Yam (god)

Yam, Yamm, or Yammu was a Levantine sea and river god, popular in the Bronze and Early Iron Ages.

Yam, from the Canaanite word Yam (Hebrew: ים‎) meaning "Sea", also written Yaw, is one name of the Ugaritic god of Rivers and Sea. Also titled Judge Nahar ("Judge River"), he is also one of the 'ilhm (Elohim) or sons of El, the name given to the Levantine pantheon. Others dispute the existence of the alternative names, claiming it is a mistranslation of a damaged tablet. Despite linguistic overlap, theologically this god is not a part of the later subregional monotheistic theology, but rather is part of a broader and archaic Levantine polytheism.

Yam is the deity of the primordial chaos and represents the power of the sea, untamed and raging; he is seen as ruling storms and the disasters they wreak. The gods cast out Yam from the heavenly mountain Sappan (modern Jebel Aqra; Sappan is cognate to Tsephon). The seven-headed dragon Lotan is associated closely with him and he is often described as the serpent. He is the Canaanite equivalent of the Sumerian Tiamat, the primordial mother goddess.

Yam (route)

Yam (Mongolian: Өртөө, Örtöö, checkpoint) is a supply point route messenger system employed and extensively used and expanded by Genghis Khan and used by subsequent Great Khans and Khans.

Relay stations were used to give food, shelter and spare horses for Mongol army messengers. Genghis Khan gave special attention to Yam because Mongol armies traveled very fast, so their messengers had to be even faster, covering 200–300 km per day. The system was used to speed up the process of information and intelligence.

The system was preserved in Russian Tsardom after the disintegration of the Golden Horde.

Description

The Yam operated with a chain of relay stations at certain distances to each other, usually around 140 miles or 200 kilometers. Messengers for example would go to the next relay station and give the information to the second messenger and rest and let the second messenger go to the third relay station to hand the document to the third messenger. This way information or documents were constantly on the move without each messenger getting tired. In each relay station there would be spare horses, food, and shelter.

Mobilian Jargon

Mobilian Jargon (also Mobilian trade language, Mobilian Trade Jargon, Chickasaw–Choctaw trade language, Yamá) was a pidgin used as a lingua franca among Native American groups living along the Gulf of Mexico around the time of European settlement of the region. It was the main language among Indian tribes in this area, mainly Louisiana. There is evidence indicating its existence as early as the late seventeenth to early eighteenth century. The Indian groups that are said to have used it were the Alabama, Apalachee, Biloxi, Chacato, Pakana, Pascagoula, Taensa, Tunica, Caddo, Chickasaw, Chocktaw, Chitimacha, Natchez, and Ofo. The name is thought to refer to the Mobile Indians of the central Gulf Coast, but did not originate from this group; Mobilian Jargon is linguistically and grammatically different from the language traditionally spoken by the Mobile Indians.

Mobilian Jargon facilitated trade between tribes speaking different languages and European settlers. There is continuing debate as to when Mobilian Jargon first began to be spoken. Some scholars, such as James Crawford, have argued that Mobilian Jargon has its origins in the linguistically diverse environment following the establishment of the French colony of Louisiana. Others, however, suggest that the already linguistically diverse environment of the lower Mississippi basin drove the need for a common method of communication prior to regular contact with Europeans.

Finite impulse response

In signal processing, a finite impulse response (FIR) filter is a filter whose impulse response (or response to any finite length input) is of finite duration, because it settles to zero in finite time. This is in contrast to infinite impulse response (IIR) filters, which may have internal feedback and may continue to respond indefinitely (usually decaying).

The impulse response (that is, the output in response to a Kronecker delta input) of an Nth-order discrete-time FIR filter lasts exactly N + 1 samples (from first nonzero element through last nonzero element) before it then settles to zero.

FIR filters can be discrete-time or continuous-time, and digital or analog.

Definition

For a causal discrete-time FIR filter of order N, each value of the output sequence is a weighted sum of the most recent input values:

where:

is the input signal,

is the output signal,

is the filter order; an th-order filter has terms on the right-hand side

is the value of the impulse response at the i'th instant for of an th-order FIR filter. If the filter is a direct form FIR filter then is also a coefficient of the filter .

Tap (gaming)

Tapping is a term used in a variety of ways in a number of games. Although the exact meaning varies, it generally either refers to either the physical action of actually touching something, or to the "using up" of the resources of some element of the game.

Collectible card games

In collectible card games such as Magic: The Gathering to tap a card means to use it so that it cannot be used again in that player's turn. The visual indication of the tapped status is represented by turning the card 90 degrees to the right.

On cards since Revised edition (1994), tapping has been represented by a symbol, though this is not unique to the game of Magic: The Gathering. U.S. Patent 5,662,332 was filed by Wizards of the Coast to patent the mechanics of some aspects of collectible card games, including tapping.

Mechanics similar to tapping are used in many collectible card games, often involving the same 90 degree card rotation. For example, this act is referred to as setting in Ophidian 2350, while it is known as committing in the Universal Fighting System. In the medieval-Japan-themed Legend of the Five Rings, the mechanism is called "bowing". A few games, such as the City of Heroes Collectible Card Game, use several different rotational increments (90, 180, and 270 degrees), each denoting a different card status.

Tap (film)

Tap is a 1989 drama film written and directed by Nick Castle. It stars Gregory Hines and Sammy Davis, Jr.

Plot

Max Washington (Gregory Hines), just released from prison after serving time for burglary, is a talented tap dancer. His late father owned a dance studio that is now run by Little Mo (Sammy Davis, Jr.), whose daughter Amy Simms (Suzzanne Douglas) gives lessons to children. Back on the streets, Max isn't interested in dancing again but he is interested in seeing Amy, his former girlfriend. A local gangster, Nicky, doesn't care for Max personally but does try to recruit him to take part in a robbery. Amy has a job as dancer in an upcoming Broadway show and tells its choreographer about Max, hoping to land him a role in the chorus. Max is reluctant to agree to it, then incensed when he is humiliated during the auditions. Max must decide whether to swallow his pride and dance the way the man wants, or give up his art once and for all and return to a life of crime.

Production