. 490 Appendix A Installation A.1 LATEX on a PC On a PC, most mathematicians use MiKTeX and the editor WinEdt. So it seems appro- priate that we start there. A.1.1 Installing MiKTeX If you made a donation to MiKTeX or if you have the TEX Live 2007 (or later) from the TEX Users Group, then you have a CD or DVD with the MiKTeX installer. Installation then is in one step and very fast. In case you do not have this CD or DVD, we show how to install from the Internet. -
Mathematical Symbol Recognition with Support Vector Machines
Mathematical Symbol Recognition with Support Vector Machines Christopher Malon a,∗, Seiichi Uchida b, Masakazu Suzuki a a Faculty of Mathematics, Kyushu University Hakozaki 6–10–1, Higashi-ku, Fukuoka, 812–8581 Japan b Faculty of Information Science and Electrical Engineering, Kyushu University Motooka 744, Nishi-ku, Fukuoka, 819–0395 Japan Abstract Single–character recognition of mathematical symbols poses challenges from its two- dimensional pattern, the variety of similar symbols that must be recognized dis- tinctly, the imbalance and paucity of training data available, and the impossibility of final verification through spell check. We investigate the use of support vector machines to improve the classification of InftyReader, a free system for the OCR of mathematical documents. First, we compare the performance of SVM kernels and feature definitions on pairs of letters that InftyReader usually confuses. Second, we describe a successful approach to multi–class classification with SVM, utilizing the ranking of alternatives within InftyReader’s confusion clusters. The inclusion of our technique in InftyReader reduces its misrecognition rate by 41%. Key words: Support vector machine; OCR; Mathematical document; Mathematical symbol recognition Preprint submitted to Elsevier 24 January 2008 1 Introduction Mathematics is the universal language of scientific literature, but a computer may find it easier to read the human language in which surrounding text is written. The failure of conventional OCR systems to treat mathematics has several consequences: • Readers of mathematical documents cannot automatically search for earlier occurences of a variable or operator, in tracing the notation and definitions used by a journal article. • The appearance of mathematics on the same line as text often confounds OCR treatment of surrounding words. -
Studioraid™ User Guide
StudioRAID™ User Guide Tabletop FireWire 800, USB 3.0 and eSATA enclosure with RAID 1 and RAID 0 Proprietary Notice and Disclaimer Unless noted otherwise, this document and the information herein disclosed are proprietary to Glyph Technologies, 3736 Kellogg Road, Cortland NY 13045 (“GLYPH”). Any person or entity to whom this document is furnished or having possession thereof, by acceptance, assumes custody thereof and agrees that the document is given in confidence and will not be copied or reproduced in whole or in part, nor used or revealed to any person in any manner except to meet the purposes for which it was delivered. Additional rights and obligations regarding this document and its contents may be defined by a separate written agreement with GLYPH, and if so, such separate written agreement shall be controlling. The information in this document is subject to change without notice, and should not be construed as a commitment by GLYPH. Although GLYPH will make every effort to inform users of substantive errors, GLYPH disclaims all liability for any loss or damage resulting from the use of this manual or any software described herein, including without limitation contingent, special, or inci-dental liability. © 2002-2019 Glyph Technologies. All rights reserved. Specifications are subject to change without notice. Glyph and the Glyph logo are registered trademarks of Glyph Technologies. All other brands and product names mentioned are trademarks of their respective holders. Contacting Glyph Please use the following contact information to contact Glyph and its distributors. Glyph USA offers phone support Monday through Friday, 8:00 am to 5:00 PM Eastern Time. -
GUST E-Foundry Workbench
OTF math fonts GUST e-foundry’s workbench Breskens, The Netherlands, 8–12X2012 Bogusław Jackowski WARNING Describing the whole process of an OTF math font creation in details would be as dull as ditchwater. © 2010–2012 *Chibi-Liam Breskens, 8–12X2012 B. Jackowski GUST e-foundry workbench... WARNING Describing the whole process of an OTF math font creation in details would be as dull as ditchwater. Therefore, I’ll give just a few less or more representative examples in hope that it will sufficiently illustrate the TEXnique we apply in the GUST e-foundry. © 2010–2012 *Chibi-Liam Breskens, 8–12X2012 B. Jackowski GUST e-foundry workbench... OTF Math font structure According to “Unicode Support for Mathematics” (Draft Unicode Technical Report #25, by Barbara Beeton, Asmus Freytag, and Murray Sargent III) and a confidential Microsoft® document “The MATH table and OpenType Features for Math Processing”, an OTF math font should contain: Breskens, 8–12X2012 B. Jackowski GUST e-foundry workbench... OTF Math font structure According to “Unicode Support for Mathematics” (Draft Unicode Technical Report #25, by Barbara Beeton, Asmus Freytag, and Murray Sargent III) and a confidential Microsoft® document “The MATH table and OpenType Features for Math Processing”, an OTF math font should contain: glyphs falling into several groups of different kind: alphabetic glyphs, subdivided further into various type of alphabets – sans serif, calligraphic, double struck (aka blackboard bold), fraktur, and... typewriter (monospace), some of them including Greek letters -
Formal Aspects of Computing: Latex2ε Guide for Authors
Under consideration for publication in Formal Aspects of Computing Formal Aspects of Computing: LATEX 2ε Guide for Authors Mark Reed1 and Christiane Notarmarco2 1Electronic Products and Composition Group, Cambridge University Press, Cambridge, 2Springer-Verlag London Limited, Godalming, Surrey, UK Abstract. This guide is for authors who are preparing papers for the Formal Aspects of Computing journal using the LATEX 2ε document-preparation system and the Formal Aspects of Computing class file (fac.cls). Keywords: LATEX 2ε; Class file; fac.cls; User guide 1. Introduction In addition to the standard submission of hardcopy from authors, Formal Aspects of Computing now accepts machine-readable forms of papers in LATEX 2ε. The layout design for the Formal Aspects of Computing journal has been implemented as a LATEX 2ε class file, based on the article class as discussed in the LATEX manual (2nd edition) [Lam94]. Commands which differ from the standard LATEX interface, or which are provided in addition to the standard interface, are explained in this guide (which is not a substitute for the LATEX manual itself). Note that the final printed version of papers will use the Monotype Times typeface rather than the Computer Modern available to authors. For this reason line and page breaks will change and authors should not insert hard breaks in their text. Authors planning to submit their papers in LATEX 2ε are advised to use fac.cls as early as possible in the creation of their files. 1.1. Introduction to LATEX LATEX is constructed as a series of macros on top of the TEX typesetting program.