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Lab#03 – Big Data – Sqoop incremental

Lab#03 – Big Data – Sqoop incremental. I need support with this Computer Science question so I can learn better.

Big Data – Hadoop Ecosystems Lab #3
Import the accounts table into HDFS file system:
1) Import account:
$ sqoop import –connect jdbc:mysql://localhost/loudacre –username training –password training –table accounts –target-dir /loudacre/accounts –null-non-string ‘N’
2) List the contents of the accounts directory:
$ hdfs dfs -ls /loudacre/accounts
3) Import incremental updates to accounts As Loudacre adds new accounts in MySQL accounts table, the account data in HDFS must be updated as accounts are created.
You can use Sqoop to append these new records.
Run the script to add the latest accounts to MySQL.
$ DEV1/exercises/sqoop/ Incrementally import and append the newly added accounts to the accounts directory.
Use Sqoop to import on the last value on the acct_num column largest account ID: $ sqoop import –connect jdbc:mysql://localhost/loudacre –username training –password training –incremental append –null-non-string ‘N’ –table accounts –target-dir /loudacre/accounts –check-column acct_num –last-value

4) You should see three new files.

Use Hadoop’s cat command to view the entire contents of these files. hdfs dfs -cat /loudacre/accounts/part-m-0000[456]

Lab#03 – Big Data – Sqoop incremental

University of California Health Discrimination and Stigmatization Obesity Discussion.

Please watch all 4 videos included in this week’s module. For this assignment you are to:1. Discuss the health issue from a public health perspective2. Discuss other health topics in which there has been discrimination/stigma3. Your thoughts as to why the discrimination/stigma is happening4. Your personal thoughts about this issue. Please include why you think you feel the way you do.I want you to be honest with your feelings. You will not be graded on your personal thoughts. I am not looking for you to comment in any specific direction. I expect you to use the videos, talk about public health, and be honest in your thoughts. There should be at least 3 pages, not including references. DOUBLE SPACED AND CITED
University of California Health Discrimination and Stigmatization Obesity Discussion

University of California Los Angeles Theater Question

University of California Los Angeles Theater Question.

I’m working on a theater multi-part question and need guidance to help me understand better.

This should be like a journal you keep for your character you are creating, do not write as if you’re trying to say what you think I want you to say, this is your own personal creation. Again, it should be like YOUR CHARACTER’S DIARY! Take risks, go to the dark and dirty places your character goes, remember there is nothing politically correct about the personal choices characters make – be completely flushed out and real. You are playing the part, no one else will have your monologue. Take RISKS and Go THERE! Just memorizing your lines does not mean you are acting, you have to fill it with real-life choices. Be specific and HAVE FUN! Must write a paragraph minimum for EACH question!ATTACHED IS THE SCRIPT WHERE YOU WILL FIND CHARACTERS RelationshipCreating a relationship is the heart of actingWhat is your relationship with the other character in the scene?Facts are never enough, they help you begin – help you create the relationshipOnce you have the fact, you are ready to explore how you feel about the other character; either the one spoken to or spoken aboutAsk questions about your emotional attitude towards this person – Do you love him, hate him, resent him, how much, do you want to help him, what do you want from him, ect…?The fact of a relationship has no value to the actor unless it leads him/her to explore the feeling in the relationship NOW – the now is the imperative question you must askYou must commit 1000% Conflict, What are you fighting for?Without conflict, there is no sceneWhat do you WANT in this scene?Instead of using goals or motivations, use what are you fighting for?It will keep you active and at the moment, without causing you to give upAlways have a positive want(motivation) – it’s more forceful, stronger, and will serve you in a more emotional way than a negative choiceIt makes the stakes higherHow, then, do you achieve balance if everyone is there pitching hard for what they’re fighting for? Through relationship. Through the give and take and consideration of other characters, through your sensitivity to their reactions towards what you’re fighting for- through increased awareness of others and how you affect them and how they affect you; a heightening of the awareness you have in life toward other peopleMaximum conflict is what you should be looking for. Who is interfering with your getting what you are fighting for? Do battle with her, fight her, woo her, charm her, revile her. Find as many ways as you can to go about getting what you are fighting for.The more ways you find – them more interesting your performance will beThe actor must find out what the basic fight is in every character in every scene The Moment BeforeEvery scene you will ever act begins in the middle, and it is up to you, the actor, to provide what comes before.This is true if you do a scene at the beginning of a play, middle, or end. Something always precedes what you are doing – the moment beforeBe prepared in auditions, do your homework prior – it usually takes actors most of the reading to get warmed up. By the time they are, they’ve lost the attention of the auditorsNever does an actor need the moment before more desperately than in the audition situationIn order to create the moment before the actor will have to go back 10-20 years in the life of the characterActors tend to generalize. Be specific! The more specific, focused you are the moment before, the better the entire scene will goIt requires important emotional commitment – you have to go there. Not just in your mind – you got to walk on ready to fight for what you want (substitution, etc…)The first impression is the strongest impression left on the auditors. When an actor comes on stage in a performance, the first impression he makes is a lasting one on the audience. It had better be an impressive oneThe moment before must be strong, meaty, and full; it’s got to give the actor something to feed on throughout the scene HumorHumor is not a jokeIt is the attitude toward being alive without which long ago you would have jumped off the empire state bldg.Humor is not being funnyIt is the exchange between people that makes it possible for us to get through our dayHumor exists even in the humorless. It is in every scene, just as in every situation in life.Actors tend to take the humor out of scenes to make it dramatic – but that is the core reason that makes acting un-lifelikeActors will say “how can I find humor in this scene? It’s very serious!” For the exact same reason, one would be driven to find humor in the same situation in life: because it is deadly serious and human beings cannot bear all that heavyweight, they alleviate the burden by humorThe heavier the situation the more humor we needA lot of actors do this instinctively – but if it’s not there then the actor must make a conscious effort a find it (scripted or unscripted)Humorless acting is the deadliest kind: its the hallmark of soap opera performingYou’ll find it in all the stars you admire OppositesWhatever you decide is your motivation in a scene, the opposite of that is also true and should be in itLike in life, we live with opposites – sometimes you hate the person you love ( a parent and a child). If there is a great need for someone there’s also resentment towards them because of your need for them.It is the actor’s creation of opposites that develops conflict, and therefore drama, and therefore interestFor some reason, actors are fond of bringing on stage the resolution of a conflict, which is tidy and dead, rather than the conflict itself, which is excitingThis has to do with us being trained in life to avoid conflict, run from confrontations, make our painful lives as easy as we can for ourselves. But it is the process of dealing with pain the actor must put on the stage, not the fact of having solved it.The more extreme the opposite the actor chooses for a scene, the more everything in between is likely to occur instinctively, naturally, without the actor having to consider the choices.There are opposites in every scene. The actor will have to dig. The playwright may well have implied them under the surface of the character and not have written them into the dialogue at all ( subtext) DiscoveriesEvery scene is filled with discoveries, things that happen for the first time. No matter how many times it has happened in the past, there is something new about this experience, this moment.It makes it active – we the audience will experience it with youThe discoveries may be about the other character, or about oneself, or someone offstage, or about the situation now or the situation as it existed ten years ago and how the effects the nowThe more discoveries you make in a scene- the less you rely on “we do this every day” – the more interesting the scene will beIt’s hard to bring vitality and life to routine, but they are difficult to escape when you have the excitement of discoveriesTake nothing for granted; make an emotional discovery as often as you can find one in a scene – ask yourself what is knewActors need to work from real-life situations, not literary or character concepts. Most often the discoveries aren’t written on the surface of the script, the actor will have to dig into the subtext to find them. They come out of the actor’s own life questions Communication and Competition CommunicationActing is communicatingIt is not enough for the actor to feel if that feeling is not being communicatedIt takes two to communicate. The sender and the receiver. The receiver has to acknowledge the message by sending a reply back to the sender, thus completing the circle before communication has taken place. It’s a cycleYou can not go forward without the cycle being completed – cause then you’re just talking and neither of you is in the momentLISTEN to one another – what was just said, how did that make you feel, what are you going to do about it? It is much more than just exchanging words.Receiving the feelings of another is even harder than sending out feelings of your own. It requires sensitivity, a heightened awareness of another person, investment of real caring; otherwise, why will you undertake the formidable task of opening yourself up to true communication?Granted in life we’re not always talking to people but at them, and rarely do we listen- we just want to get our point across.Feel the need to listen for selfish reasonsCommunication is the desire to change the person to whom you communicatingCompetitionAll dramatic relationships are competitive; there’s a lot of resistance.There are two points of view with which an actor should execute each scene (a) I am right and you are wrong (b) You should change from being the way you are to the way I think you should beNo games are any fun unless the participants are competingWe compete for everything: to tell the funniest story, to be considered the most truthful or sincere, the prettiest, the sexiest, the most reliable. We compete for enough food, for jobs, for love, affection, friends, and lovers. There isn’t anything for which we don’t compete.Competition is healthy, it’s lifeA good actor is the one who competes, willingly, and enjoys the competition ImportancePlays are written about the most important moments in people’s lives, not about their everyday humdrumness. If that was the case who would leave home to go and pay they ridiculous prices to watch a playRaise the stakes: make it a Life or Death situationThe truth is not enough, if it is neither dramatic, interesting nor unique – it must be invested with sufficient emotion to make it importantIt is important for an actor to realize that what he/she must use in their acting is the opposite of what he/she has been trained in life to seek. Peacefulness and the avoidance of trouble won’t help them in their acting. It is just the opposite they must seekImportant does not necessarily mean significant to others. It means emotionally important to you at this moment. We make trivial things important to us in the moment, even if we forget them the next day.Make the stakes in each scene as high as you can. Look for maximum importance. Add importance, if you don’t – no one will be listening Find The EventActors frequently get so involved with character and feelings, with the subjective life of the character, that they forget about what is happening in the play. What is happening in the events of the playThe actor’s job is to create the events of the playWhat are events? Events are of many natures. An event can be a change. That is the strongest kind of event. It can be a confrontation – and for every confrontation, there is always a result, a consequence for the actor to present. An event can be a climax, which is a major turning point in the lives of the characters.Change can be overt or hidden, clear and outright and obvious, or subtle and obscure. Either way, the actor must keep a sharp lookout for the changes in a scene, for there can be many.The more chances you create, the more alive the scene isYou must ask yourselves, “What happens in this scene? What are the changes?” and then you must work to create those changes. Something must happen, some change must be effected. If the playwright fails to provide it then the actor must.Actors get so wrapped up in the creation of behavior that they frequently overlook what happens in the scene. Behavior is not enough unless he couples it with the forward progressive motion that comes with the creation of events. If you make nothing happen in a scene, it soon diesEvents can be psychological, such as the exchange of power between two characters. The more that is made into action, the more effective the reading. It is entirely up to the actors how action-filled an event can bePlaceMost readings take place on a bare stage, which is not the most useful environment for an actor. It’s up to you to create a place, and it’s well worth doing, for it will help you immeasurably in creating a reality for your readingSince you are free to choose any place you wish, in which to do this reading, it would be best to choose a place you know well. A real place from your real life, so that you don’t have to waste time on being a set designer, but will immediately know where the door is and where the sofa is and where the table and chairs are.Once you have chosen the place, and see it clearly then you must look for how it makes you feel. The feeling is most important. That is what will elevate your place into emotional valueQuestion for the actor to ask: Where does this take place? How can I get mileage out of using the place in creating what I’m fighting for in this relationship? Geographical, literal place isn’t important, as long as you get the emotional use from itGame Playing & Role PlayingWhen we play games it is for real, when we take on different roles, it is sincere conduct, for it is a way of dealing with reality, not avoiding it. Don’t be fooled by the title – In class I play the role of the teacher, you play the role of the student – at a party, we all play the role of peer …It helps an actor to ask him/herself in each scene: What is the game I am playing in this situation? What role do I assume in order to best play this game? The answer depends on the circumstance: what people want from you, what you want from them, what you are offering, and what you expect. Ask what the stakes are, what are you playing for. But don’t get the idea that you will therefore be unreal or insincere. Games are real; roles are necessary to deal with reality.What’s the value of knowing this? Answer: If you play the role of son to your parents, you don’t play that role with your girlfriend: What would she want with a son? She wants a lover. So you play that role because it is the role she wants from you. But you don’t play it insincerely, since you love her. It is a role and it is for real.Every relationship we have demanded a different role, in order to be successfully fulfilled. Every situation we are in is a game with different rules. All real. All meaningful to us. The rules of the game tell us how to act in a life situation, don’t they? So they also tell actors how to “act.”Always choose to do the role you play well: there’s always room in the scene to show conflict, events, oppositesMystery and SecretAfter you’ve done all the eleven guideposts in your preparation for your audition, then add to it what you don’t knowThe most fascinating acting always has a quality of mystery to it.Think of some of the questions man has pondered since the beginning of time: What is love? Is there a God? Is there life after death? No matter how much science finds out, we never know the answers to these questions. They eternally remain mysteries to us. So it is with any relationship you create: No matter how much we know about the other person, there is always something going in that other heart and that other head that we don’t know but can only ponder. And no matter how we explain ourselves to someone else, no matter how open we are, there is always still something inexplicable, something hidden and unknown in us, tooAdd to your audition this wonderment about what is going on inside of you. These are feelings, mysterious feelings, that cannot be verbalized and cannot be explained. But they can be felt and therefore they can be added to your auditionAlways have a secret for your character and tell no one – this will help create the mystery
University of California Los Angeles Theater Question

ANTH 131 Grossmont College Species Evoluion Essay

cheap assignment writing service ANTH 131 Grossmont College Species Evoluion Essay.

I’m working on a biology discussion question and need an explanation to help me learn.

LAB QUESTIONSDiscussion & VideosThe full video does not appear to be available online right now. However, the BBC website does have clips from this video showing some of the primates we cover in class: bushbaby, tarsier, sifaka, & ringtailed lemurBBC Cousins – First Primates (Links to an external site.)This link is to another relevant primate video. It is not the same video we watch in class, but it does cover many of the same species: Be the Creature – Lemurs (Links to an external site.)1) Use the 9 steps of evolution to explain how terrestrial rodents could evolve into early arboreal primates. – remember to start with a specific trait that made early primates different from rodents2) Explain some things that you learned about tarsiers from the video.3) Explain some things that you learned about lemur behaviors from the video.Lab Manual(L10 p.295) Concept Review Questions # 1 & 5(L10 p.297-98) Lab Exercises 1 – 3 {use photos on p.303-305}(L10 p.302) Critical Thinking Questions – Chart: only Lorises, Lemurs, & TarsiersL12 p.358) Critical Thinking Questions # 6: Diet Chart: only Insectivory & Gummivory {see p.339 about teeth}skull identification: describe ~3 – 5 cranial features that you could use to identify the skulls of:1. non-primate vs primate2. ring-tailed lemur vs tarsier* link to online 3D skull images used in class this week (Links to an external site.)
ANTH 131 Grossmont College Species Evoluion Essay

Psychology homework help

Psychology homework help. This paper focuses on RATIONALE FOR PROGRAM APPLICATION. Applicants to the Master of Nursing: Nurse Practitioner (MN: NP) should include the following in their personal essay:,RATIONALE FOR PROGRAM APPLICATION-Master of Nursing,Applicants to the Master of Nursing: Nurse Practitioner (MN: NP) should include the following in their personal essay:,Your primary reasons for applying to the Graduate Centre for Nursing and Health Studies, Master of Nursing: Nurse Practitioner (MN:NP) program. The specific skills, resources, and experiences that will facilitate your success in this program.,Firstly, What your personal and professional aspirations are and how participation in this program relates to your future career goals?,Secondly, How you plan to balance other competing factors in your life or work with the demands of this program.NP stream applicants, please also describe your interest in primary healthcare. The scholarliness of your response will be evaluate d during the application review process.   Finally, Grammar, spelling, punctuation, clarity or writing, and organization of the essay will be considered.,Also, you are required to submit a personal essay of no more than 500 words (approximately two pages double spaced) explaining why you should be admitted to this program. The scholarliness of your response will be evaluated during the application review process. Grammar, spelling, punctuation, clarity of writing, and organization of the essay will be considered.,More details;,The M.N. Nurse Practitioner (M.N.-N.P.) program prepares nurse ,practitioners, to work in primary care settings. Graduates assess, diagnose, and treat common and predictable conditions across the lifespan, and are eligible to apply for registration as Nurse Practitioner (Family) in British Columbia. Applicants must meet general requirements of the UBC Faculty of Graduate and Postdoctoral Studies, hold current registration as a Registered Nurse in British Columbia, and have completed a minimum of three years of clinical practice as a registered nurse. We seek applicants with demonstrated clinical excellence, and autonomous action. In accordance with the professional and regulatory requirements associated with advanced nursing practice, the MN-NP program normally comprises 56 credits of coursework, combining 9 credits of graduate level theory courses (M.S.N. program core requirements), up to 44 credits of primary health care theory and practice training, and a 3-credit culminating scholarly project., Psychology homework help

POL SCI 21A ELAC Wk 1 Collective Action Dilemmas Response to Covid 19 Discussion

POL SCI 21A ELAC Wk 1 Collective Action Dilemmas Response to Covid 19 Discussion.

please write at least 250 wordsHi All,This week’s readings has me thinking about how the American government is designed to help solve collective action problems. Please choose one of the following questions and react to it briefly in the discussion boards.When you submit answer, please begin by pasting the question you are responding to in the text field. Then write your answer below.What collective action problems do you see in how citizens and the government are responding to the Coronavirus outbreak? Why is coordinating a response to the coronavirus so difficult. and what measures has our government taken to solve these collective action problems?The Constitution of the United States requires that each state be given two representatives in the Senate, (regardless of the size of the state). Think about modern American politics. Is it a problem that small population states like Wyoming and Vermont have the same number of Senators as large states like Texas and California? Do you think this should be changed? Why?The Constitution created the office of the President to help solve problems of collective action and coordination during times of national crisis. Think about the government’s response to the Coronavirus. How has the President helped mobilize the public response to the crisis? Why is a President’s role in a crisis like this so essential?
POL SCI 21A ELAC Wk 1 Collective Action Dilemmas Response to Covid 19 Discussion