text:
---
title: Behind the React Documentary
date: 2023-02-16
time: 9am PT / 6pm GMT
location: Stage Channel on Reactiflux
description: "A documentary about React, produced by Honeypot.io, was released on February 10th, and Carl Vitullo spoke with two of the people instrumental in making it happen: Ida Bechtle, staff filmmaker from Honeypot; and Christopher Chedeau, whose contributions to the React and JS ecosystem are nearly innumerable — React, React Native, Prettier, Docusaurus, Excalidraw, and more.
We talked about the documentary itself, how it got made, and some other behind-the-scenes info — an unofficial “DVD commentary” for the documentary."
people: "[Christopher Chedeau](https://twitter.com/vjeux) & [Ida Bechtle](https://twitter.com/BechtleIda)"

---

<iframe src="https://anchor.fm/reactiflux/embed/episodes/Behind-the-React-Documentary-e1vftjg" height="102px" width="400px" frameborder="0" scrolling="no"></iframe>

## Introductions

**Carl Vitullo:** I'm here with Ida Bechtle, a documentary filmmaker from the
European job board site Honeypot, and vjeux, or Christopher Chedeau, who has
deep roots with the React ecosystem and just absolutely incredible contributions
to the JavaScript ecosystem at large. [00:00:18]

We're really excited to have both of them on to talk about the recent React
documentary that just launched on February 10th. Yeah, I've been thinking about
this as a behind the scenes, DVD commentary type of conversation. But yeah,
let's just see where the conversation takes us. [00:00:33]

So Ida, could you talk a little bit about your role and your responsibilities
with producing these documentaries? [00:00:40]

**Ida Bechtle:** Yes. First of all, hi to everybody in the audience, I'm Ida.
I've been working at Honeypot for the last three years as a filmmaker, so I'm
just making these developer portraits and tech documentaries full-time, which is
pretty cool. And I've been working on the React documentary for the last year or
so. [00:00:59]

So I'm super excited for it to finally be out. It's been a lot of work, so I'm
really happy about the response so far. [00:01:06]

## Ida on being a 1-person production team

**Carl Vitullo:** You said when we were talking in preparation for this event
that you are a one person show. You do all of it, you do the cinematography, the
directing, and the editing. Is that right? [00:01:17]

**Ida Bechtle:** Yeah, exactly. This is all me from start to finish. Except for
the title animation basically. So that's why it was so much work. But it's also
cool, you know, to see the result in the end when it came from my hands.
[00:01:30]

**Carl Vitullo:** Right. It's really very much a product of you. You really own
it from start to finish. That's very cool. I feel like that would require a very
entrepreneurial mindset , you can't just do one part of this work over and over
again. You have to really think about the entire project from ideation to
conclusion. I'd love to get into that with you later on. [00:01:50]

## Christopher Chedeau as a driving force

**Carl Vitullo:** Vjeux, Ida had told me that you were one of the, really the
driving force behind getting this event to come together. What was that like to
getting corporate comms to approve an event talking about things that happened
10 years ago? [00:02:03]

**Christopher Chedeau:** Yeah, of course. So the first thing so, in the React
community I've been always trying to build the community. And so I was wondering
like, early React, doing like the community roundup and also organize like the
first React Conf for. And so if you watch the documentary, you can see like how
it happened and how it went. [00:02:20]

And so, early last year in I think January a lot like Ida reached out to a lot
of people from the early days of React saying, Hey, I'm working on this doc. I
want to build this documentary. Are you interested in participating? But the
issue is like nobody replies. [00:02:36]

And when she finally was able to reach out to me, I was like, oh my God, this is
so amazing. We're going to be having a documentary about it. And so I started
basically taking ownership of the project from the React team's perspective. And
I started convincing every single person that you can see in the cast, hey, you
should be participating, this is going to be good. [00:02:53]

And as you mentioned, we also needed to convince like Facebook/Meta to
participate. And this was like a bit of an awkward dance because this is not
coming from like the company. It's coming from Honeypot which is like a European
job search company. And so I had to convince people that it was worth like
taking the chance on this. Great thing is they've already done a documentary on
GraphQL, which is from Meta, and also one on Vue. [00:03:22]

So what I did was this, some background research, ask Evan You from Vue and ask
Daniel Schafer and Byron from like the GraphQL one. And I asked them, Hey, how
did the experience go? How did it feel? And I watch the two and. Everybody told
me like, yeah, the experience was fantastic. And the end result was like, really
positive, uplifting, and really like told the story they wanted to tell.
[00:03:43]

And so based on this, I talked to the head of open source Dave Viner, and that
put me in touch with all of the right, people from like Comms and Legal to make
sure that hey, we like it makes sense and we can do it. And so it took I think
like a month or two to convince people, like, Hey, let's do it. And then it was
about like actually doing the recording. And so Ida like, took on this parts.
[00:04:07]

**Carl Vitullo:** I guess it makes sense that Lee Byron had done one of these
before, since there was one on GraphQL, but I hadn't put that together when I
was watching. Okay. Very nice. [00:04:15]

## Why Honeypot makes these documentaries

**Carl Vitullo:** Ida, could you talk about why Honeypot makes these
documentaries and why the timing felt right to try and make one about React?
[00:04:24]

**Ida Bechtle:** Sure. So Honeypot is like just a small company here in Germany
and we built a lot of our product on using open source software. We try to be
more visible in the community and give back a bit. I think that's why it
started. One of our co-founders was also a journalist, so I think she had a
different approach to both to marketing, but also to storytelling and connecting
the audience what you can say. [00:04:48]

So I think that's how it started. I think our first documentary was about Elixir
and I think it was kind of an experiment really. And we just put it on YouTube
four years ago or something, and I think it got like a thousand views or
something. The team back then was super excited. [00:05:03]

And then it just grew from there. Since the early days people have been asking
about React. So, if you look at like any other documentary on our channel, you
will always find a viewer being like, "ah, let's do, can you do
React?" So now was just finally the moment to do it. Also, after Covid, it
was a bit tough to produce documentaries then. So after that we were ah let's
get one of the big ones out now. So that's how it started on my side. [00:05:31]

**Carl Vitullo:** That's really nice. Coming from a job board and remembering
that the companies, the projects, the people who you're placing at jobs have
these stories that their careers are anchored around, and then really trying to
tell those stories. I think that's a really excellent way to give back to the
community. I'm really happy that somebody is making these. [00:05:49]

## Getting trapped in a park while filming

**Carl Vitullo:** Are there any stories about the production of this that you
think might be fun to share? Any bloopers? I know there was one scene in the
documentary where Andrew Clark gets a little self complimentary. Like, "oh,
we really nailed that, didn't we?" Any other bits like that as production
happened, that would be fun to share? [00:06:07]

**Ida Bechtle:** Most of these shoots, I just go in and out pretty fast, spend a
few hours with the people I'm interviewing. I think actually Christopher was one
of the ones I like hung out with the most because we were filming in London I
think we were basically had three days or something so we could like also get to
know each other a bit better. But otherwise it's, sometimes it's a bit like
professional almost, you know, I just go in, I set up all the gear and try to
get to know the people a bit more in person. [00:06:34]

**Christopher Chedeau:** There was one thing that, so we were in London and we
wanted to get like a shot at the sunset, and so went into a park, And they
actually closed the gates of the park behind us. And so we had to basically walk
around or like walk on top of the like fence and everything. And it was super
cool, like there was people like drunk, passing by and cheering. Yeah. Go. So
yeah, didn't make it into the movie, but this was pretty fun. [00:07:00]

**Ida Bechtle:** Yeah, true. I forgot about that part. Getting locked in the
park. [00:07:03]

**Carl Vitullo:** That's pretty good. [00:07:04]

## Jordan Walke's participation

**Carl Vitullo:** I noticed that you got so many of the major players in the
early days of React involved in this as interview subjects. Obviously a major
player who was not represented was Jordan Walke. Could you talk about why he
didn't want to be involved in this, or, did he not want to be involved? Could
you just not get scheduling right? [00:07:24]

**Christopher Chedeau:** Yeah. So in practice Jordan is a very like, private
person. And he has always been, and so this is not really the thing, like he
enjoys. And so I worked with him super closely and the way he like, works best
is in one-on-one with people. And so even internally, at the time, like he's
never done like any all hands or any major events. He's always been convincing
people like one by one. And you can see in the documentary like how he was able
to convince Lee Byron, how he was able to convince me. [00:07:53]

And so this is like in his personality to like actually be behind the scenes.
And the one thing I want to mention is he's been involved like since day one. He
was like receptive. Like he was actually like happy that the documentary existed
and like he's been watching it with us. Like he was commenting during the live q
and a on the comments. So, and this is like something like we have to respect
like his wishes. [00:08:18]

And in the documentary you can also see like his experience, like actually being
on stage was not a good one. So I can also understand like that's he's not like
particularly looking forward to be like more exposed than he is. [00:08:32]

**Carl Vitullo:** Yeah, that makes sense. He's already a private person. He had
a pretty bad experience with being in the limelight and just is very happy to
help make things happen, but not be the center of attention. That makes sense. [00:08:44]

## About the focus on the early days of React

**Carl Vitullo:** I noticed that the documentary really focused a lot on the
earlier days of the React ecosystem, how it came to be and how it grew. Was that
a editorial decision? [00:08:56]

**Ida Bechtle:** I think for me, when I first started looking into React, I
think that was like the story that really stood out for me and I think
especially before the open source release, that part of the story I think has
not really been told, about how it was created at Facebook. And I just found I
really wanted to credit the team also, like it's such a big technology now.
[00:09:15]

And back then they had this massive backlash. So I think it's cool to just share
that story and how they came out victorious. And I think also maybe the
storyline is a bit easier from like a maybe a bit more simple storyline or like,
The events are pretty clear in what happened where maybe, I don't know, it might
be a bit tougher for more recent events, but I don't know, maybe Christopher has
a different opinion. [00:09:41]

**Christopher Chedeau:** Yeah, and I think the documentary is already an hour
and 20 minutes. I'm pretty sure we could do another like full hour or two on the
like more recent events. So I don't know if either you have anything planned for
the next year, but. [00:09:53]

**Ida Bechtle:** Yeah, true. Next one. [00:09:56]

**Carl Vitullo:** Yeah, sure. And I guess, it feels like the last maybe two or
three years of React has been marked by a lot of really grand plans that have
not yet fully shaken out. So, I could also see how, you know, it's still it's
maybe less of a documentary for the time since the release of Hooks, as you
know, it's still under active exploration, active investigation. So, it's less
of a documentary and more of a, I don't know, industry event. [00:10:24]

## Deciding where to focus your attention

**Carl Vitullo:** So Christopher, you've been involved in so many hugely
impactful projects in the JavaScript ecosystem. Can you talk a little bit about
how these ideas cross your radar and how you decide which ones you're going to
dedicate your attention to? [00:10:44]

**Christopher Chedeau:** So, to give some context, so I helped like popularize
React and I also co-created with Jordan, Ashwin, and Lynn, React Native. And I
also worked like with James Long on Prettier. And so I dunno if you think, like
right now I'm working on Excalidraw, and so for me, like the way I think about
like this big project is it always starts with like, there's a problem.
[00:11:08]

And so, for example, I can talk about Prettier I've always felt like code
reviews were like super annoying. So when I joined Facebook I was like, outta
new grad, like super, super excited. Okay, I'm going to do big things. And then
uh, my first uh, deep review was like 20 comments around "Hey, you should
put a space here, and the parenthesis there, and like, put a new line
here." And to me, it felt bad because I felt like it was nitpicky and not
as useful. And I was talking to this amazing engineer and she spent our time
doing this, just like nit picking on my thing. [00:11:41]

And then I realized that later, I think a year or two after I was in the reverse
position. Where like, oh, there was new people in the team. And I was like,
okay, I need to be doing this work. I'm telling them, because otherwise, like
the code-based quality is not going to be as good and we won't be able to move
as fast. [00:11:58]

And so, I've been really shaped by go and go fmt. And this was a way to
automatically reformat the codebase. and the very interesting thing about this
is I saw this could actually solve all of the issues I've had like in the code
review process. [00:12:15]

But now the challenge is, go fmt, like a lot of people were crediting it due to
the fact that like they created the language with it. And so it was possible to
have adoption with this. And in the JavaScript ecosystem, there's been a lot of
attempt at building like an automatic format, but they all failed. So now that I
have the problem that I want to solve, that was a solution. And so now my
process is around, okay, so if I I need to convince myself that this solution
can actually work. And so the first step is to look at all of the existing, if
nobody tried it, like, I mean, like it's not a real problem. [00:12:52]

And so I started contacting all of the people that built JavaScript formatters
in the past, and I've asked them, "Hey, why did it fail? Why did you stop
working on it and everything?" And they give me a lot of reasons. One of
the cool thing is like, the programming scene is actually like, people are
interested and excited about talking about this kind of things. [00:13:10]

So you can actually like private message somebody and they're going to likely
answer you if you are excited about the idea. And the thing that I realized is
this is a problem where, like, this is not the usual, like 80%/20%. What I mean
by this is, most projects, you can have an 80% version working and then this is
going to really like work and you can grow from there, and like the last 20% you
can spend a lot of time on. Now for pretty printing a language; it needs to
actually be rock solid because if you pretty print something and like the code
doesn't work or like, has a different meaning at the end, people are just going
to stop using it. [00:13:50]

So the same time of correctness. And then if the code looks bad or looks weird,
people are also not going to use it. And so for this it was a project where
like, you need to actually get it like 99.9% good before it can actually like,
take off and be successful. And so now this is basically like shaped for this
one, how I went about it. [00:14:10]

## Going in a submarine and ignoring your manager

**Christopher Chedeau:** And it was like, I'm going to be in a submarine for
like six months and I'm just going to code code, code, code, code, get it like
99.9% correct. And then I'm going to start like, getting the adoption going and
everything. And so this was like, okay, me, myself, convincing that I can work
and like I have a plan that I feel is going to work. [00:14:27]

I was working in a team and I basically told my manager, Hey, look, I'm going to
do this for the next six months. So it didn't work out super well in the
beginning because , I was supposed to do other things, but I went ahead and did
it. And then the plan actually worked, okay, it's successful and everything. And
later I got credited as part of the work within the company. [00:14:47]

So there's three steps around, like finding the problem, convincing yourself
it'll work, and then actually going and like all in onto this. So this has been
my process around getting into this kind of like crazy ambitious projects.
[00:15:01]

**Carl Vitullo:** That makes a lot of sense. As you were talking about getting
something to 99.9%, I immediately jumped to the difficult challenge of trying to
make everyone happy enough with what the output looks like. [00:15:15]

## Making Prettier pretty through data

**Carl Vitullo:** I didn't even think about correctness issues. I, I immediately
went to, everyone has their own personal bike shed about whether or not to use
semicolons at the end of the line or things like that. And that's something that
I've always thought was one of the very subtle brilliances of Prettier, is how
it managed to have an extremely minimal configuration that let you know 99% of
developers use it and go, "oh yeah, okay. I'm happy with how that
looks." [00:15:45]

I think getting developers to agree that some that code is pretty, is an
incredible challenge. It's entirely separate from the technical challenge of
actually making that happen. [00:15:55]

**Christopher Chedeau:** For this was very data driven. So what I did was, I had
access to the Facebook code base. And so what I would do is every time there's
needed to like, have a decision on how to print it, what I would do is actually
look in the Facebook database and get statistics around like, how many people
are using this formatting or this other formatting. [00:16:14]

And then I would basically pick the one that is most used. And so at the time,
at Facebook, there was convention and everything, but this is still an organic
system. And so because we had , I don't probably like millions of lines of code,
this was big enough to be representative of like, what reasonable code looks
like. [00:16:30]

And so I basically just followed the wisdom of the crowds and ended up being
like, good looking or like acceptable by people. [00:16:41]

**Carl Vitullo:** Right, right. Yeah, that makes a lot of sense. So you have a
lot of data to draw on by virtue of the enormous code bases you work with, and I
imagine it wasn't terribly difficult to get other developers to solicit feedback
on code. Commenting on code style is a favorite developer pastime. [00:16:58]

## Ida's documentary process

**Carl Vitullo:** Ida, I'd love to jump back to you. So I mentioned at the start
of this that I feel like there is a lot of entrepreneurial spirit involved in
your role and really owning these projects from start to finish. How do you
think about that? How do you think about bringing a project from idea, to
production, to completion? [00:17:19]

**Ida Bechtle:** I never really thought about it like that, but I think you're
right in that definition. I think that's what I really like about my position
here at Honeypot actually, because we do get ownership of these projects from
beginning to end, all the way through. And I really like being a part of the
whole process. [00:17:37]

Like, I'm the one reaching out to the people. I do the interviews before we go
filming. I shape this storyline and then I meet the people see them live and
film with them. And you can already like, Build your interviews off of the
relation you had in those earlier calls. And while I'm filming, I'll already be
thinking about editing it all together. [00:17:57]

So I think it's a lot of work, but I think it's really beneficial also because
you can really like link every part of the production process to each other in a
sense. Yeah, I really like it [00:18:10]

**Carl Vitullo:** Yeah, that makes a lot of sense. As you're doing the prep work
for the interviews, then actually doing the interviews, then doing the editing.
You've now done so many separate passes of thinking through these conversations
that you're having, that I imagine that lets you flow from one to the next
pretty well, especially now that you've been doing this for a number of years
and really have a lot of practice doing it. [00:18:32]

**Ida Bechtle:** Yeah, for sure. You definitely learn from each project. I will
say this is the biggest one I've done. An hour and 20 minutes. So that was also
a cool challenge. [00:18:42]

**Carl Vitullo:** Biggest only by length or is it bigger by other metrics as
well? Like number of people involved or, [00:18:48]

**Ida Bechtle:** yeah, also a number of in interviews. I would say length,
amount of hours. I had to edit. I had like 25 hours of just interview footage,
so, yeah, that's why it turned a bit long. [00:19:02]

**Carl Vitullo:** Yeah that's a lot of footage. And you do all of the
cinematography as well, right? [00:19:07]

**Ida Bechtle:** Yes. Yeah. So for this one, I brought two cameras. Normally,
actually at Honeypot we have a pretty simple setup. We don't have that advanced
equipment or anything, but I think we can still looks pretty good even with our
simple setup and being one filmmaker [00:19:21]

**Carl Vitullo:** Yeah. No. Just from watching the trailer, I assumed that there
was a whole team behind making this happen. So when you told me that , nope,
it's all you, you do all the prep recording and editing. I was blown away. You
do an absolutely phenomenal job. [00:19:33]

**Ida Bechtle:** Thanks. [00:19:34]

**Christopher Chedeau:** I think Ida you are really underselling yourself, like
this movie feels like a real Hollywood movie and yeah, you did an amazing job
with this. [00:19:42]

**Ida Bechtle:** Thank you. That's nice to hear. [00:19:45]

**Carl Vitullo:** Hearing you talk about the independence you have and just
owning these projects, that's something I've always aspired to and thought out.
Over the last year I've been working independently and really trying to make
this community be my job. That's kind of what I'm trying to do with these
events. And so just getting a little tiny taste of, like, I've been doing these
events, I've been getting interesting guests to come talk about cool things
they're doing and then editing it and publishing it all up so it, you know, I
have seen how much work that is for me. And so seeing an hour and 20 minute long
video documentary done by one person I'm blown away. You do a really great job.
[00:20:22]

**Ida Bechtle:** Thanks. [00:20:23]

**Christopher Chedeau:** One thing that was you told me I was interesting. So
all of the cameras and different lightning conditions look different, and so you
spend literally hours changing the color grading for every single scene that you
have, so that they all look consistent. When you told me this, I was like,
"oh my God, this is a lot of work," but you can see it in the result
like, yeah, it looks coherent. [00:20:43]

**Ida Bechtle:** Yeah, I mean, we both do color balance, but also like the look
you have to make it look alike or the same colors getting brought out. There's a
lot of little details that people don't really think about for sure. Like also
weird sound effects and many layers on everything that it's only visible when
you see my whole timeline. [00:21:01]

I try to put it on our Twitter for people to get like a glimpse of the whole
thing, but I don't know if it's easy to tell all the different layers that are
actually in it. [00:21:11]

**Carl Vitullo:** I've dabbled in film and video stuff through high school
videos or whatever, I, I know just enough to appreciate how much detail work
went into all of that. [00:21:20]

## Christopher's involvement in the early days of Reactiflux

**Carl Vitullo:** Christopher I'll throw it back over to you. You mentioned a
couple of the major projects you've worked on. And I realized actually while
doing some of the prep work for this, that you have the first message in the
Reactiflux server. You've done all of these huge, enormously impactful projects,
and also you were actively involved in the discussion of where Reactiflux should
move after Slack decided that we had too many active members back in 2015. How
did Reactiflux cross your radar so long ago? [00:21:49]

**Christopher Chedeau:** Yeah. So as I mentioned like early days in React, my
biggest contribution was around building the community. And so at that time, we
were very big on the IRC channel. And I forgot who, but we decided, hey, we
should have a user Slack, because this was the the big thing at the time, and I
was like, yep, this is a good idea. Let's have like a channel where people can
like geek about React on Slack. And so this is where like, Reactiflux first
started.
But Slack was priced on a per user basis and so it would've cost like hundreds
of thousands of dollars like a month to like, maintain the community. [00:22:34]

Because I really cared about having a place for the community to like be
chatting and everything. So what I did was to start a process of looking at all
of the available options at the time. And one of the thing is, they almost all
like, were really bad. [00:22:49]

And so, Slack was actually like much better than anything else and all of the
open source versions were bad. But there was one tool that I was using not for
anything open source rated, but for like gaming, which was Discord. Discord was
one of the earliest adopters of React. And the mobile apps are fully using React
Native on both iOS and Android. And I was like, oh, but this is the perfect
thing for Reactiflux, really solid chats and you can have like channels and like
good notification system and everything. [00:23:18]

And this was designed for community. Whereas Slack was designed for work, but
the biggest challenge at the time was Discord was fully focused on gaming. I
chatted with the CTO that I've been working on with React and React Native and,
like, I was convincing him, Hey, please we have been booted off Slack this is
the best service and everything and let us use it. And he was like, yep, that,
sure, go for it. [00:23:42]

The one thing that we wanted was to have like, code blocks that was in Slack and
not in Discord. And I think it was the next day they implemented it, the
velocity of Discord is amazing. And so now we are like, oh, we had everything we
need, so we started migrating, and a few years later Discord actually changed
their whole strategy to be not only for gaming, but for everything else.
[00:24:04]

And now because of the Reactiflux success, a lot of the other open source
projects and everything started using Discord, and it works really well. And so
I'm really glad that now, Discord is working well for the open source and it
helped. And Reactiflux was the like driver for changing the strategy of like
Discord as a whole. So it's been like a pretty good success story. So,
[00:24:26]

**Carl Vitullo:** Yeah. That's incredible. I didn't realize that you were one of
the driving forces behind creating this community as well. [00:24:32]

Actually that's when I got involved, is I raised my hand to volunteer to help
out however I could, right, I think a month before Slack closed signups So, yeah
I very intimately remember that whole conversation and discussing like, oh, will
matrix chat work? What about Gitter? What about, you know, all of those. That's
fascinating. That's awesome. [00:24:54]

**Christopher Chedeau:** Yeah, and I don't want to take a lot of the credit, all
of you are the ones actually running it day to day. The help I gave here was to
actually like, make decisions. And this is one of the things that I found to be
the hardest with communities growing, is like nobody feels empowered to make
decisions. [00:25:10]

So one of my strengths is to be able to like, Hey, we are doing this, and let's
go. And this is the same thing I've done for the documentary. I was like, yep,
we're doing this documentary. And I basically tell everybody we're doing this
documentary and like, it happened, but Ida did all of the work of actually
making it happen. [00:25:28]

So yeah, this is my contribution. [00:25:30]

**Ida Bechtle:** Very important contribution though [00:25:33]

**Carl Vitullo:** Yeah, now that I've been trying to, you know, run this
community less as a hobby and more as, with some of the professionalism that I
think it deserves, given its place in the React ecosystem I, I'm running into
those same kind of problems as, nobody feels comfortable being the one to say, I
think we should do this. I think it is important that, we make this decision and
being willing to put your hand up and take accountability and take a risk. I
think being comfortable taking risks is, it's a real skill and I think the
projects you've taken on really show how good you are at identifying good risks
and then going all in on them. [00:26:14]

**Christopher Chedeau:** I'm trying to. [00:26:15]

## Christopher's largest human-centered accomplishment

**Carl Vitullo:** Let's back up a little bit on some of your other major
projects. So you had major contributions to React Native. I know that you wrote
the algorithm that did the flex box layout for React Native, and Docusaurus,
Prettier.  So,
yeah. [00:26:44]

**Carl Vitullo:** What contribution holds the fondest place in your heart?
[00:26:47]

**Christopher Chedeau:** I think the biggest one for me was React for sure,
being able to create this community of incredible people. And like, yeah, we had
the documentary and this has been so good to go back to memory lane and like
actually reflect on all of the people that really helped make this happen.
[00:27:03]

And this is one of the thing is I found like super good about the documentary.
Like it showed that it was not a one person thing. So yes, Jordan, started it
and created it. But then you can see in the documentary, like a lot of people
actually were energized and were pushing for it and everything. [00:27:16]

So it was really like a community effort. And I loved how there's been so many
tweets written along the documentary and each behind each of those tweets is one
person, that spends a lot of time and a lot of effort and building something in
the ecosystem. So for me, this is not about me, but about how all of those folks
came together and all of you in the audience that are coming together to
actually like build something bigger and like move the industry forward. So this
is my proudest accomplishment. [00:27:45]

**Carl Vitullo:** Yeah. That's both a large accomplishment and just a very,
human-centered accomplishment. You got a bunch of people excited about something
and then they did so many cool things with it. [00:27:55]

Ida, now that you've spent a year working on this React documentary, what do you
think is next for you? [00:28:01]

**Ida Bechtle:** I actually already know my next project. I'm not sure I can say
it out loud yet, but I'm gonna go straight to making another, not, probably not
as big as React . Maybe no more like our usual time, like 30 minutes or so. I'll
try to limit myself a bit more this time. But yeah, so hopefully our next bigger
production will be out in the fall, I think is the plan so far. [00:28:24]

**Christopher Chedeau:** Nice. [00:28:25]

**Ida Bechtle:** Yes. [00:28:25]

**Carl Vitullo:** Can you give us any hints as to what it will be about? Is it
a, an it's another open source documentary. [00:28:31]

**Ida Bechtle:** Yeah, it's another open source. Actually, I don't know, I
should probably have cleared this, if I can even tease it now. I'm not sure.
[00:28:38]

**Carl Vitullo:** Fair enough. Okay. But we'll keep an eye out for something in
the fall. [00:28:40]

**Ida Bechtle:** And I mean, we are also open to suggestions. Like people can
always contact us and we'll see what we can do with all the ideas. They can
write us on Twitter, it's @honeypotio. They can contact our<EMAIL_ADDRESS>email, or even on YouTube like writing comments. A bit like people requested
also the React documentary. If we see it enough times we normally try to do it.
[00:29:03]

**Carl Vitullo:** Christopher, Ida, anything else you'd like to get into? Any
other topics you think we haven't covered yet? [00:29:09]

**Christopher Chedeau:** We have a lot of people in the audience, if you have
any questions please like put them in the chat. One question I'm seeing is
Motorhead saying, Hey, how do you feel about VueJS? Are there idea s or
inspiration you get from it. [00:29:19]

So, one of the thing that a lot of people don't realize is that, they feel that
the React team is like in competition, like, dear Enemy with the Vue team or
like the Angular team and you, and like people are trying to pit us against each
other. But actually we are working very closely with all of them. So during the
early days of React, we had many meetings at the Google campus between the
Angular team and the React team, and for Evan You personally, like I've been
playing Hades with him trying to speed around the game. And so we are all
working well together. [00:29:50]

And so for a few, like one of the biggest thing it's did for the React, like on
the React team was the quality of the documentation. Vue's documentation is
amazing. And so when I was managing the React team I actually pushed to rewrite
the documentation and using Vue as basically the guideline. [00:30:09]

And so it's been one of the thing that like really helped. And right now the
other thing coming from the Vue ecosystem is Vite, like the bundler, which is
way faster than anything else. And this is something that now a lot of people in
the React ecosystem are using. [00:30:24]

So like two things that have directly influenced, there's a lot of myriad of
details have happened. And so I'm really excited that we're like, well, like my
goal. and and the React team's goal is not to actually like, make React better,
but this is like make the entire ecosystem better. [00:30:41]

And so we actually want to encourage people to try out Vue and like, oh, if
there are something that's better in there, oh, are there any ways we can bring
into React or vice versa, so. [00:30:51]

or. [00:30:54]

**Carl Vitullo:** Yeah, definitely. So thinking of it as we're all in the web
and JavaScript ecosystem, rather than carving out little fiefdoms of, this is a
React ecosystem and this is the Vue ecosystem. Really collaborating to grow the
space. I didn't realize that Vue's documentation was an inspiration for the
revamped React documentation. [00:31:13]

I know that the beta docs have been beta for a very long time now and are now
being released. Do you have any involvement in that documentation project?
[00:31:22]

**Christopher Chedeau:** I've been out of the React team for like, more than
five years now, so I've been superficially looking at it. And so my involvement
for this was again of convincing like Dan Abramov to actually push for it. And
so he is always been a really good writer and he wasn't really sure like,
"Hey, does it make sense for me as an engineer at the company to work on
docs almost full-time?" [00:31:43]

And I was like, Nope. This is how you have impact. Like your writing is why,
what gets you in the company and everything. So this thing you should be really
pushing. And so I'm really glad that he was able to like, yep, actually like,
work on this. And so it's been in beta for a long time because , One of the
thing is at this point, React is not, this small project, it's used by literary
the entire industry. [00:32:03]

And so, one of the thing around this is any smaller decision that's been made in
the project is going to have long-lasting consequences. And so one of the thing
that the React team has always been really good at is really making sure every
single decision is thought out and is going to last for another, like 10, 20
years. [00:32:21]

And this is really hard to do, but this is how the team is operating. And so
this is why it feels like the team is moving slower. You mentioned like, oh, all
of the concurrency and everything has not still , yet been fully shipped and the
docs are still in beta, but this is how you actually steward such a big and
important project. [00:32:38]

And so I think they're doing the right thing to actually get feedback and
iterate and, like convincing themselves that this is the right direction.
Because if they are wrong, then this is going to be really bad and incur a lot
of costs in the entire community. And so for this, it's all about making sure
you, you are right and it's still time to back out. [00:32:58]

And this is one thing, I feel like a lot of people don't do a lot is, they work
on something and they get feedback, it's not going to work out. And then they're
basically still pushing because of the sunk cost fallacy, but the React team is
like, oh, let's actually convince ourselves, convince the, the rest of the team,
the rest of the world that this is working. And then let's do it. [00:33:16]

**Carl Vitullo:** Yeah. And I think that. That intentionality that the React
team has brought to developing the api, developing the library, that's something
that I've always really tremendously respected and thought was really one of the
biggest selling points. And I think you're absolutely correct about the level of
impact that React has had and how that raises the stakes. [00:33:36]

Now it's like anything that, any change that React makes is now closer in
stature and weightiness to, like, a change to JavaScript. So, approaching it
with care is absolutely incredibly appropriate, because yeah, you only get one
shot. You can't put something out there and then make a subtle adjustment
because, those subtle adjustments will never be fully dispersed out to the
community. It just fragments. [00:34:01]

**Christopher Chedeau:** Another question in the chat from Tactician. Was there
anyone else you wanted to interview for the documentary that you were not able
to? [00:34:08]

So actually, like for me personally, there's Jing Chen, so, she actually did
talk to Ida, but she doesn't want to be on camera. But Jing has been absolutely
fantastic and so influential to build connection with the customers. And so a
lot of the times people are thinking about React as this technical like piece of
art and everything. But one of the thing now to be successful is you need to
actually work with the customer actually going to use it. And Jing has been the
one that build a customer relationship. [00:34:38]

And it was very hard at in many time, but she was the ball. Like you dropped,
like she dropped into this relation and now all of a sudden, like everybody was
excited, everybody was productive. So I want to give a huge shoutout to her
around this. [00:34:52]

**Carl Vitullo:** Yeah, that was mentioned in the documentary, her ability to
get people oriented around the topic. Do you have a sense for how she manages to
do that? [00:34:59]

**Christopher Chedeau:** So I think for this basically always putting the needs
of the other first, and really deeply understanding, hey, what is the challenges
of, like for example, we're working with Instagram, Hey, what is the needs of
Instagram team? What are they thinking through and everything? [00:35:14]

And then basically telling them like, Hey, we are going to be able to solve your
needs. And this is something that a lot of people in engineering and tech are
like, oh, I want to build my thing because I think it's going to be better, but
not putting themselves into the shoes of the others, and conflict management and
conflict resolution kind of things has been her superpower. [00:35:34]

**Carl Vitullo:** Do you think it would be accurate to say that she approaches
these situations with curiosity rather than a preconceived solution? [00:35:41]

**Christopher Chedeau:** Yeah, that makes sense. [00:35:43]

**Carl Vitullo:** Ida, if there's anything else you'd like to say about how the
documentary came together? [00:35:48]

**Ida Bechtle:** I guess not too much to say other than just to add thanks to
the cast and to Christopher, so for helping me. I think he did, especially with
Meta. I think he did a lot of stuff kind of behind the screen or like that I
didn't really realize. He made it super easy for me to be able to film even at
Meta and to feature engineers working at Meta now. [00:36:09]

So yeah, I just wanna shout out the whole cast who were amazing and we've gotten
so many compliments also about just how they tell this story. It's super
entertaining, what do you say? Like, storytelling throughout. So that's all
them. [00:36:23]

**Carl Vitullo:** Yeah, you can really tell how much everyone cares about all
their coworkers and about the project they're working on. Yeah, Christopher any,
anyone you wanna shout out? Anything you wanna plug? [00:36:31]

**Christopher Chedeau:** Nothing really, go watch documentary if you haven't
yet. And if you have, share it with your friends. One of the things that I found
like was really good is that the documentary is done in a way, even if you're
not technical, you can understand it. And so my wife, knows nothing about tech,
but she was hooked from the beginning to the end. [00:36:48]

And this is very hard, like she's picky and everything. So, it's a really good
testament of Ida's skills and yeah. One thing I really want is, can we get it on
Netflix? So I'm trying to convince people to see if we can do it, but we'll see.
[00:37:02]

**Carl Vitullo:** Sure. Yeah.  Be a
good marketing play for them. Well, if I see the React Documentary on Netflix
I'll know who to thank. [00:37:09]

Yeah. Thanks so much for coming out, Christopher and Ida. [00:37:13]

**Ida Bechtle:** Thanks for having us. [00:37:14]

**Christopher Chedeau:** Thank you so much, Carl, for hosting. [00:37:16]

**Carl Vitullo:** Yeah, very glad you could make it. Yeah. Well, thanks so much
for coming everyone in the audience. And make sure to join us next week. We're
doing the first episode of This Month in React with Sebastien Lorber, and
myself, and Mark Erickson. Really excited to try it out and keep you guys on the
top of what's happening in the React ecosystem. [00:37:33]

Yeah. Thank you so much everyone. This was really fun to do. [00:37:37]

**Christopher Chedeau:** Bye.


text:
+++
title = "EON-ROSE and the Canadian Cordillera Array–Building Bridges to Span Earth System Science in Canada"
date = 2018-07-12

# Authors. Comma separated list, e.g. `["Bob Smith", "David Jones"]`.
authors = ["Katherine JE Boggs", "Rick C Aster", "admin", "Gilbert Brunet", "Ron M Clowes", "Catherine D de Groot-Hedlin", "Eric Donovan", "David W Eaton", "Julie Elliott", "Jeffrey T Freymueller", "Michael AH Hedlin", "Roy D Hyndman", "Thomas S James", "Paul J Kushner", "Kristin D Morell", "Christie D Rowe", "Derek L Schutt", "Michael G Sideris", "Malaika Ulmi", "Frank L Vernon", "Nicole West"]

# Publication type.
# Legend:
# 0 = Uncategorized
# 1 = Conference paper
# 2 = Journal article
# 3 = Preprint / Working Paper
# 4 = Report
# 5 = Book
# 6 = Book section
# 7 = Thesis
# 8 = Patent
publication_types = ["2"]

# Publication name and optional abbreviated version.
publication = "*Geoscience Canada*"
publication_short = ""

# Abstract.
abstract = """
EON-ROSE (Earth-System Observing Network-Réseau d’Observation du Système terrestrE) is a new initiative for a pan-Canadian research collaboration to holistically examine Earth systems from the ionosphere into the core. The Canadian Cordillera Array (CC Array) is the pilot phase, and will extend across the Cordillera from the Beaufort Sea to the US border. The vision for EON-ROSE is to install a network of telemetered observatories to monitor solid Earth, environmental and atmospheric processes. EON-ROSE is an inclusive, combined effort of Canadian universities, federal, provincial and territorial government agencies, industry, and international collaborators. Brainstorming sessions and several workshops have been held since May 2016. The first station will be installed at Kluane Lake Research Station in southwestern Yukon during the summer of 2018. The purpose of this report is to provide a framework for continued discussion and development."""

# Summary. An optional shortened abstract.
summary = ""

# Digital Object Identifier (DOI)
doi = "10.12789/geocanj.2018.45.136"

# Is this a featured publication? (true/false)
featured = false

# Tags (optional).
#   Set `tags = []` for no tags, or use the form `tags = ["A Tag", "Another Tag"]` for one or more tags.
tags = []

# Projects (optional).
#   Associate this publication with one or more of your projects.
#   Simply enter your project's folder or file name without extension.
#   E.g. `projects = ["deep-learning"]` references
#   `content/project/deep-learning/index.md`.
#   Otherwise, set `projects = []`.
projects = ["CanadianCordillera"]

# Links (optional).
url_pdf = ""
url_code = ""
url_dataset = ""
url_project = ""
url_slides = ""
url_video = ""
url_poster = ""
url_source = ""

# Custom links (optional).
#   Uncomment line below to enable. For multiple links, use the form `[{...}, {...}, {...}]`.
#links = [{name = "Citations: 9", url = "https://scholar.google.com/scholar?cites=4825604373906396874"}]

# Does this page contain LaTeX math? (true/false)
math = false

# Featured image
# To use, add an image named `featured.jpg/png` to your page's folder.
[image]
  # Caption (optional)
  caption = ""

  # Focal point (optional)
  # Options: Smart, Center, TopLeft, Top, TopRight, Left, Right, BottomLeft, Bottom, BottomRight
  focal_point = ""
+++

license: MIT

repository: paudetseis/academic-kickstart

branch_name: refs/heads/master

extension: md

license_type: permissive

repo_name: paudetseis/academic-kickstart


text:
# Good Job, promise-based concurrency

[![Build Status](https://travis-ci.org/dwrensha/gj.svg?branch=master)](https://travis-ci.org/dwrensha/gj)

[Documentation here](http://docs.capnproto-rust.org/gj/index.html).

EXPERIMENTAL! UNSTABLE! A WORK IN PROGRESS!

GJ is a port of the
[KJ concurrency framework](https://capnproto.org/cxxrpc.html#kj-concurrency-framework)
into Rust.
A GJ event loop allows you to execute many lightweight stackless tasks on a single operating system thread.
You can share mutable data between tasks without any need for mutexes or atomics.
GJ also provides a completion-based I/O interface.

repository: youngspe/gj

repo_name: youngspe/gj


text:
## Load Cell Occupancy Sensor

### What is it?
This project is a occupancy sensor that uses a load cell for couches and beds, transmitting data to my Home Assistant server via MQTT over Ethernet.

### Why?
Other bed occupancy sensors that I have used in my home automation setup trigger false negatives when rolling around at night.  I use bed occupancy to turn on my lights if I get up at night, and I wanted a faster, more accurate solution.

#### Why PoE?
Wireless home automation devices often make sense only when they are battery powered, if a power cable needs to be run to the device it can carry data too.  Designing a low power wireless device is far more complicated than designing a wired device and running an Ethernet cable.

## Overview
Load cells → HX711 (ADC) → ATMega328P (MCU) → W5100 (Ethernet) → MQTT Broker → Home Assistant

This sensor takes input from 4 load cells, each supporting one leg of a bed or couch.  The load cells are sampled with a ATMega328P (Arduino) using an HX711 load cell ADC.  These samples are then transmitted to an MQTT broker via the Wiznet W5100 (same as Arduino Ethernet shield).

## Project Contents
-  LoadCell_ArduinoCode - firmware for the ATMega328P
-  LoadCell_Case - 3D printable case designed in OpenSCAD
-  LoadCell_Holder - 3D printable holder for the load cells designed in OpenSCAD
-  LoadCell_HomeAssistant - example Home Assistant configuration
-  LoadCell_KiCAD - schematic and PCB

## Media
![Home Assistant Card](https://raw.githubusercontent.com/newAM/LoadCellOccupany/master/LoadCell_Media/LoadCell_Media_HASSCard.png)

![Front Circuit View](https://raw.githubusercontent.com/newAM/LoadCellOccupany/master/LoadCell_Media/LoadCell_Media_FrontCircuitView.jpg)

## Software Used
- [KiCad](http://kicad.org/)
- [Arduino IDE](https://www.arduino.cc/en/Main/Software)
- [OpenSCAD](http://www.openscad.org/)
- [Libre Office](https://www.libreoffice.org/)
- [Home Assistant](https://www.home-assistant.io/)

### Arduino Libraries used
- [Sparkfun HX711 Library](https://github.com/bogde/HX711)
- [Arduino MQTT Client](https://github.com/knolleary/pubsubclient)

## Forks
- [ESP8266 Load Cell](https://github.com/Skaronator/ESP8266-Load-Cell) - wireless edition

repository: newAM/LoadCellOccupany

gha_license_id: MIT

repo_name: newAM/LoadCellOccupany


text:
# React Auth System via Firebase ![React](https://img.shields.io/badge/React-16.13.1-blue?logo=react)

An authentication with `ReactJS` as front-end and `Firebase` as back-end.

</br>

Supported functionalities :
- Register
- Login
- Forgot password
- Update email & password

</br>

---
> Configure a `.env.local` file in the root directory to load the values to for the firebase connection.

```
REACT_APP_FIREBASE_API_KEY=
REACT_APP_FIREBASE_AUTH_DOMAIN=
REACT_APP_FIREBASE_DATABASE_URL=
REACT_APP_FIREBASE_PROJECT_ID=
REACT_APP_FIREBASE_STORAGE_BUCKET=
REACT_APP_FIREBASE_MESSAGING_SENDER_ID=
REACT_APP_FIREBASE_APP_ID=
```

---

## Usage

> Install dependencies
```
npm install
```

> Run app
```
npm start
```

### Author

***Aditya Kumar***
[Cypher](http://www.github.com/cypher-adi)

repository: cypher-adi/react-firebase-auth

branch_name: refs/heads/main

repo_name: cypher-adi/react-firebase-auth


text:
      <img
        alt="Node.js Version"
<EMAIL_ADDRESS>      />

A monorepo contains some of common algorithms and data structures written in
Typescript.

## Overview

Package                             | Description
:----------------------------------:|:--------------------------
<EMAIL_ADDRESS>| Binary Index Tree.
<EMAIL_ADDRESS>  | Circular queue.
<EMAIL_ADDRESS>        | Dijkstra algorithm optimized with<EMAIL_ADDRESS>#ShortestPath.
<EMAIL_ADDRESS>           | Dinic algorithm. #MaxFlow, #NetworkFlow.
<EMAIL_ADDRESS>             | DLX algorithm.
<EMAIL_ADDRESS>         | Find set.
<EMAIL_ADDRESS>             | Greatest Common Divisor (GCD) and extended Euclidean algorithm.
<EMAIL_ADDRESS>            | ISAP algorithm. #MaxFlow, #NetworkFlow.
<EMAIL_ADDRESS>   | Knuth-Shuffle algorithm.
<EMAIL_ADDRESS>     | Find the index of first elements which greater or equals than the target element.
<EMAIL_ADDRESS>            | MCMF algorithm. #MinCostMaxFlow, #NetworkFlow.
<EMAIL_ADDRESS>  | Priority Queue (heap).
<EMAIL_ADDRESS>  | Sliding window algorithm.
<EMAIL_ADDRESS>          | A collection of utilities to generate / solve Sudoku problems.
<EMAIL_ADDRESS>            | Trie. (digital tree or prefix tree)
<EMAIL_ADDRESS>     | Find the index of first elements which greater than the target element.


text:
---
title: The Arts Space (Season 1) Jalan-Jalan
permalink: /guides/arts/visual-arts/the-arts-space-season1-jalan-jalan
breadcrumb: The Arts Space (Season 1) Jalan-Jalan
collection_name: arts-visual-arts
third_nav_title: Visual Arts
published: true
---

**The Arts Space at Level 8 of the National Library has been re-imagined as a space that brings to life our rich collection from books and photographs to artworks and poems. Inspired by the painting, “The Couple” by acclaimed Singapore artist Tan Swie Hian, the Arts librarians have set out to create a multi-purpose space – physical and virtual, collaborative and contemplative – that not only evokes a cosy reading corner with recommended reads but a curated space for displays and exhibitions.**

![Overview Image](/images/arts/visualarts/V2_OVERVIEW.png)

Season 1, **_JALAN-JALAN_** (a Malay word meaning to stroll or go for a walk), kicks-off from end-April 2018 through to mid-November 2018. We have curated a thematic display with paintings by Singapore artists in our collection setting the scene and which have been put up throughout Level 8. Encompassing these artworks are resources which are on display within the Arts Space with more available online through this resource guide.

Why **_JALAN-JALAN_**? We want to take you on a journey to revisit some of Singapore’s old buildings and street scenes as depicted by the paintings through three different trails (sub-themes) – Soul City, Ann Siang Revisited and Shop the Past. Read on to find out more and to discover home-grown paintings, artists, poems and a host of other resources.

|  |  |  |

![Divider image](/images/arts/visualarts/DIVIDER.png)

![soulcity](/images/arts/visualarts/V2-SOUL-CITY.png)

Cityscape artworks are rich emblems of public memory and private recollections. Juxtaposed alongside city literature by Singapore writers, they fill unspoken spaces in the collective memory of its citizens and mirror the transformations in our cultural geography as we shape-shift to become a ‘smart city’.

This series of paintings form a visual narrative of Singapore’s growth story seen through landmarks located along the Civic District including Cavenagh Bridge, the Padang, the Convent of the Holy Infant Jesus (CHIJ) chapel (now CHIJMES Hall) and the old National Library Building at Stamford Road.

The nation’s quest for constant re-invention is exemplified by poet Edwin Thumboo’s twin library poems “The National Library, nr Dhoby Ghaut, Singapore” and “National Library, 2007, Bugis” which feature the old and new libraries respectively and articulate an ongoing pursuit of knowledge amid calls for innovation. The sleek contours of the current National Library building pay tribute to the virtues of “life-long learning” in a digital era.

![Cavenagh Bridge](/images/arts/visualarts/Cavenagh-Bridge-e1523002926805.png)

Singapore River – Cavenagh Bridge

Watercolour on Paper

Tong Chin Sye

**Tong Chin Sye (1939 – )**

Trained in both Western and Chinese art, Tong is a well-known multimedia artist, and has painted extensively in watercolour, acrylic and oil. A second-generation Singapore artist, Tong’s works document the rapidly changing street scenes and cityscapes since the 1960s, providing a window into the sights and scenes of an older Singapore. Tong graduated from the Nanyang Academy of Fine Arts (NAFA) in 1960 and was a part-time lecturer in Western Art at NAFA from 1995-2010. He was the winner of the Tan Tsze Chor Art Award in 1992 and represented Singapore at the 1998 Flemish Watercolour Days in Zaventum, Europe.

![Padang](/images/arts/visualarts/Padang.png)

Impressions of Singapore – The Padang

Lithographic Reproduction

(Limited edition art print no. 733/950)

Loy Chye Chuan

**Loy Chye Chuan (1940 – )**

A self-taught artist, Loy started painting in 1958 and established himself as a watercolour artist by learning from other established artists like Lim Cheng Hoe in the 1960s, eventually developing his own style. Loy’s works include landscape scenery and street scenes of an older Singapore, using bright colours to inject a fresh and lively feel to them. Loy is one of the thirteen founding members of the Singapore Watercolour Society, which was established on 18 August 1969.

![chijmes](/images/arts/visualarts/Lai-Foong-Moi-CHIJMES.png)

Looking along Victoria Street with the Convent Chapel at the Corner

Oil on Canvas

1958

Lai Foong Moi

**Lai Foong Moi (1931 – 1994)**

Initially studying at Nanyang Academy of Fine Arts (NAFA) as a student of Georgette Chen, Lai was awarded a French government scholarship to study at École Nationale Supérieure des Beaux-Arts in Paris, where she graduated in 1958. While in Paris, she received a mention honourable in Société des Artistes Français’ Salon of 1957. Painting in the Nanyang style, Lai is known for her later works of portraits and figures, while her landscapes offer an insight into her sensitivity to her environment.

![NLB](/images/arts/visualarts/NLB.png)

Untitled [National Library Building, Stamford Road]

Watercolour on Paper

Ong Kim Seng

2007

**Ong Kim Seng (1945 – )**

Eminent watercolourist Ong Kim Seng is the former president of the Singapore Watercolour Society (1991 to 2001), a Cultural Medallion winner (Visual Art) in 1990, and winner of six awards from the prestigious American Watercolour Society. He has held numerous solo and group exhibitions since his first solo exhibition, Himalayan Trek Art Exhibition, at the Asia Art Gallery in 1979. His works have been exhibited internationally in Europe, USA, Japan and ASEAN countries.

Below is a selection of related resources available from the [NLB catalogue](http://catalogue.nlb.gov.sg/) or the Internet. It is not meant to be an exhaustive list.

### On Artists

* Artcommune Gallery. (2015). [The Singapore modern art narrative](http://eservice.nlb.gov.sg/item_holding.aspx?bid=202492656). Singapore: Artcommune Gallery.

Call no.: RSING English 759.95957 SIN

This exhibition catalogue features Singapore artworks in four veins – traditional Chinese ink, watercolour, Nanyang style and beyond. It includes an introduction on Singapore art history, the styles and short bios of artists featured.

* Chia, W. H., & Chai, Y. C. (1982). [Singapore artists](http://eservice.nlb.gov.sg/item_holding_s.aspx?bid=4082073). Singapore: Singapore Cultural foundation & Federal Publications.

Call no.: RSING English 759.95957 SIN

One of the earlier publications to present a consolidated picture of the Singapore art scene, this book features works by Singapore’s pioneering painters and sculptors.

* Lai Foong Moi : [Catalogue of paintings](http://eservice.nlb.gov.sg/item_holding.aspx?bid=4469022). (1959). Singapore: University of Malaya. Art Museum.

Call no.: RCLOS English 759.9595 UNI

On her return to Singapore after her studies at École Nationale Supérieure des Beaux-Arts in Paris, Lai Foong Moi brought back with her the paintings created during this time. This catalogue features these artworks.

* National Library Board. (2017). [Ong Kim Seng](http://eresources.nlb.gov.sg/infopedia/articles/SIP_462_2005-01-17.html) written by Nureza Ahmad. Retrieved 21 March 2018, from Singapore Infopedia.

URL: http://eresources.nlb.gov.sg/infopedia/articles/SIP_462_2005-01-17.html

An article providing biographical information on eminent watercolourist and Cultural Medallion winner Ong Kim Seng about his life and achievements, including some of the publications he has produced over the years.

* Tong C. S. (2012).  [Tong Chin Sye – reminiscences](http://eservice.nlb.gov.sg/item_holding_s.aspx?bid=200141178). Singapore: Pertified Arts LLP.

Call no.: RSING English 759.95957 TON

Lost street scenes and heritage landscapes are documented in this catalogue accompanying the exhibition at NIE Art Gallery of Tong Chin Sye paintings between 1961 to 2000.

### On Style

* Devon, M. (2008). [Tamarind techniques for fine art lithography](http://eservice.nlb.gov.sg/item_holding.aspx?bid=1307628). New York: Abrams.

Call no.: RART 763 DEV

This book covers all facets of fine art lithography, from setting up a workshop of any size to pulling a successful edition. It offers complete, illustrated step-by-step instructions for all techniques in use today as well as up-to-date health and safety information in creating lithography

* Law, Q.R. and Luakian, M. (eds.). (2016). [The city Singapore book](http://eservice.nlb.gov.sg/item_holding.aspx?bid=202792760). Hong Kong: Production Q

Call no.: RSING<PHONE_NUMBER>7 CIT

This is a compilation of artworks by a select group of homegrown artists juxtaposed alongside personal stories about life in Singapore. Packaged in a luxurious hardcover format, this publication includes an illustrated map that provides readers with a tangible guide to the artists’ narratives of the city-state.

* Tan, M.K. (1997). [The evolution of the Nanyang art style : a study in the search for an artistic identity in Singapore, 1930-1960](http://eservice.nlb.gov.sg/item_holding.aspx?bid=9766875). Hong Kong: Dept. of Humanities, University of Science and Technology.

Call no.: RSING 709.5957 TAN

This thesis attempts to define the Nanyang Art Style through a study of the search for an artistic identity in Singapore by a group of Chinese emigre-artists. The first part of this academic exercise explores the general development of Singapore and the reasons that led to art being introduced and developed on an island where the initial immigrants were mainly labourers and businessmen. The second part discusses the evolution of the local art style in Singapore.

* Thorspecken, T. (2014). [Urban sketching : The complete guide to techniques](http://eservice.nlb.gov.sg/item_holding.aspx?bid=200832359). Singapore: Page One.

Call no.: RART 743.84 THO

Urban Sketching offers readers inspiration from real-life surroundings through over 350 full-color illustrations as a tool to hone their craft. Comprising the techniques of sketching and drawing as well as a range of know-hows specific to this artistic genre, readers will discover for themselves rules on perspective that will aid in sketching landscapes, buildings, and objects accurately as well as tips on how to capture the essence of people in sketches when subjects are on the move.

* Walkowitz, D.J. and Knauer, L.M.(eds.). (2004). [Memory and the impact of political transformation in public space](http://eservice.nlb.gov.sg/item_holding.aspx?bid=12428302). Durham, N.C. : Duke University Press.

Call no.: RART 720.103 MEM

This publication explores the effects of major historic upheavals on the ways in which public histories are presented the world over. It expands the scope of what is considered public history by pointing to silences and absences that are as conspicuous as museums and memorials.

* Zaihan, K. (ed.). (2011). [Urban sketchers Singapore. Volume 01 : A book of on-location sketches and drawings documenting the Singaporean urban landscape](http://eservice.nlb.gov.sg/item_holding.aspx?bid=14251477). Singapore: Math Paper Press.

Call no.: RSING<PHONE_NUMBER> URB

The Singapore Urban Sketchers group presents this compilation of illustrations by 33 featured artists capturing the places, memories and other vignettes of life in Singapore. Also included are descriptions of various places featured in this book, as well as interviews with select artists.

### On Subject

* National Library Board. (2016). [Cavenagh Bridge](http://eresources.nlb.gov.sg/infopedia/articles/SIP_2_2004-12-17.html) written by Vernon Cornelius. Retrieved 21 March, 2018 from Singapore Infopedia.

URL: http://eresources.nlb.gov.sg/infopedia/articles/SIP_2_2004-12-17.html

Completed in 1869, Cavenagh Bridge is the oldest bridge across the Singapore River. This article gives the history and description about the bridge along with references.

* National Library Board. (2001). [The Esplanade written by Vernon Cornelius-Takahama](http://eresources.nlb.gov.sg/infopedia/articles/SIP_149_2004-12-13.html). Retrieved 21 March, 2018 from Singapore Infopedia.

URL: http://eresources.nlb.gov.sg/infopedia/articles/SIP_149_2004-12-13.html

The Esplanade (or Padang) was a field originally by the sea before the 1843 reclamation. This article provides information about the history and some of the historic activities from colonial times to present day.

* National Library Board. (2010). [CHIJMES](http://eresources.nlb.gov.sg/infopedia/articles/SIP_828_2004-12-15.html) written by Joanna HS Tan. Retrieved 21 March, 2018 from Singapore Infopedia.

URL: http://eresources.nlb.gov.sg/infopedia/articles/SIP_828_2004-12-15.html

CHIJMES was originally known as the Convent of the Holy Infant Jesus, a premier girls’ school established in 1854. This article provides information on the history and its role in early education in Singapore.

* National Library Board. (2002). N[ational Library Building (Stamford Road)](http://eresources.nlb.gov.sg/infopedia/articles/SIP_661_2004-12-27.html) written by Anasuya Balamururgan. Retrieved 21 March, 2018 from Singapore Infopedia.

URL: http://eresources.nlb.gov.sg/infopedia/articles/SIP_661_2004-12-27.html

Officially opened on 12 November 1960, the distinctive red-brick building was said to reflect the red-brick epoch of British architecture in the 1950s. This article gives the history and description of the now demolished building.

* Thumboo, E. (2012). [The best of Edwin Thumboo](http://eservice.nlb.gov.sg/item_holding_s.aspx?bid=14334922). Singapore: Epigram Books.

Call no.: RSING English S821 THU

This compilation features poems by Singapore’s pioneer poets Edwin Thumboo, presented in five parts with a section on place poems, including the two aforementioned poems on National Library.

![annsiang](/images/arts/visualarts/Ann-Siang-Revisitedv3.jpg)

Ann Siang Road located in the historic Telok Ayer District in Chinatown begins from a road known as Ann Siang Hill and connects to Kadayanallur Street. It is named after Chia Ann Siang (1832‒1892) a wealthy Chinese businessman who built his house and estate on the site.

Situated on a hill, both Ann Siang Road and Ann Siang Hill are lined with elegantly restored shophouses, a prevalent building type in Singapore’s architectural heritage, and richly decorated terraces. Most of these buildings were constructed between 1903 and 1941. The typical shophouse is a two or three storey building with a shop on the ground floor and living quarters above.

Another heritage landmark next to Ann Siang Road is Sri Mariamman Temple on South Bridge Road. Established in 1827, it is the oldest Hindu temple in Singapore and was constructed by immigrants from the Nagapatnam and Cuddalore districts of South India. The temple, managed by the Hindu Endowments Board, was gazetted as a national monument on 6 July 1973.

![Old shophouse](/images/arts/visualarts/Old-Shophouse-1.jpg)

Old shophouses on the slope of Ann Siang Hill

Ink and Colour on Paper

Chua Ek Kay

**Chua Ek Kay (1947-2008)**

An artist who has been hailed as the bridge between Eastern and Western art, Chua Ek Kay (b. 1947, Guangdong, China–d. 8 February 2008, Singapore) is the first Chinese ink painter to win the United Overseas Bank Painting of the Year Award (1991). Chua trained under Singaporean master brush painter, Fang Chang Tien of the Shanghai School, but later developed a keen interest in Western art. The blend of traditional Chinese art forms and Western art techniques feature prominently in Chua`s paintings. He was awarded the Cultural Medallion in 1999.

Below is a selection of related resources available from the [NLB catalogue](http://catalogue.nlb.gov.sg/) or the Internet. It is not meant to be an exhaustive list.

### On Artists

* Chua Ek Kay. (2007). [Chua Ek Kay: along the river banks](http://eservice.nlb.gov.sg/item_holding.aspx?bid=12961166). Singapore: Singapore Tyler Print Institute.

Call no: RSING 759.95957 CHU

Article on the life history of the artist and catalogue of the exhibition Along the River Banks held at Singapore Tyler Print Institute, from 9 November – 22 December.

* Chua Ek Kay. (2011). [Old campus revisited: Chua Ek Kay collection of the Catholic High School](http://eservice.nlb.gov.sg/item_holding.aspx?bid=14322410). Singapore: The Private Museum.

Call no: RSING 759.95957 CHU

Exhibition catalogue of the Chua Ek Kay’s Catholic High School paintings.

* [Chua Ek Kay, Cultural Medallion Recipient 1999 Visual Arts \[videorecording\]](http://eservice.nlb.gov.sg/item_holding.aspx?bid=13232608). (2007). Singapore Art Museum for National Library Board Singapore and National Arts Council.

Call no: RSING 759.95957 CHU

Produced in May 2007, this video is probably the last recording on Chua Ek Kay, one of Singapore’s leading Chinese ink painters. The commentator examines and explains the influences and inspiration on Chua’s life and art, his art training and his exposition and techniques, including his practice of fusing eastern and western traditions in his art. Viewers can get a glimpse of Chua’s signature Street Scene Series, Lotus Pond Series, Reflections Series and Cao (or Grass) Series, as well as photographs of Singapore street scenes from which Chua translated into his paintings. In concluding footages, Chua shares how he felt when he was awarded the Cultural Medallion.

* [No mountains, I will paint a shophouse here](http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19990925-<IP_ADDRESS>.3). (1999, September 25). The Straits Times, p. 3.

URL: http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19990925-<IP_ADDRESS>.3

This newspaper article provides a brief life history of Chua Ek Kay.

* Shetty, D. (2010, March 6). [Icons in ink](http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes20100306-<IP_ADDRESS>). The Straits Times, p. 3.

URL: http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes20100306-<IP_ADDRESS>

An article on the Singapore Tyler Print Institute’s  tribute to the late Chua Ek Kay with an exhibition showcasing 26 of his works.

* Singapore Tyler Print Institute. (2010). [Re-visiting Chua Ek Kay : Tribute to the ink master, 5 – 20 March 2010](http://eservice.nlb.gov.sg/item_holding.aspx?bid=13751854). Singapore: Singapore Tyler Print Institute.

Call no: RSING 759.95957 CHU

Essays about Chua Ek Kay, featuring works from the exhibition, Re-visiting Chua Ek Kay.

### On Style

* Cherrett, Pauline. (2002).[Chinese brush painting](http://eservice.nlb.gov.sg/item_holding.aspx?bid=11749004). Singapore : Page One Pub.

Call no.: PublicationSG

Limited Preview: http://eresources.nlb.gov.sg/printheritage/detail/425fd7a6-f533-4dcf-b542-7540183a633e.aspx

The book provides directions for painting a wide range of subjects, including flowers, trees, animals and landscapes and also an overview of Chinese brush painting and the range of styles and techniques used.

* Goh, M (2013, March 20). [It’s picture perfect Chinese ink painting](http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes20130320-1.2.92). The Straits Times, p. 3.

URL: http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes20130320-1.2.92

Techniques in Chinese ink painting are explained in this article.

* Goh, B. (1994, July 9). [Bold new ways with ink](http://eresources.nlb.gov.sg/newspapers/Digitised/Article/biztimes19940709-<IP_ADDRESS>). Business Times, p. 22.

URL: http://eresources.nlb.gov.sg/newspapers/Digitised/Article/biztimes19940709-<IP_ADDRESS>

This article explores new techniques revealed in works displayed by the Soo Bin Art Gallery.

* Kuo, J.C. (2010). [Chinese ink painting now](http://eservice.nlb.gov.sg/item_holding.aspx?bid=13556842). New York: Distributed Art Publishers.

Call no.: RART 751.4251 KUO

This publication surveys the recent trends in ink art, featuring artists from Mainland China and in Hong Kong, Taiwan, Europe and North America. Fifty-nine artists are featured, along with their artworks and accompanied by short profiles.

* [The art of Chinese brush painting: Ink, painting, inspiration](http://eservice.nlb.gov.sg/item_holding.aspx?bid=13226491). (2009). Tokyo; Tuttle Pub., Rutland, Vt.

Call no.: RART 751.4251 SEL

The opening chapter provides a brief survey of the Chinese tradition of ink brush painting. Also featured are chapters on calligraphy and painting guides on specific motifs such as orchids, landscapes and bamboo. Available as an eBook as well.

### On Subject

* [Ann Siang Hill general view](http://eresources.nlb.gov.sg/pictures/Details/a4812fea-038d-4d7d-8c40-4a0aaf5988c0) \[Photograph\]. Retrieved 21 March, 2018 from PictureSG.

URL: http://eresources.nlb.gov.sg/pictures/Details/a4812fea-038d-4d7d-8c40-4a0aaf5988c0

A 1983 photograph showing Ann Siang Hill, from Club Street.

* Annaliza Bakri. (2017). [Sikit-sikit lama-lama jadi bukit](http://eservice.nlb.gov.sg/item_holding.aspx?bid=203055395). Singapore: Math Paper Press.

Call no: RSING 899.281 SIK

This bilingual publication includes a poem by Isa Kamari on Haji Lane.

* National Library Board. (2016). [Ann Siang Road](http://eresources.nlb.gov.sg/infopedia/articles/SIP_329_2005-01-20.html) written by Thulaja, Naidu Ratnala. Retrieved March 21, 2018 from Singapore Infopedia.

A short introduction to the history of Ann Siang Road, which was named after a wealthy businessman. The article focuses on the historic buildings around the area and the richly decorated shophouses.

* National Library Board. (2016). [Sri Mariamman Temple (historic site next to Ann Siang Road)](http://eresources.nlb.gov.sg/infopedia/articles/SIP_778_2004-12-23.html) written by Tan, Bonny and Chew, Valerie. Retrieved March 21, 2018 from Singapore Infopedia.

This Infopedia article describes the oldest Hindu temple on the South Bridge road which also the reason why the temple was called as South Bridge Mariamman temple. The article gives a brief account of the history, the development and the historical places around the temple.

* Singapore. Archives and Oral History Dept (1983). [Chinatown : an album of a Singapore community = 牛车水](http://eservice.nlb.gov.sg/item_holding.aspx?bid=3213762). Singapore: Times Books International : Archives and Oral History Dept..

Call no: RSING 779.995957 CHI

This publication features photographs and other documents exhibited at the “Exhibition of Chinatown” organised by the Archives & Oral History Department from 31 March – 10 April 1983. The images and documents come with brief write-ups and captions. A map (circa 1846) by Government Surveyor Mr. John Turnbull Thomson is featured on p.16, which includes areas around Ann Siang Hill (then Scott’s Hill).

 ![shoppast](/images/arts/visualarts/V2-SHOP.png)

Singapore’s colourful shopping history is captured in these paintings of days gone by, where one could buy produce or furniture and homewares from shophouses, queue up for street peddlers who lined the streets, and soak in the mood and late-night treats offered by various hawkers in markets.

The shophouse is a recognisable architectural icon in Singapore’s building heritage. Used either as a residence, a commercial space or both, the shophouse has a unique five-foot way along its street front. This also gave rise to the term “five-foot-way traders”, craftsmen who plied their trade along the narrow walkway. These traders included fortune-tellers, letter writers, barbers and others. Bustling businesses in the shophouses spanned from selling homewares made of rattan and copra to Chinese medicinal halls.

The different shades of watercolour and ink in these paintings and excerpts of old Singapore street scenes record the old and vanishing scenes of Singapore as she underwent rapid urbanisation and modernisation.

![street scene](/images/arts/visualarts/street-scene.png)

街景 (Street Scene)

Ink and Colour on Paper

Lim Tze Peng

**Lim Tze Peng (1921 – )**

Lim Tze Peng started his art practice in the 1950s and is best known for his ink paintings of old Singapore scenes, particularly that of the Kampungs, the Singapore River and Chinatown. Besides painting, he also practiced calligraphy and developed a style which he named “muddled calligraphy” (糊涂字). Lim has been awarded several awards for his achievements in and contribution towards the arts, including the Cultural Medallion in 2003 and Meritorious Service Medal in 2016.

![Sago street](/images/arts/visualarts/sago-street.png)

Sago Street, Chinatown

Lithographic Reproduction

Loy Chye Chuan

**Loy Chye Chuan (1940 – )**

A self-taught artist, Loy started painting in 1958 and established himself as a watercolour artist by learning from other established artists like Lim Cheng Hoe in the 1960s, eventually developing his own style. Loy’s works include landscape scenery and street scenes of an older Singapore, using bright colours to inject a fresh and lively feel to them. Loy is one of the thirteen founding members of the Singapore Watercolour Society.

Below is a selection of related resources available from the [NLB catalogue](http://catalogue.nlb.gov.sg/) or the Internet. It is not meant to be an exhaustive list.

### On Artists

* [25 years of watercolour painting in Singapore](http://eservice.nlb.gov.sg/item_holding.aspx?bid=7028751). (1994). Singapore: Singapore Watercolour Society.

Call no.: RSING<PHONE_NUMBER>4 TWE

Published in conjunction with the Singapore Watercolour Society’s 25th anniversary exhibition, this book includes a brief history of the society as well as the exhibited artworks and artists. A number of the paintings are also paired with poems by Singapore poet, Koh Buck Song.

* [Artists preserve Singapore’s roots](http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19830505-<IP_ADDRESS>.4). (1983, May 5). The Straits Times, p.2. Retrieved from NewspaperSG.

URL: http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19830505-<IP_ADDRESS>.4

Reports of more than a dozen artists documenting the life and streetscapes of Chinatown before the demolition works were slated to begin on derelict buildings. The groups of artists mentioned include Loy Chye Chuan and Choo Keng Kwang.

* [Lim Tze Peng, Cultural Medallion award 2003 (Art)](http://eresources.nlb.gov.sg/arts/web/contents/ArticleDetails.aspx?Id=455ef05c-5adb-40d1-aeaf-e2399269b2da). (2003). \[Video\]. National Library Board and National Arts Council.

URL: http://eresources.nlb.gov.sg/arts/web/contents/ArticleDetails.aspx?Id=455ef05c-5adb-40d1-aeaf-e2399269b2da

A 16-minute video chronicling Lim’s artistic development, creative process, governing philosophies, and visual vocabularies. Highlights include his oeuvre of artworks which capture the heritage and history of tropical Singapore and Southeast Asia.

* Lin, Z. P. (Lim Tze Peng). (1991). [Reminiscence: Old Singapore (Lim Tze Peng)](http://eservice.nlb.gov.sg/item_holding_s.aspx?bid=200090313). Singapore: Beaumont Publishing.

Call no.: RSING Chinese 759.95957 LZP

Features 81 of Lim’s artistic representations of Singapore’s recent past, in particular Chinatown and the Singapore River and a bilingual introduction (English and traditional Chinese) by Wai Hon Chia.

* Loy, L. C. (2011). [Loy Chye Chuan’s watercolour world](http://eservice.nlb.gov.sg/item_holding.aspx?bid=14235474). Singapore: Loy Chye Chuan.

Call no.: RSING Chinese 759.95957 LCC

Includes a foreword by the artist which briefly introduces his artistic philosophy and creative journey as an artist. The book highlights Loy’s paintings chronologically from 1960 to 2011, which features his scenic artworks of Singapore, Malaysia, Brunei and China.

### On Style

* Caine’s Gallery. (1995).  [The President’s Watercolour Selections](http://eservice.nlb.gov.sg/item_holding.aspx?bid=7516795). Singapore: President’s Office.

Call no.: RSING<PHONE_NUMBER>4 PRE -\[SRN\]

As part of a charity art exhibition, twenty-two watercolour artists showcased their works and raised funds for charity. In addition to the twenty-two paintings, this exhibition publication features essays on watercolour by Ong Kim Seng and Leong Weng Kam.

* National Museum. (1993). [Journey of ink: National Museum Art Gallery](http://eservice.nlb.gov.sg/item_holding_s.aspx?bid=6467870). Singapore: National Museum.

Call no.: RSING 759.95957 JOU

Published in conjunction with the exhibition of the same name, this publication includes an essay titled ‘A perspective on the development of ink painting in Singapore’ by Kwok Kian Chow and Chua Ek Kay.

* Parramon, J. M. (1993). [The complete book of watercolour: the history, materials, techniques, theory and practice of watercolour](http://eservice.nlb.gov.sg/item_holding.aspx?bid=8840997). London: Phaidon Press.

Call no.: RART 751.422 PAR

Encyclopedic in scope, this publication touches on the history and early masters of watercolour and takes a practical look at the material, tools and drawing needed for any aspiring watercolourists.

* Singapore Art Museum. (1999).  [Power and poetry: Monuments and meditations in Chinese contemporary ink painting](http://eservice.nlb.gov.sg/item_holding_s.aspx?bid=12875648). Singapore: Singapore Art Museum.

Call no.: RSING 759.95957 POW

An exhibition publication featuring three contemporary ink artists: Chua Ek Kay, Zhuang Shengtao and Henri Chen KeZhan. Provides interpretation of brushstrokes, motifs and concepts in modern Chinese ink painting through selected artworks.

* Taylor, R. (2005). [Buildings in watercolour](http://eservice.nlb.gov.sg/item_holding.aspx?bid=12546131). London: Collins.

Call no.: RART q751.42244 TAY

An introductory book on painting buildings in watercolour, tips on colour, tone, perspectives and architectural details are covered. Guided steps are provided for the painting of selected building.

### On Subject

* Davison, J. (2010). [Singapore shophouse](http://eservice.nlb.gov.sg/item_holding.aspx?bid=13735527). Singapore: Talisman.

Call no.: RSING 720.95957 DAV

An in-depth study into the history and architecture of shophouses in Singapore, this book details its defining architectural characteristics, the development of shophouse styles and contemporary uses and features of shophouses.

* Kong, L. (2011). [Conserving the past, creating the future: Urban heritage in Singapore](http://eservice.nlb.gov.sg/item_holding.aspx?bid=13816245). Singapore: Urban Redevelopment Authority.

Call no.: RSING<PHONE_NUMBER>7 KON

Traces the history of Singapore’s conservation journey through policies and stories as well as the views of Singaporeans and foreigners about the urban heritage of our nation. This is one of the most comprehensive monographs on Singapore’s urban heritage conservation history, with rich photographs of Singapore streets then and now, and maps of historic districts.

* Liu, G. (1984). [Pastel portraits: Singapore’s architectural heritage](http://eservice.nlb.gov.sg/item_holding.aspx?bid=4082440). Singapore: Singapore Coordinating Committee.

Call no.: RSING<PHONE_NUMBER> PAS

Featuring Singapore’s pre-World War II architecture, this book explores the “Singapore Eclectic style” which combined elements of Chinese, Malay, Indian and European architectural style. The book highlights facades and architectural features of 17 selected areas, which includes Chinatown and Ann Siang Hill.

* National Library Board. (2016) [Five-foot-way traders](http://eresources.nlb.gov.sg/infopedia/articles/SIP_105_2005-01-04.html) written by Thulaja, Naidu Ratnala. Retrieved March 21, 2018 from Singapore Infopedia.

URL: http://eresources.nlb.gov.sg/infopedia/articles/SIP_105_2005-01-04.html

A short introduction to history of five-foot-ways which are unique architectural features of Malayan shophouses. The article focuses on the different trades plied along these narrow walkways as a means of earning a living.

* National Library Board. (2016). [Sago Street](http://eresources.nlb.gov.sg/infopedia/articles/SIP_349_2005-01-11.html) written by Thulaja, Naidu Ratnala. Retrieved March 21, 2018 from Infopedia.

URL: http://eresources.nlb.gov.sg/infopedia/articles/SIP_349_2005-01-11.html

Briefly introduces the history of how Sago Street got its name, its colourful history in the early 20th century and the different names accorded to the street by different dialect groups in the past.

Photographs of street scenes are from the Lee Kip Lin Collection, National Library Board, Singapore. The information in this resource guide is valid as at April 2018 and correct as far as we are able to ascertain from our sources. It is not intended to be an exhaustive or complete history on the subject. Please contact the Library for further reading materials on the topic.

All Rights Reserved. National Library Board Singapore 2018.

repository: nlbnls/nlb-reference

repo_name: nlbnls/nlb-reference


text:
---
title: "Blog post 001 - Project DPTapp"
date: 2021-02-17
by: mrh
---
##_Project:_ Digital Payment Token Reporting App (DPTapp)

**DPTapp function overview**
*  user interface
   *  enter public address (multiple)
   *  enter time range
   *  ...
*  data collection
   *  pull request to retrieve transaction data from blockchain
   *  store data temporarily
   *  ...
*  reporting
   *  data consistence / validation check
   *  summary reporting
   *  transaction reporting
   *  ...

... more details to follow ...

In case you are interested, pls let me know.

repository: MRHMuc/github-pages-with-jekyll

repo_name: MRHMuc/github-pages-with-jekyll


text:
---
layout: default
title: align-star
---

This workflow uses STAR to map RNA sequencing data to a reference genome.

## Usage
You can run the workflow using
[Cromwell](http://cromwell.readthedocs.io/en/stable/):
```bash
java -jar cromwell-<version>.jar run -i inputs.json align-star.wdl
```

### Inputs
Inputs are provided through a JSON file. The minimally required inputs are
described below and a template containing all possible inputs can be generated
using Womtool as described in the
[WOMtool documentation](http://cromwell.readthedocs.io/en/stable/WOMtool/).

```json
{
  "AlignStar.readgroups": "A list of readgroup identifiers, one for each fastq file (pair) provided",
  "AlignStar.sample": "A sample identifier",
  "AlignStar.library": "A sequencing library identifier",
  "AlignStar.outputDir": "The path to the output directory",
  "AlignStar.inputR1": "A list of first-end fastq files (in the same order as the associated readgroup identifiers)",
  "AlignStar.inputR2": "A list of second-end fastq files (in the same order as the associated readgroup identifiers). This input may be ignored for single-end sequencing experiments",
  "AlignStar.indexFiles": "The paths to the STAR index files."
}
```

Some additional inputs which may be of interest are:
```json
{
  "AlignStar.platform": "The sequencing platform used, this defaults to 'illumina'",
  "AlignStar.star.runThreadN": "The number of threads to be used, defaults to 1",
  "AlignStar.star.twopassMode": "The two-pass mode to be used (if any)"
}
```

#### Example
```json
{
  "AlignStar.readgroups": [
    "lane1",
    "lane2"
  ],
  "AlignStar.sample": "s1",
  "AlignStar.library": "lib1",
  "AlignStar.outputDir": "/home/user/mapping/results",
  "AlignStar.inputR1": [
    "/home/user/data/patient1/lane1_R1.fq.gz",
    "/home/user/data/patient1/lane2_R1.fq.gz"
  ],
  "AlignStar.inputR2": [
    "/home/user/data/patient1/lane1_R2.fq.gz",
    "/home/user/data/patient1/lane2_R2.fq.gz"
  ],
  "AlignStar.indexFiles": [
    "/star_index/chrLength.txt",
    "/star_index/chrName.txt",
    "/star_index/chrNameLength.txt",
    "/star_index/chrStart.txt",
    "/star_index/Genome",
    "/star_index/genomeParameters.txt",
    "/star_index/SA",
    "/star_index/SAindex"
  ],
  "AlignStar.star.runThreadN": 4
}
```

### output
This workflow produces a directory containing the STAR output, including a
coordinate-sorted BAM file and its index.

repository: biowdl/aligning

branch_name: refs/heads/develop

gha_language: wdl

repo_name: biowdl/aligning


text:
# v0.42

## ※Important Information※
The errors in VRM output from earlier versions (UniVRM 0.41 and before) have been fixed in v0.42. However, this fix comes along with the following impact:

* The exported VRM data in v0.42 or later cannot be imported correctly in the earlier versions

When exporting VRM data using UniVRM, please check which version you use to make VRM model.
If you are using UniVRM to import VRM data, please update UniVRM to the latest version as soon as you can.

## UV Bugs Fix:
In v0.41 and the earlier versions, converting UV between Unity and GLTF was incorrect.

Before
```csharp
var converted_uv = new Vec2(uv.x, -uv.y);　// value becomes negative
```

After
```csharp
var converted_uv = new Vec2(uv.x, 1.0f-uv.y);
```

This change influences both import and export.

### Current status in v0.42:

* The UV of imported VRM is correct.
* V will become negative when loading the correct UV of VRM with the earlier versions.
* Texture display will be distorted if texture is set to `Clamp`. The default is `Repeat`.

|                    |VRM's UV in v0.41 and before|VRM's UV from v0.42|
|--------------------|----------------------|------------------------|
|Importer in UniVRM-0.41 and before |〇 (negative x negative = positive) |× (positive x negative = negative) |
|Importer from UniVRM-0.42 |〇              |〇            |
|General GLTF loader |×                     |〇                      |

* To developers: please update UniVRM to v0.42 as soon as possible.
* We created a judger based on the string `UniGLTF-1.16 (v0.42)` in GLTF `/assets/generator` in importer to detect whether a VRM model is made by the version before 0.42. For v0.42, it can import VRM model correctly.

## Tangents Bugs Fix:
The method to call [Mesh.RecalculateTangents](https://docs.unity3d.com/ScriptReference/Mesh.RecalculateTangents.html)
was inappropriate and it was not able to generate Tangents.
We have fixed this issue.
It influences the use of normal map.

### Tangents processing modification:
* Tangents can be calculated and generated from Normal and UV
* The differences of coordinate axes between GLTF and Unity can be absorbed
* File size can be decreased if Tangents is not recorded

Based on the reasons above, we decided not to export Tangents.
(If any problem occurs, please let us know through https://github.com/ousttrue/UniGLTF/issues)

## GLTF Improvement:

### `/bufferViews/*/byteStride`will not output
It seems necessary for outputting OpenGL's interleaved vbo format:

```csharp
// Example of interleaved format
struct Vertex
{
  public Vector3 Position;
  public Vector3 Normal;
}
Vertex[] Vertices;
```
Since UniGLTF outputs separate arrays for each vertex attribute, ByteStride was unnecessary.

> When this is not defined, data is tightly packed. When two or more accessors use the same bufferView, this field must be defined.

Also, we found that ByteStride should not output to Index.

### GLTF material support improvement:

* `/materials/*/alphaMode`
* `/materials/*/doubleSided`
* KHR_material_unlit
* texture sampler(repeat, clamp, mirror)
* https://github.com/ousttrue/UniGLTF/issues/12
* [Handling semi-transparent texture #28](https://github.com/dwango/UniVRM/issues/28)

[Details](https://github.com/ousttrue/UniGLTF/wiki/Material)

Also, when setting MToon, we tried to pass parameters as many as possible to GLTF material: `KHR_material_unlit, AlphaMode, DoubleSided`.

This improvement has influences on VRM files changed to .glb format when loading with other tools.

## VRM JsonShcema Release:

* https://github.com/dwango/UniVRM/tree/master/specification/0.0/schema

## Directory Structure Changes:

* VRM/UniHumanoid => VRM/UniGLTF/UniHumanoid
* VRM/Scripts/DepthFirstScheduler(Former UniTask) => VRM/UniGLTF/DepthFirstScheduler

## BlendShape Asset:
The asset for BlendShape now is independent (previously it is a sub-asset of Prefab)
* https://github.com/dwango/UniVRM/pull/26

## BlendShape Reference:
The state of BlendShape before model normalization is now used as a reference. You can make BlendShape before normalization and Bake the state of BlendShape during normalization.

## UniHumanoid BVH Judgement Fix:
We fixed BVH skeleton estimation.
Report errors here when it fails: https://github.com/ousttrue/UniHumanoid/issues

repository: vrm-c/UniVRM

gha_language: C#

repo_name: vrm-c/UniVRM


text:
# spring-cache-guava

`spring-cache-guava` is a [Spring Framework Cache adapter](http://static.springsource.org/spring/docs/3.2.x/spring-framework-reference/html/cache.html#cache-plug)
backed by [Google Guava](http://code.google.com/p/guava-libraries/).

### Build instructions

`spring-cache-guava` uses the Maven build system. Building the code yourself
should be a straightforward case of:

    git clone git@github.com:irbouho/spring-cache-guava.git
    cd spring-cache-guava
    mvn test

This should cause the modules to be compiled and the tests to be run. To
install these artifacts to your local Maven repo, use:

    mvn install

In a Maven project, one would include the runtime in the dependencies section
of your `pom.xml` (replacing `${spring-cache-guava.version}` with the
appropriate current release):

```xml
<dependencies>
  <dependency>
    <groupId>com.springmodules.cache.guava</groupId>
    <artifactId>core</artifactId>
    <version>${spring-cache-guava.version}</version>
  </dependency>
</dependencies>
```

### Introduction
Read the [Introduction page](https://github.com/irbouho/spring-cache-guava/wiki/Introduction) on the wiki.

### Community / Support

* [spring-cache-guava Google Group](https://groups.google.com/forum/?fromgroups#!forum/spring-cache-guava)
* [GitHub Issues](https://github.com/irbouho/spring-cache-guava/issues)
* [Continuous Integration](https://travis-ci.org/irbouho/spring-cache-guava/builds)

License
-------

    Copyright 2012 the original author or authors.

    Licensed under the Apache License, Version 2.0 (the "License");
    you may not use this file except in compliance with the License.
    You may obtain a copy of the License at

       http://www.apache.org/licenses/LICENSE-2.0

    Unless required by applicable law or agreed to in writing, software
    distributed under the License is distributed on an "AS IS" BASIS,
    WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
    See the License for the specific language governing permissions and
    limitations under the License.

repository: Tifancy/spring-cache-guava

repo_name: Tifancy/spring-cache-guava