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An example of Elasticsearch configuration is as follows:

If Elasticsearch has authentication enabled, the credentials can be supplied to Minio via the url parameter formatted as PROTO://USERNAME:PASSWORD@ELASTICSEARCH_HOST:PORT .

After updating the configuration file, restart the Minio server to put the changes into effect. The server will print a line like SQS ARNs: arn:minio:sqs::1:elasticsearch at start-up if there were no errors.

Note that, you can add as many Elasticsearch server endpoint configurations as needed by providing an identifier (like "1" in the example above) for the Elasticsearch instance and an object of per-server configuration parameters.

We will now enable bucket event notifications on a bucket named images . Whenever a JPEG image is created/overwritten, a new document is added or an existing document is updated in the Elasticsearch index configured above. When an existing object is deleted, the corresponding document is deleted from the index. Thus, the rows in the Elasticsearch index, reflect the .jpg objects in the images bucket.

To configure this bucket notification, we need the ARN printed by Minio in the previous step. Additional information about ARN is available .

With the mc tool, the configuration is very simple to add. Let us say that the Minio server is aliased as myminio in our mc configuration. Execute the following:

Upload a JPEG image into images bucket.

Use curl to view contents of minio_events index.

This output shows that a document has been created for the event in Elasticsearch.

Here we see that the document ID is the bucket and object name. In case access format was used, the document ID would be automatically generated by Elasticsearch.

Install Redis server. For illustrative purposes, we have set the database password as "yoursecret".

When the namespace format is used, Minio synchronizes objects in the bucket with entries in a hash. For each entry, the key is formatted as "bucketName/objectName" for an object that exists in the bucket, and the value is the JSON-encoded event data about the operation that created/replaced the object in Minio. When objects are updated or deleted, the corresponding entry int he hash is updated or deleted respectively.

When the access format is used, Minio appends events to a list using RPUSH . Each item in the list is a JSON encoded list with two items, where the first item is a timestamp string, and second item is a JSON object containing evnet data about the operation that happened in the bucket. No entries appended to the list are updated or deleted by Minio in this format.

The steps below show how to use this notification target in namespace and access format.

However, let’s return to the entrance to the embassy compound: in the middle of the door there is a small hole ( il buco della serratura ) strategically placed to tempt us to peep through it. It’s much like the two holes found in the rough wooden door of Duchamp ’s installation Étant donnés , which promises a forbidden world to anyone daring enough to bring their eyes (which are also, in a way, two holes) close enough to them. But, when you squint through this Roman buco , what you actually see is the dome of Saint Peter ’s perfectly framed between cypresses. Beholding it like this, almost clandestinely, libidinizes it and makes it something bordering on indecency.

Duchamp, Étant donnés, 1946-1966. (Philadelphia Museum of Art)

“We’re aware of the almost auratic value acquired by photography exhibited in museums and galleries, meaning they’re viewed with almost ceremonial veneration”

This is connected with an issue I find important: the place or format in which we carry out the reading of any image, a point that we could add to the two weighty considerations you listed in your first letter—to whit, who reads the image and what to say about it. The context in which we read a photograph—be this in a museum room, on a phone app or on a billboard on the street—shapes our attitude towards it. We’re aware of the almost auratic value acquired by photography exhibited in museums and galleries, meaning they’re viewed with almost ceremonial veneration. Here again, I’d refer to Duchamp and his ironic statement on the exhibiting of his works: Exposer ressemble trop à épouser , in other words, that exhibiting comes dangerously close to marrying the viewers. Something very similar happens with photographs printed in artistic publications, whose pages give off that whiff of ink which, in and of itself, boosts the status of these images and the reverence with which we observe them .

The context in which we read a photograph—be this in a museum room, on a phone app or on a billboard on the street—shapes our attitude towards it. photographs printed in artistic publications, whose pages give off that whiff of ink which, in and of itself, boosts the status of these images and the reverence with which we observe them “There’s a reason why no one stops to contemplate a writer or photographer working: our creative processes are not visually appealing, unlike those of painters or cartoonists”

On another note, there’s an aspect to looking that I’d like to mention, even though I’ll not be able to benefit from your perspicacious comments on it: could it be that, for you, as for me, it comes as a relief that the process of taking a photo no is of little or no interest to the non-professional observer? When, in post-war Sarajevo, I saw a photographer about to take a portrait of a broken man in a city neighbourhood, I found it more than a little troubling, and that’s why (amongst other reasons) I’m interested in the close relationship between photography and writing, as neither of them is a ‘performance’ worthy of viewing whilst being ‘performed’. There’s a reason why no one stops to contemplate a writer or photographer working: our creative processes are not visually appealing, unlike those of painters or sketchers. I’ll admit that one exception to this may be the childlike emotions of those of us who had an old Polaroid camera knocking about the house, when we saw an image emerging from that white square, that suddenly violet-hued miracle that usually, when scrutinised, caused in us a secret disappointment, one that we would never dare even to hint at. Because the quality of miracles should never be called into question.

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This reference manual describes the Python programming language. It is not intended as a tutorial.

While I am trying to be as precise as possible, I chose to use English rather than formal specifications for everything except syntax and lexical analysis. This should make the document more understandable to the average reader, but will leave room for ambiguities. Consequently, if you were coming from Mars and tried to re-implement Python from this document alone, you might have to guess things and in fact you would probably end up implementing quite a different language. On the other hand, if you are using Python and wonder what the precise rules about a particular area of the language are, you should definitely be able to find them here. If you would like to see a more formal definition of the language, maybe you could volunteer your time — or invent a cloning machine :-).

It is dangerous to add too many implementation details to a language reference document — the implementation may change, and other implementations of the same language may work differently. On the other hand, CPython is the one Python implementation in widespread use (although alternate implementations continue to gain support), and its particular quirks are sometimes worth being mentioned, especially where the implementation imposes additional limitations. Therefore, you’ll find short “implementation notes” sprinkled throughout the text.

Every Python implementation comes with a number of built-in and standard modules. These are documented in The Python Standard Library . A few built-in modules are mentioned when they interact in a significant way with the language definition.

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Though there is one Python implementation which is by far the most popular, there are some alternate implementations which are of particular interest to different audiences.

Known implementations include:

Each of these implementations varies in some way from the language as documented in this manual, or introduces specific information beyond what’s covered in the standard Python documentation. Please refer to the implementation-specific documentation to determine what else you need to know about the specific implementation you’re using.

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The descriptions of lexical analysis and syntax use a modified BNF grammar notation. This uses the following style of definition:

The first line says that a is an followed by a sequence of zero or more s and underscores. An in turn is any of the single characters through . (This rule is actually adhered to for the names defined in lexical and grammar rules in this document.)

Each rule begins with a name (which is the name defined by the rule) and . A vertical bar () is used to separate alternatives; it is the least binding operator in this notation. A star () means zero or more repetitions of the preceding item; likewise, a plus () means one or more repetitions, and a phrase enclosed in square brackets () means zero or one occurrences (in other words, the enclosed phrase is optional). The and operators bind as tightly as possible; parentheses are used for grouping. Literal strings are enclosed in quotes. White space is only meaningful to separate tokens. Rules are normally contained on a single line; rules with many alternatives may be formatted alternatively with each line after the first beginning with a vertical bar.

In lexical definitions (as the example above), two more conventions are used: Two literal characters separated by three dots mean a choice of any single character in the given (inclusive) range of ASCII characters. A phrase between angular brackets () gives an informal description of the symbol defined; e.g., this could be used to describe the notion of ‘control character’ if needed.

Even though the notation used is almost the same, there is a big difference between the meaning of lexical and syntactic definitions: a lexical definition operates on the individual characters of the input source, while a syntax definition operates on the stream of tokens generated by the lexical analysis. All uses of BNF in the next chapter (“Lexical Analysis”) are lexical definitions; uses in subsequent chapters are syntactic definitions.


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