A project I’ve been involved with since March has just launched their public beta! Check it out at www.justtact.com
If you’ve ever wondered what SwiftUI view preferences were look no further! Take a trip through the daisies with Buzzy: www.raywenderlich.com/26733845-…
In regards to growth marketing, surveilance capitalism, algorithmic moral-panic-driven profiteering I think there’s kind-of Darwinian evolution of our kids’ immune systems.
The axiiio nano camera robotics system is back, baby!
Indiegogo > October 19, 2021 www.axiiio.com/view/laun…
We’re offering 4 kits this time, motor encoder has been redesigned, software has been improved. It’s better than ever.
Meet Buzzy! She’s the star of a new article I’m writing for www.raywenderlich.com
Apple Maps shows a new message I’ve not seen before asking if I want to switch routes to save 2 minutes. When I don’t answer BECAUSE I’M DRIVING, it does it anyway. I realise late that it’s now taking me to the freeway, which I was trying to avoid. I Keep avoiding the freeway and now it takes me on a wild ride adding 15 minutes… well done.
A few years back there was a backlash against job descriptions seeking rockstars, or ninjas. And that was a relief. Now, I think we’re entering a post-startup era; I keep seeing job descriptions emphasising low-ego engineering cultures. Low ego seems to be the new value statement describing the essential ingredient to good engineering, replacing the rockstar?
The tech culture attitude that you have to get on the train or else get left behind is horseshit. Never met a programmer who was unable to get up to speed about something new, when the need arose.
My newest article is up on raywenderlich.com: Getting a Redux Vibe Into SwiftUI www.raywenderlich.com/22096649-…
The bit I’m most proud of: “Usually, state management code feels like soggy bread held together with duct tape.”
Don’t know about you but “Get started with Trello Workspaces: add your Personal boards to a Workspace now, or it’ll happen automatically starting April 24th.” seems vaguely threatening?!
Making the example app for my next article about using a Redux-style architecture in SwiftUI. Can you guess what the app is called?
Discoverred this morning that there are no posts on the axiiio Facebook page (https://www.facebook.com/axiiio) and we can’t post new ones. That’s because Facebook has classified us as a “news” site and currently blocked in Australia! WTH?
Hey I wrote a CoreData tutorial: www.raywenderlich.com/14958063-…
This whole tutorial is the result of satisfying a strange compulsion I had: starting a tutorial with the one word sentence “Fireballs!”
A Haiku to social media:
Instagram accounts cross paths, following, liking algorithmically
I am loosing my mind…
Recently I’ve spent some time managing the axiiio social media accounts, and I can’t believe how much of a train wreck Facebook management UI is. Is this the peak of split testing/optimisation/growth hacking ? If so, I’m out!
I’ve found 3-4 different UIs for the same management features, each one with it’s own bugs, differences in displayed information, performance issues, functionality limits, and how to navigate there. It feels so hostile for me to use and try to navigate; as if I’m a lab rat in a maze.
For the axiiio page, I go to Manage Page, to find two ways to see Notifications, one on either side of the screen. Marking all as read on one list fails to mark them as read on the other. Every other manament UI also has a notifications list, it seems they all manage their unread notifications individually.
I open Publishing Tools, and select Published Posts and it shows me an advertorial for Business Suite, but I can still create a post from there. I can also still see my draft posts, and create a new draft. If I select Video Library, it takes me to Creator Studio in a new tab. There I see a list of Facebook posts and a seperate list of Instagram posts. If I go to Business Suite and select Posts I see a list of all Facebook and Instagram posts together.
Amusingly, in the original Publishing Tools screen, once you select Video Library and the new tab opens, back on the original tab you can see an advertorial for Creator Studio. “We’re moving to Creator Studio!” it announces with enthusiasm. “Post and videos are moving to Creator Studio. The transition will begin from between late September and early October.” This is the only place I’ve seen this notice.
For ads I can visit Ad Center, or Ads in Business Suite (which shows me Ad Center embedded). At the bottom of the list in Ad Center you see a link: “Show more details in Ads Manager”. Ads Manager is entirely different to anything else, a crazy tri-pane hellscape of tables and tabs. Ads Manager causes a Safari lockup sometimes, forcing me to close the tab. Want to know how well an ad is doing? Good luck!
Back at Manage Page, select Insights and you’ll see a summary of page and post statistics. You can do the same in Business Suite to see a different Insights UI. Try this in Creator Studio and you’ll find a 3rd take on it.
There’s a link in Creator Studio Insights labelled Overview. Select that one! Like some crazy puzzle adventure game, it’s a secret portal and you’re transported to an even older UI called FB Pages!
This looks to be the same as the Manage Page Insights page but with a different design. However, FB Pages still has a navigation bar. To what you should ask? It’s another Ad Center! There’s another Notifications list (unread marks still glowing for all the notification I’ve marked as read on previous screens!). There’s also another UI for Publishing Tools!
Visit Publishing Tools and you can enter the recursion tunnel by selecting Video Library to open Creator Studio, or selecting Posts and clicking the Try Business Suite button.
There seems to be no end to this recursive madness, I’m holding onto the thought that when the time comes, I can just leave and never return.
Great article by Independent Australia :independentaustralia.net/politics/… Julia Gillard gets far less credit that she deserves.
Was woken up last night by an argument I was having in my dream: you can’t apply the practice of software metrics to a marriage! You’re only measuring one dimension, growth, and you don’t know where that’ll come from! Truth bombs?
Deep breath, crossing fingers… holy shit… this thing that’s been my life for nearly 2 years is on Kickstarter!
axiiio nano – Flexible, Reconfigurable Camera Motion Control www.kickstarter.com/projects/…
Check it out!
Checkout ProMoCo! This is the app I’ve been working on that drives the axiiio nano Camera Motion Control System. www.axiiio.com/view/arti…
Hamish was a white Terrier puppy that we gave to our Son aged 11 as an encouragement reward for doing well at school. Our son was born with cerebral palsy, and during his school years he faced more challenges than most. But Matthew and Hamish were alike in their determination and tenacity.
In a way, Hamish was a therapy dog for our Son. A constant, loyal companion, Matthew could look after and train, and who would return his affection faithfully. Matthew is now a working Archeologist, a tribute to his doggedness to overcome his challenges and achieve a role where he thought he could make a contribution to human knowledge and society.
Hamish deserves a memorial for his contribution to our son’s life and our family, and this brief blog post is mine.
Hamish’s favourite activity was going for walks around the neighbourhood where he could pee on every tree, bush, lamp post and street sign. He did this with practiced precision, often spending minutes walking back and forth, lining up the perfect shot. This would continue for the whole walk, long after the tank was empty.
His favourite walks were along the beach, where he could target particularly nasty smells, such as the rotting remains of sea creatures, to roll in and bring home with him.
He’d make a bone last days; gnawing on it for hours, then burying it until it was ripe several days later, reviving it from the earth and spending a few more hours at it He was a true fetid gourmet.
He was fond of all company, accepted pats and belly rubs from anyone willing.
He particularly enjoyed wrestling with our children, playing tug of war with chew toys. He’d end up on his back, short arms splayed wide, grinning like a fluffy white ewok.
When I worked from home, making early starts, he’d come and sleep under my desk after breakfast keeping me company. I put a dog bed in my office so he’d have somewhere comfortable to lay down.
In more recent years, as he got older, he lost his hearing and gained a host of medical problems that made life uncomfortable for him. He slept most of the day and we bought him dog beds for his favourite resting spots; usually in places where we’d hang out in the house as a family.
During the day he’d visit the backyard repeatedly to lay on the grass in the full sun. I think the sun warming his old bones gave him relief.
Now we have a stack of smelly, unused dog beds in the corner. A strange void that we can’t shake; a bark from the other end of the house; a flash of white crossing the threshold to the backyard; the click clack on the timber floor as he comes looking for us in the house.
I’m sure we’ll find more fetid treasures he left for us buried in the yard somewhere.
Just signed K-Rudd’s Murdoch News petition: www.aph.gov.au/petition_…
Murdoch media is a blight on the world, divisive and repugnant; causing misery and destruction purely for political and financial gain. And I’m pretty sure we can blame Murdoch for the NBN fiasco.
newsroyalcommission.com
#MurdochRoyalCommission
Spend yesterday afternoon making a sunset timelapse with Adam and @axiiio at Elizabeth Quay in Perth. Beautiful and sunny, but it got quite chilly in the evening. Perth is the capital of sunsets!
My son sent me this, showing the Australian LNP holding fast to this moronic line about the sun and the wind…
axiiio has been my professional life for the last 18 months, learnt a hell of a lot along the way. I’m pretty chuffed with how responsive the app is and how accurate and seemless the scale animations feel. CoreAnimation, for all it’s hassle, just plain rocks.
axiiio is a system of 3 core components that allow you to add programmable motion control to any camera rig, that you control over WiFi via the app. You can control up to 4 motors per receiver with the app, in real time, using preset cues, or through a motion program.
There’s a great short intro video on the axiiio Youtube channel.
The app can setup each motor for different roles; tilt, pan, roll, linear motion or lens control. There’s also a set of fine adjustments you can make to ramping, velocity responsiveness and so on. You can then setup your preferred on screen controls to suit your rig; a joystick control for tilt/pan, a slider-style control for controlling velocity (linear axes, rotational axes or zoom control for example), or a positional control for controlling motor position in real time (e.g. for focus control)
The scale for each screen control can display measurements, “wax” marks, cue marks and program marks that are highly accurate to the real position of the axis. Check out the test reel footage of this in action on the Youtube channel.
You can also create 3 types motion programs in the app: video motion, timelapse, and stop motion. Programs and configurations are all exportable and sharable as simple files.
Checkout the Kickstarter launch page for more info.
I was really happy with this paragraph:
” A well-designed haptic experience also takes time. You need to test many subtle variations, but it’s a hoot to be able to say to friends that you just spent the afternoon designing the perfect haptic experience for a crocodile eating a pineapple.” www.raywenderlich.com/10608020-…
My latest raywenderlich.com article is up! “Getting Started With Core Haptics” www.raywenderlich.com/10608020-…
Highly recommend the email newsletter Big by Matt Stoller. The latest is good for understanding the roots of what’s going on in the US right now: Corporate Power, Protests and the Breakdown of a Social Contract… and probably in Australian politics too.
The Apple Combine framework is like taking the red pill; the more I use it the more I want to see how deep the rabbit hole goes. So far it hasn’t effected build times, app performance or memory usage in any way, and I feel like I can solve so many problems with it. In fact there have been cases where it’s improved app performance once I removed home rolled async solutions - especially when removing OperationQueues and custom Operation subclasses, surprisingly!
My 2nd article for RW is up: www.raywenderlich.com/7738344-m… an update to an older MapKit intro.
The axiiio homepage has been updated with some sweet new examples of rigs and camera work: www.axiiio.com
The Axiiio Kickstarter launch is getting closer! www.axiiio.com/view/kick…
 If you’re making a complicated layout where you want the some parts of the view to display under the safe areas to the edge of the screen, but other parts to sit within the safe area, UILayoutGuide
is a good friend to have.
It’s finally out: the vid explaining exactly what the Axiiio motion control system can do for filmmakers youtu.be/55h0l3ZVd… This is what I’ve been building an app for this year!
Suddenly concerned for how many Swift files I have included an erroneous import Foundation
statement!
Finally started using GYB (https://github.com/apple/swift/blob/master/utils/gyb.py) for code generation. Wish I had started earlier!
SwiftUI stole the spotlight at WWDC 2019, but Combine, diffable data sources, and collection view compositional layouts, fix a huge amount of annoying things in UIKit. Really enjoying getting to know them all.
Haven’t had one of these in a while. Trying to use @Published
from Combine
with a tuple property causes a segmentation fault: 11
in the compiler. Eg. @Published var value: (Int,Int) = (0,0)
will cause a segfault in a method where you update that value: value = (intVal, intVal)
Ryan Singer is spot on in this thread about product ownership twitter.com/rjs/statu… “playing time Tetris” is my new favourite analogy!
My first tutorial on raywenderlich.com is out! It’s all about accessibility and custom controls. www.raywenderlich.com/4720178-i…
Axiiio sneak peak, showing the footage captured is up here: youtu.be/2bDDGwFwh…
My tip for SwiftUI: if you find your list of @State
variables is growing long, admit it: you’re actually building a view controller. Stop that! Start breaking it up into smaller View
components.
My first impressions of SwiftUI were it was a bit of a slog to get up to speed; the changes from the beta to the release version weren’t helping; sudden unfamiliarity after years of UIKit was uncomfortable; live previews were failing more often than they were working.
But after a couple of weeks it dawned on me: you’re mad to try and build a SwiftUI app like a UIKit app; which of course was what I was doing.
UIKit requires you to have a working app, to even start to see anything running. With SwiftUI you can start from a single screen that you’ve been imagining and see its preview as you build. No need to think about the app’s model, the launch behaviours, the navigation, or any of the plumbing.
Gotta break those UIKit habits; just start playing with a single view. It was much more rewarding and each proof of concept was easier to reach. Kind of like building from the inside out. You get to build the most important concepts first.
Damn, just noticed in tomorrow’s forecast, Shifty Jelly announce the Pocket Weather servers are finally shutting down Dec 31st 2019
Some very cool footage should appear here soon… www.youtube.com/channel/U…
If you’re going to use UIDocumentPickerViewController
, and also support opening files from the Files app, and now the home screen on iOS 13, it’s best to just use a UIDocument
subclass. Even if it’s simple data. UIDocument
handles the security-scoped URLs and file coordination, saving you some potential frustration.
Hoorah! In Swift 5.1 omitting return from single line functions also applies to computed properties. It’s the little things…
If you’re using the Network Extension framework and are getting a crash building on Xcode 11 running on iOS versions pre-13: dyld: Symbol not found: _NEHotspotConfigurationErrorDomain
there’s a messy workaround described here: forums.developer.apple.com/thread/12…
Here’s a mystery! I was searching for details about my Grandfathers WWII service in Tobruk today; he was Private Stanley Herbert Seiver, serial number: WX9870. I stumbled on some photos of his medals and service record on a Flickr photo stream:
This was uploaded to Flickr in 2015, with a comment saying “Found on eBay”.
Turns out they’ve been missing since 2001, and no one has seen them since. I assume sometime in 2015 they were sold on eBay.
Not sure what to do next…
For years I’ve been wondering where the track “When the tigers broke free” came from, that’s heard at the start of the Alan Parker, Pink Floyd: The Wall movie. Because it’s not on the Pink Floyd album.
Just found it on The Final Cut album! In all those years a simple search would have probably found it for me :P
Good read from Dropbox about the cost of sharing code between Android and iOS: blogs.dropbox.com/tech/2019…
I’ve never fully bought into the notion that building native apps on Android and iOS is a waste of engineering capacity because you’re building the same thing twice. I’ve no experience to back that up, just a feeling that native development is the most straight forward way to get a product made. Straight forward to maintain, support, hire developers for. You’re not swimming against the current of the platform improvements that are constantly delivered by Apple and Google.
Beautiful and mind-blowing: solarsystem.nasa.gov/resources…
Some get as high as 2.5km.
Rework (23 July) is a great episode for people struggling with building complex software products in teams overcast.fm esp. if you’re over the way agile is done in a lot of places.
Working in 2 week sprints was supposed to provide a realistic perspective on development capacity, to enable better product prioritisation decisions. In my experience all it did was allow pressure to be exerted downwards to the developers; always the question why sprint targets were missed.

Sleep eluded me last night; paraded it’s witnesses and suspects through my head; by the morning it was still at large.
I feel like I’ve finally got a handle on how Auto Layout works with UIStackViews, how stackviews get their intrinsic content size depending on the set alignment and distribution properties.  He stopped in the doorway, turned to look back at me, farted noisily, then continued down the hall. Now I’m racking my brain for what I might have done for him to take offence. An acrid cloud of tension lingers in the air between us…
Wow, checkout What’s New in Swift developer.apple.com/videos/pl… from #WWDC2019. Feels like Swift suddenly got super powers with Swift 5.1. Also shows how SwiftUI is a direct product of these new features.
Considering SwiftUI, now I see how much wasted time was spent on intense discussions about things like, should you pass your model object to your UITableCell
subclass to set its properties?
Kurzgesagt is one of my favourite things on Youtube. “The Side Effects of Vaccines - How High is the Risk?” youtu.be/zBkVCpbNn…
Top Tier CoreAnimation Tip in this WWDC2014 preso developer.apple.com/videos/pl… and ronnqvi.st/multiple-… Commit a change to a layer property, and also animate from the difference to 0 with additive = true
. Smooth. (New to me anyway :))
No one warned me that being a contract software developer, also means schlepping equipment up a mountain…
Even more Axiiio field testing; this time in the old convict settlement ruins near Port Gregory, Western Australia
Garnet grains on a beach near Kalbarri, Western Australia. Looked like a dusting of pink sugar across the beach.
Jumping on the immutable state bandwagon (with a nod to Redux) in an iOS app, suddenly opens up a bunch of opportunities for testing. I can save and load an app’s state to/from a file, which is super handy.
Well this is annoying. Same Swift code literal is correctly CGFloat
outside of an array, but within the array it’s an Int
… !? Also the 1.0
on the next line becomes a Double
, :slaps_forhead:.
It’s only when you’re sharing code between platforms that you discover things like on iOS char
is signed, but on 32bit ARM systems like Teensy 3.x char
is unsigned. My brain is exploding trying to understand the consequences.
Working out of Axiiio labs this week. Working with embedded devices is a whole new world from working on a big software stack. Lots of fun though.
The new Xcode lldb v
command seems a lot faster, but at first try I don’t think it can see type extensions. po
sees the method in my class extension but v
doesn’t?
Whoa… if you know Objective-C, you’ll appreciate this method name I just found in UIFoundation
:
-[NSCoreTypesetter _NSFastDrawString:length:attributes:paragraphStyle:typesetterBehavior:lineBreakMode:rect:padding:cgContext:baselineRendering:usesFontLeading:usesScreenFont:scrollable:syncAlignment:mirrored:boundingRectPointer:baselineOffsetPointer:wantsTextLineFragments:applicationFrameworkContext:]
Xcode upgrade, Swift 5 migration went surprisingly well. All I had to do was upgrade carthage and build the project, no changes required. Lovely when that happens.
This is Apple admitting their previous CoreData examples were rubbish:
“Previously in iOS, the Core Data stack was typically initialized within the application delegate. However, doing so causes a significant amount of code to get muddled in with application life cycle events.”
My son said to me the other day he wonders why when there are so many companies selling content why business models are only ever ads or subscriptions… good point!
Cleaning out old cupboards and drawers is like suburban archeology. For example, in a drawer filled with junk I found 5 hole punches. I think I can draw a pretty accurate conclusion that we’ve had the need to punch holes in paper approximately 5 times in the last 10 years.
Woo! published my first CocoaPod: Shawshank. A small but nifty Swift unit test framework for stubbing network calls. github.com/atetlaw/s…
#SurryHills
Dim Gaggle of UberbEats riders outside Chur burger all bikes, backpacks, and impatience
Muted terraces signaling to huddled pedestrians outrunning the rain finding sporadic shelter under the Sober trees
Here’s the text of a lightning-talk I gave at the beginning of 2016 at one of SafetyCulture’s Townsville company gatherings. I really liked it and thought I should share it here for posterity.
My talk today is on Unit Testing, kind of a boring topic I realise.
In the world of iOS unit testing doesn’t come naturally, It’s uncommon to find an iOS engineer with lots of unit testing experience. And yet every iOS developer here who has given it a go, has been amazed and how much it helps them. when writing new code.
So i’m wondering about that gap between the unit testing the chore and the epiphany of how helpful unit testing is. And this is my crack at bridging the gap.
I notice that when I talk about unit testing generally I always focus on the what and the how. What to test, what shouldn’t be in a unit test, how to test classes that have dependancies, how to mock objects and things like HTTP requests.
And mostly complaining about how the unit tests are always failing, needing maintenance, are out of date, or test very little.
How they take too long to write, or how, once automated testing is running, no one can merge a PR until all tests pass. Because I think that’s what happens when you focus on the what and the how. Unit tests become a chore.
It’s not a part of the programming you’re doing, it’s the bit you tack onto the end, that you didn’t estimate enough time for.
The what and how tend to get entangled in procedure. it gets in the way of working out why your even doing it. Other than I have to write some and they have to pass to get my PR merged.
I think if you truely understand why you’re writing unit tests, all the rest follows. All the things you want to put in a test, all the ways you want to test it all become easier through the lens of knowing why.
And sure unit testing is helpful while you’re writing new code. Writing or refactoring code in a complex app can be terrifying. Adding tests along the way helps you make sure you’re on the right track, spot edge cases and so on sure.
But it’s not all about you!
Most defects are introduced during coding, but the least number of defects are found during coding. There’s only one reason to write unit tests, the only reason that matters.
You have to do it for love.
Unit tests are a declaration of love for your fellow engineers. They say I care about you, man, and the work you’re about to do. Don’t worry I got your back.
Unit tests are a declaration of love for the product. Unit tests are a declaration of love for SafetyCulture. What happens when you have love in your unit tests?
You start to think differently about your code , you start to see it from the other engineers’ perspective. You think about how to make it more testable, you think about all the possible states your code can get into.
You think about how someone else might approach using your API. You write your tests in a way that demonstrate how it should work, how it can fail, what can go wrong when it does.
You can demonstrate how your code will behave in a positive state, a negative state, and a tripping-balls-what-hell-is-going-on state.
When you go to work on a codebase with love in its unit tests you know you can rely on them to show you how it’s all supposed to work and reassure you that you haven’t broken anything.
You can bravely take on those big refactoring jobs, knowing your team is behind you all the way. Once you know why your writing those unit tests, it guides you on the implementation.
You worry about the time it takes to run: you want to make sure the next engineer can run them as often as they need to feel secure.
You avoid writing fragile tests that rely on timing, on application state, or UI state – anything that could randomly fail if conditions aren’t right – because that creates confusion, and uncertainty.
And you care that the engineer running your tests is not left confounded, wondering why the tests are failing 10% of the time.
You use mocking or stubbing only for what’s necessary, because overuse ties the unit tests too much to the implementation details of mocked classes.
You avoid making persistent state changes you don’t want your unit tests leaving behind a mess someone else has to clean up.
You make sure to be as descriptive as you can about what’s going on in your tests and why the expected output is legit.
You make sure your tests actually test something useful.
Your avoid torturing your code (by breaking it into smaller and smaller parts until it’s perfectly testable, all dependancies are explicit, code coverage is very high, but understandability is very low) because you know you’re writing tests for you fellow human engineers, not writing tests for robots to run.
Even though we might automate them.
You write tests with love, because you’re not writing them for yourself, You’re writing them for the next engineer, because you care that they succeed.
Inevitably, 6 months down the track, that next engineer turns out to be you.
Here it is: boardgamegeek.com/boardgame…
So many evil cats! Played Root for the first time. Really good fun. Each player has different rules, but somehow it all works magically.
Currently experimenting with CoreLocation and extending types to provide Measurement
values: gist.github.com/atetlaw/0…
Love this Apple documentation for magnitude: developer.apple.com/documenta… TL;DR: “use abs(_:), magnitude blows”
Hey I might be a bit biased, but… www.inc.com/brian-de-…
Nothing says you love your dog more than waking up to find you still have a dog.
I’m disappointed that the non-meat hamburger companies haven’t used, what I think is, the obvious slogan: “I can’t believe it’s not murder!”, or, if you prefer, “I can’t believe it’s not slaughter!”
Hooray! New Buke & Gase album www.bukeandgase.com
If you work in a cross-platform company, you realise iOS is the only one to output upper-case UUIDs. Which is odd. Apple purport to respect RFC 4122, and while that states uppercase characters are within the valid set, it also states “The hexadecimal values “a” through “f” are output as lower case characters and are case insensitive on input.”
So I’m thinking Apple’s implementation is wrong.
Opening the Mac OS Books app to check the spelling of Hugh Howey’s name, I clicked on the book and got this insane error dialog. “Reinstall iTunes” .. seriously?! Reopening Books fixed it.
Haven’t read a book in a while and I finished 3 books over Xmas: The Wool Trilogy by Hugh Howey. Cracking good post-apocalyptic tale.
So my dog just walked into the office and belched… and that’s how I knew she’d been in the kitchen bin again.
In Swift what is the nature of an optional Void
? If it’s .some
then it’s nothing, but if it’s .none
then, is it everything?
One of my eldest sons said to me this morning “I think one of the best parts of parenting must be trolling your kids”. I can’t begin to describe the feeling of satisfaction, and yes, pure joy, that I experienced hearing those words; like I did something right as a parent.
I’m building a document-based app, and having to setup a seperate Xcode framework target for the document model code, so it can be used in the app and the app extensions. Turned out to be a really nice way to segregate an Xcode project.


Successful Venture by Korean Lingerie Brand, ‘Fidelia’, Seducing Paris
13/01/21FIDELIA, Huge response at European market exhibiting ‘Mode City PARIS 2012’
12/07/23"Enjoy with exclusively sensitive rational price of luxury lingerie"
12/07/12Luxury of Dress, Vera Wang - Meeting “FIDELIA” Luxury of lingerie
12/03/20
-
Paris Mode City Show -
VEAR WANG 2012 FW -
VERA WAND 2012 S/S_2nd


--- title: Sea Wheatgrass Genome Project layout: swg ---
Wheat production is facing numerous challenges from biotic and abiotic stresses. Alien gene transfer has been an effective approach for wheat germplasm enhancement. Sea wheatgrass (SWG) is a distant relative of wheat and a relatively untapped source for wheat improvement. We have identified high tolerance to waterlogging, manganese toxicity, salinity, heat and low nitrogen and resistance to wheat streak mosaic virus (temperature-insensitive), Fusarium head blight and sawflies (due to solid stem) in SWG and developed a large number of SWG-derived populations.
To facilitate simultaneous discovery and transfer of quantitative trait loci (QTL) for biotic stress resistance and abiotic stress tolerance more efficiently, we propose to dissect the SWG genome with three objectives:
This project addresses the Program Area Priorities of A1141 and NIFA-Kansas Wheat Commission co-fund and will serve our long-term goal to broaden the wheat genetic basis and develop novel germplasm that will contribute to a more sustainable wheat industry.
We are a team of interdisciplinary expertise in cytogenetics, molecular genetics, genomics, bioinformatics, plant breeding and pathology, and have materials, technologies and resources in place as evidenced from strong preliminary results. We expect to deliver a complete package of novel germplasm and associated resources, tools and knowledge for breeding wheat tolerance to abiotic and biotic stress.
| Marker Name | Forward primer (5`-> 3`) | Reverse primer (5`-> 3`) | Homeologous Group | |
|---|---|---|---|---|
| WL4503 | TACAACAGCAACAGAAGTGT | AGACACAGCTCCTCATCAACG | 7 | |
| WL4505 | GTAAGCTGCTCTCACCTGCAT | GGCCCATAAACTGGAACCCT | 7 | |
| WL4511 | TGCCTACACAAAGATGGAAGC | GCTCTGCAATTCTGCTTGTT | 3 | |
| WL4513 | GCTGTTTGCATTCACTTGCT | TTGTGTGAGTTTATGTGTGTGTG | 3 | |
| WL4515 | AAGTTCTAGGGGCAAAAAGGA | CTACGGAGATGCCGATCAA | 4 | |
| WL4517 | ATCCAACTAATTTTGTAAGCGTTAGC | CTACGAGAGCAAGCAGGAGG | 5 | |
| WL4523 | GCAGAACCATCGCCATCTC | GGGAAGCGGACTCTAAAAGAA | 4 | |
| WL4531 | ATATGGAAGAATAACGAACAGCA | GGTTCGGATTGCAGGGTT | 6 | |
| WL4533 | ATATGGAAGAATAACGAACAGCA | GGGCCTTTATGAATTGGCT | 6 | |
| WL4537 | AGATTTGCACTAACACGGGAA | TCGTTCCCCTCGCTTGTAGT | 5 | |
| WL4539 | ATCCAGGGGGTAAGCAACA | GTGCTGAATCGGTGTGGTTT | 4 | |
| WL4569 | GAGGCAGCACATCTAAAACAGC | GCAGAGAGAAAACCAGCTTCA | 1 | |
| WL4581 | GCAGGGAGAAATCAAAGAGGAA | TCTAATAAACCGCACGCAAATA | 1 | |
| WL4583 | CAAAGAAAAAGCTATCACTGGGT | ATTTGCGTGGCTGGTGAA | 1 | |
| WL4591 | CTTGCCCCGTCGATTTAC | ATTGTTAATGGTGGATGAGAAAG | 2 | |
| WL4593 | TTAATGCTGGAAGACGCC | TTTCCTTTGCGGATAGCAGATAG | 2 | |
| WL4619 | GTTATGGGTGTCAGTGAGGTG | GTGAACATCGCTGGAATTGG | 2 | |
| WL4623 | GCGAATAACGGACATCACTAGC | GATCGAGGTCATGGTACACTTGG | 7 | |
| WL4625 | TATGGCTTCATTACCTGTGTTG | CTTTGTTCCCATCATTCTCCTTG | 5 | |
| WL4627 | ACTTGCTGGAAAAACAAGCGATA | GGGACTTTGTTTAGATTTCCAAC | 5 | |
| WL4661 | ATGCTGTGATCGGTTCGGT | TTTTTGGCACGAAACAAACT | 4 | |
| WL4663 | AATGCCTATGAAGACAGGGTAAA | GTTGTGTGGCAGTTGTCGTATAG | 4 | |
| WL4665 | CTTGAAACGGCCCCTACTTTTT | GCTTTTCATGTGCCTAGTTATTG | 2 | |
| WL4830 | TACCATCCAGCCTAACCGAC | CTGGCCCTCTCTATGCACAT | 4 | |
| WL4832 | GGGACGGTACTCCCTCTTCT | TCCAACGGATAGTTCCTGGT | 3 | |
| WL4874 | TAGCCACCAAAAACCTCTCG | GGGGGAGAAACATCAGAAGA | 2 | |
| WL4880 | TAGCACACCTACCACGGACA | GGCAAATAAGGCTGAGGTGA | 2 | |
| WL4902 | AGACCTTGCCGGAATCAAC | CAACCCACATTGCCTTCTCT | 6 | |
| WL4904 | TCTGGAGGCCCACTATTGC | GGTTCGCCAGTTTGCTCTT | 6 | |
| WL4906 | GTCACGCCACCAACCATAG | GGGTCCGATCACATTCACTT | 7 | |
| WL4908 | TTTGCCTCCCAACCATTTAC | ACAACCTCTGCTTCCCTCTG | 1 | |
| WL4914 | TCTTATCCGCACGTTACAGC | GATTTCCCAGGATGCAACAC | 4 | |
| WL4918 | ATCACGACTGAGAGGGGAAA | TTGGTGTGAGCTTGGTTTGA | 6 | |
| WL4922 | TTTTCTTGTTGCTGCGAGTG | GTCCCTTTCGTCACACCCTA | 1 | |
| WL4930 | CAACGGATTTCATCGAGTGT | GTGGTGTTCTTGCTCCCTCT | 5 | |
| WL4934 | TATCCCATTGTCACCACGAA | AGGCTGAGGGTTTGTACCAG | 7 | |
| WL4938 | CATTGCCATTCACAGCATTT | TAGGTTTCGCGGTGAGAATA | 2 | |
| WL4940 | AGAGTTTGGGGCTGAATCCT | TCCACCAAGGTCAGAACACA | 3 | |
| WL4966 | TTTATGCCCAATCTTGTGTTCAT | CCAAAGCCCTTCCTGCAA | 1 | |
| WL4968 | CGCGAATCGTCTTGCTGAAA | AGTCGAAGTTGCATTCCAGTG | 2 | |
| WL4972 | ACCATGAATCGGGCACAGTA | AGATCAGATTACACACCTGCAA | 4 | |
| WL4974 | ACAGCTTGGGTCCATTCTCT | GCTAGTCCACTTAATTCCACCA | 5 | |
| WL4976 | GACTCGTACAAACACCATCTGA | CTGTTCCTCACACCCCTCTA | 6 | |
| WL5009 | GTCGATGTTCAGCTGGCA | GACGAGGGTGGGGAAGTG | 5 | |
| WL5031 | AAGTCCCCATTCCTCAGCAT | TCGCCATCAAAACCCTCTAC | 2 | |
| WL5033 | AATCTCATGTGCGTGCAATG | CACAAAGCTTAACGTGTACTGT | 4 | |
| WL5035 | GGAAAGGCGTCGATGGATAC | GGTAGAGCTGTAGACCGTCG | 4 | |
| WL5039 | CTACTACGAGCGATTGGTGC | CTACTTTATTACCCGGCGCG | 6 | |
| WL5041 | GAATAGGGTTGGCGTCGTTC | TCTGGGTCTGAACTTGCACT | 7 | |
| WL5043 | GAGGGTGTGGTAGGCTTAGTAA | GCATAACAAAGCATCGTCTGT | 7 | |
| WL5049 | CCCACCCGTATCCATCCTC | GCCGAAGAGCAGGAAGGT | 1 | |
| WL5057 | AGTCCTCTTCCTCATGCCAG | GTCCGCCTAGCCTTCAGTT | 3 | |
| WL5059 | GGTAAGTTGGTAACCCTGTAAGT | CTCGTTCAAGGCCAGTATTTGA | 4 | |
| WL5063 | AGAAAAGCCACACACACACA | CGACCCAGAACGACACCAT | 1 | |
| WL5065 | GGACAGCAGGACACAAAGTAAG | TGTTCTTCATTTTACCCCAGTGA | 1 | |
| WL5067 | CCCTACACGCCTGTTTTGTC | TGCAGAGTCACAGCCTTACA | 6 | |
| WL5071 | CGTTTATGTGCTGGATCGGG | GGCCCAGCTTGTCATTTTGA | 7 | |
| WL5073 | GCTCATTCGCAAATTCACCG | GCAGACCGGCCAAATCAA | 7 | |
| WL5079 | TGTAAACACCTAACAACCGCT | AATGCGCCATACAACTCAGG | 3 | |
| WL5081 | TGAACTTGAAGTGGATGCTCA | AGGAACGAGACAACATCACATAT | 3 | |
| WL5083 | GACGGAGAGCGGAGTGTACC | TTTTGCTCCATACCATCCACCT | 5 | |
| WL5085 | TGGAATTACAAATGGATCGATGG | TCATTCAGAAAGCTTGGACAATA | 5 | |
| WL5087 | TGAACTGAAGAGTGCAGAGCAAG | CGAGCGTTCTTTGTATTTGATTT | 1 | |
| WL5091 | CATCTCATTATCACCACTGTTCG | GGGCCTGATGCTAATCTCTT | 2 | |
| WL5093 | GTCGGTTCCTTGATTGCGTC | AGTAAGATTTGACTGCGTGCA | 3 | |
| WL5123 | GTCCGCCACAACGTATGA | TCGAGACAACATTCAGCGAA | 4 | |
| WL5125 | AGCAGAAAGAGAGAGGTGAAGT | GAGCATCCTAGTCAAAGTAACCA | 4 | |
| WL5127 | ACAACATGAGATGCACAGCT | GACTGCGTTGGTGGCTATAC | 3 | |
| WL5129 | TCGAGCGAGCCTTACGATTC | GGGGCTGCAAACGTTCTTAA | 3 | |
| WL5133 | CGATACATAGCACCCTCCGT | CTTTGCTTAGCCAGGTCCAC | 4 | |
| WL5135 | ACCCGTAACGAACACTTGATG | CTCACCCGTTTCTGCGTC | 3 | |
| WL5137 | TTGTGGAATGATCAGTAAACGC | ACACACACCCCAATTCCTGT | 5 | |
| WL5166 | GCGATTGGTGCAAGTAAACT | TCATGTTCAGCCCAGATTAGC | 1 | |
| WL5170 | CCCTTCTTCGACCTACAGCT | GTGATCGACGGGGCTAGAG | 5 | |
| WL5172 | ATAACGCTAGAGACTCCGCC | GAGATCTACGCCACGACTGA | 5 | |
| WL5174 | GTGCAAGCGTCGGTGAATT | TGGTTTATTCGTTTTCAGCCGT | 7 | |
| WL5312 | CTGCTTGGTCGCTGTATGTC | CTCGATCAACCGCTTACCAC | 6 | |
| WL5316 | CAGAGCGACAGATTCAACGG | CTGGAGCCATTGAAGCAGTG | 6 | |
| WL5337 | GATCAGCCCTATCCAAGCAA | AGGTACAAGCAGCCTTAGTGT | 7 | |
| WL5341 | GCCGCTAACCATCCTCAACT | GCCTAGATGACCAGCCCTTA | 7 | |
| WL5356 | TAAGGTCAGGTTGGCTTCGG | TTCGTCGCGGCCCTAAAA | 7 | |
| WL5358 | GCAATCAGGTGTGGGTTTCC | AACTGAGCGAGCTGGATGAT | 7 | |
| WL5384 | TGGTTAGGGTCGTACTCACTG | CGACACGCACGTTATAGAGA | 3 | |
| WL5388 | GGAACACCCTTTCTTCAGTCC | TAGCTATGTGGGCCAAGGAA | 3 | |
| WL5390 | AGAAGATCGACCGCCACAA | GTCGCTGTTGTGCTACTCG | 3 | |
| WL5392 | ACGGGACACTCAATAGAACTGT | GTAAGCCCTAACCCGTTGC | 3 | |
| WL5396 | CCGAATCTGCTGCGAAATAATT | ACCCTTGTCCGTTTAGTTCAC | 2 | |
| WL5400 | CACAGGCAGACTCGCAATT | AGTCACACAGCTCAGTACCC | 2 | |
| WL5406 | TGCGCCCAGTGTATATAGCA | TGCATCTCCCACACTCATCA | 1 | |
| WL5410 | GCGTTTATTGAGCTTCCGGT | TTTTCCTCCGTTCCAGTGTT | 1 | |
| WL5412 | GCCTCTAGAAACTCCCCTCC | GTTTTGAATCGGGCAGCGAT | 1 | |
| WL5414 | ACCGGTTCACCCTTGGAAAA | TGGACTGAGAGGAAGTTCGG | 1 | |
| WL5416 | TCACCTGTTCACCCTTGGAA | TTTGCAGACGATGATTGGGG | 1 | |
| WL5422 | ACCGAATCCAAGCTGATCCT | CTCCTGTTCTGAGTTGGTGC | 1 | |
| WL5428 | CGCCATGTCTACGAAAGCAT | GCAGGCACACATACGATCTC | 7 | |
| WL5430 | TGACAGTGGCGGATCTAGAA | AAGACCCTATCGTGTGGCAG | 1 | |
| WL5432 | GATTTCCGCACTAACTCTTTGC | ACCAGTCATGTACAACCATCAA | 1 | |
| WL5436 | TGGGAATTAATGTGGGGCCT | CGCTCTAAATTTCCCACGGG | 5 | |
| WL5438 | ACCGTCTCACAGCATATGGT | TCGATACCCAGCATCTCCAT | 5 | |
| WL5440 | TAATGTTGGCTTGCATCCGG | ATGACCTCGGCTATGACTGG | 5 |
The homeologous are indicated at the top of the maps, and the marker loci are indicated at the right of the maps, and their position on the D-genome chromosomes are indicated the black bars. The markers in green are positive for the J1 genome, the markers in the blue are positive for the J2 genome, and the markers in black are codominant for both the J1 and J2 genomes as assayed the wheat-SWG addition lines. The scale bar in the bottom corner indicates 50 Mb.
The markers in green are specific to the J1 genome, the markers in blue are specific to the J2 genome, and the markers in black are codominant for both the J1 and the J2 genomes as assayed in the wheat-SWG addition lines. The scale bar in the left bottom corner indicates 50 Mb.
a) Amphiploid 13G819, b) 3J1L RobT, c) DA1J1L, d) MA1J2, e) MA2J1, f) MA2J2 + 2J2L, g) MA3J1, h) MA3J2, i) DA4J1, j) MA4J2, k) MA5J1, l) MA5J2, m) DA6J1, n) MA6J2, o) DA7J1, and p) MA7J2. The J1-genome chromosomes were painted in green by biotin-labeled genomic DNA of Th. elongatum, the J2-genome chromosomes were painted in red by digoxigenin-labeled genomic DNA of D. villosum, and the wheat chromosomes were counterstained in blue or purple by DAPI. The scale bars indicate 10 µm.
a) Segregation of the solid stem (bottom) is associated by chromosome 3J1. b) Segregation of blue seed color (bottom) is associated with chromosome 4J1. c) WSMV resistance (right) is associated with chromosome 2J1. d) WL tolerance (right) is associated with chromosome 1J1.


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Posted on 3. August 2010 [Edit]
Welcome to the offline documentation.
Please note that the offline documentation is not recommended.
If you have access to the internet, we suggest that you consult the online documentation.
In the offline documentation the sidebar doesn't work and images are not linked correctly. Furthermore you won't be able to access cross links in postings.
Posted on 29. Juli 2010 [Edit]
ELAC’s core functionality is to utilize several Anaphora- and Coreference-Resolution-Systems (ACRS) in order to use their predictions for training an ensemble of (meta-)machine-learning algorithms.
This ensemble classifies the ACRS predictions on a test corpus as either trustworthy or untrustworthy and tries to achieve a better recall/precision than a single ACRS.
There are several non-core functionalities as well:
- A tool which extracts the feature distribution in a corpus.
- A parser which transforms Salsa/Tiger format to an inline notation which can be processed by MMAX2.
- An ablation testing tool which determines the best feature sequence.


locale.js
Your locale Javascript Interpreter
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| | Class | Description |
| | InputKey |
Enumeration class that maps friendly key names to their key code equivalent. |
| | InputManager |
The input manager wraps the default input events produced by Flash to make
them more game friendly. |
| | InputMap |
This class wraps the InputManager to allow for better control over
input events. |
| | LevelEvent |
The LevelEvent is used by the LevelManager to dispatch information about the loaded
status of levels. |
| | LevelManager |
The LevelManager allows level files and groups to be added to a specific level so they
can be automatically managed when that level is loaded or unloaded. |
| | NameManager |
The name manager stores references to PBObjects that have been given
names. |
| | ObjectType |
An ObjectType is an abstraction of a bitmask that can be used to associate
objects with type names. |
| | ObjectTypeManager |
The ObjectTypeManager, together with the ObjectType class, is essentially an abstraction
of a bitmask to allow objects to be identified with friendly names, rather than complicated
numbers. |
| | OrderedArray |
An ordered associative array with a working length property. |
| | PBGroup |
A group which owns the objects contained it. |
| | PBObject |
Base implementation of a named object that can exist in PBSets or PBGroups. |
| | PBSet |
Set of PBObjects. |
| | ProcessManager |
The process manager manages all time related functionality in the engine. |
| | SchemaGenerator |
This class generates a schema file for the application so it can be edited by
the PBEditor. |
| | SimplePriorityQueue |
A priority queue to manage prioritized data. |
| | TemplateEvent |
The TemplateEvent is used by the TemplateManager to dispatch information about the loaded
status of groups. |
| | TemplateManager |
The template manager loads and unloads level files and stores information
about their contents. |


Welcome to "like" and follow me on Facebook page!It's about my life in Japan.Please click the photo on above!


Preparation time
less than 30 mins
Cooking time
30 mins to 1 hour
Serves
Serves 4
Flavour packed spring rolls make a great started or side dish, and are easier than you might imagine.
To make the filling for the spring rolls, heat a wok and add the oil. Once hot add the ginger, mushrooms, bamboo shoots and water chestnuts. Cook for a couple of minutes.
Add the soy sauce, Chinese five-spice powder, beansprouts, spring onions and carrot. And cook for 1 minute.
Add the duck meat, oyster sauce and finish with the toasted sesame oil. Transfer to a dish and let this mixture cool before using it.
To assemble the spring rolls, arrange one spring roll wrapper so that the corners are pointing upwards, downwards and to the sides.
Spoon 2 teaspoons of filling near the bottom corner about 2cm/¾in from the edge. (Make sure the filling is cool but not too wet – otherwise the spring roll will be soggy and you will break the spring roll wrapper.)
Roll the wrapper over the filling, squeezing any air out as you roll away from you. As you reach the middle bring the 2 side corners to the middle, making sure they overlap. Continue to roll and tuck the top edge in and seal it with a little of the beaten egg.
Repeat with the remaining spring roll wrappers and filling.
Fill a deep-fat fryer or a large, deep, heavy-bottomed pan two-thirds full with vegetable oil. Heat the oil to 180C. (CAUTION: Hot oil can be dangerous. Don't leave unattended)
Deep-fry the spring rolls in batches for 5-6 minutes swishing them in the fryer until golden-brown. Remove and drain on kitchen paper.
For the barbecue dipping sauce, fry the onion and garlic in the oil with the chilli, fennel seeds and sugar. Add the soy sauce and ketchup and season with salt and pepper.
Bring to the boil and simmer for a few minutes to combine the flavours.
For the sweet and sour dipping sauce, put all the ingredients in a pan and bring to a boil and cook until it thickens, 5-8 minutes.
To serve, place the spring rolls on a serving board or slate and pour the 2 dipping sauces in separate bowls and serve alongside. Garnish with fresh coriander, spring onions and fresh red chilli.


{% set active_page = "Home" %}
{% set page_title = "Home" %}
{% extends "base.html" %}
{% block head %}
{{ super() }}
{{ components.calendar_scripts() }}
{% endblock %}
{% block top %}
{{config.tagline|safe}}
{{config.date|safe}}
Colocated Events:
{% for (name, link) in colocated %}
{{ " and " if loop.last else "" }}
{{name}}{{ ", " if not loop.last else "" }}
{% endfor %}
Thanks for Attending PLDI 2021
July 6, 2021
The conference is now at an end. Thanks for being part of it and making it such a success.
This site is now publicly available for all to enjoy.
Best wishes, and see you at PLDI 2022!
Click Join Slack
and select "Sign in with PLDI 2021". Use the same email address and password as
for this website, and update your Slack profile's display name to be your full name and affiliation.
Click Join Gather
and follow the instructions for generating a magic sign-on link using the same email address as
for this website.
After completing these steps, you can access Slack and Gather by clicking any #Slack or Gather button on our site.
Watch our videos below on how to participate in and enjoy PLDI.


Hello {{name}},
We have noticed this is your first time signing in as an Alumni Center staff member.
Stop by often to check on student organization alumni requests for their events and let them know the status of their request.
You can check out your console at AlumniRequestGW.
- The Alumni Request Portal Team


Image from myetherwallet
What Will I Learn?
- How to add custom token in MyEtherWallet(MEW).
- How to transfer ERC20 tokens from exchange to MEW via Trezor.
Recently I plan to hold Cindicator(CND) for long-term and an exchange is never a good place to hold your coins. I have a Trezor hardware wallet with a MEW tied to it, by using this combination I can secure my coin safety at maximum level. Hence, we will use CND token (one of the ERC20 tokens) to demonstrate the depositing process.
Requirements
- You have a MEW created.
- You have some ERC20 tokens to play with.
- You have a Trezor.
OS: Windows 7
Browser: Google Chrome
Difficulty
Basic
Tutorial Contents
1) Connect Trezor to your PC. Open https://wallet.trezor.io/ and unlock the wallet. Select Ethereum
from the top left drop-down menu.
2) Select TREZOR
in the access list and select Connect to TREZOR
. You can access the wallet according to your personal setup method, we will stick to Trezor in this method.
3) Select the correct HD derivation path and you will see several addresses being listed in the bottom part. Simply choose any address you would send custom tokens to. In this case, I stick to my original ETH address. Press on Unlock your wallet
.
4) Inside the wallet you will able to view your ETH balance and public address. A ERC20 token list is located at the right bottom part Token Balances
.
5) First we have to add CND token to the list as it doesn’t host it originally. Click on ‘Add Custom Token’.
6) Fill in all the 3 fields. Put 0xd4c435F5B09F855C3317c8524Cb1F586E42795fa
in Token Contract Address
. Refer to etherscan.io to verify the official contract address if in doubt, you can use this site to determine any other ERC20 token’s contract address as well. Put CND
into Token Symbol
and 18
into Decimals
. Save it.
7) Click on the Show All Tokens
you will see the newly added CND tokens with zero balance. Click on the minus button beside it to remove if you want to, but the fund attaches to this address will still remain in the network. You can add it back anytime by redoing previous step.
 In my case it is Binance. Put your ETH address in the CND Withdrawal Address
as all the ERC20 tokens are using ETH address to receive transaction. Transfer any amount and click Submit
.
Tips: It is always a good habit to send the minimum amount to newly generated address just to make sure things are fine. For CND, the minimum sending amount is 400.
9) Wait for a few minutes, the transfer speed depends on the network traffic as well. Check the status of your transaction using https://etherscan.io by providing Transaction ID/Txid. As the transaction is confirmed, you should now see them appear in the custom token list in your MEW.
Summary
- Do not store coins on exchange where you don’t own the private key.
- Use hardware wallet like Trezor or Ledger to host your MEW seed for maximum security.
- All ERC20 tokens using the ETH address as receiving address.
- Send minimum amount to try if the new destination wallet is working without problem.
Posted on Utopian.io - Rewarding Open Source Contributors
This page is synchronized from the post: ‘Transfer ERC20 tokens from exchange to MyEtherWallet via Trezor’


/* Copyright (c) 2014, 2015 Qualcomm Technologies Inc All rights reserved. Redistribution and use in source and binary forms, with or without modification, are permitted (subject to the limitations in the disclaimer below) provided that the following conditions are met: Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. Neither the name of Qualcomm Technologies Inc nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. NO EXPRESS OR IMPLIED LICENSES TO ANY PARTY'S PATENT RIGHTS ARE GRANTED BY THIS LICENSE.  IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. */ package com.qualcomm.ftcrobotcontroller.opmodes; import com.qualcomm.robotcore.eventloop.opmode.OpModeManager; import com.qualcomm.robotcore.eventloop.opmode.OpModeRegister; /** * Register Op Modes */ public class FtcOpModeRegister implements OpModeRegister { /** * The Op Mode Manager will call this method when it wants a list of all * available op modes. Add your op mode to the list to enable it. * * @param manager op mode manager */ public void register(OpModeManager manager) { /* * register your op modes here. * The first parameter is the name of the op mode * The second parameter is the op mode class property * * If two or more op modes are registered with the same name, the app will display an error. */ manager.register("NullOp", NullOp.class); manager.register("TouchSensorExercise", TouchSensorExercise.class); //manager.register("MatrixK9TeleOp", MatrixK9TeleOp.class); manager.register("K9TeleOp", K9TeleOp.class); manager.register("K9Line", K9Line.class); manager.register ("PushBotAuto", PushBotAuto.class); manager.register ("PushBotManual", PushBotManual.class); /* * Uncomment any of the following lines if you want to register an op mode. */ manager.register("MR Gyro Test", MRGyroTest.class); manager.register("touch", TouchSensorExercise.class); //manager.register("AdafruitRGBExample", AdafruitRGBExample.class); //manager.register("ColorSensorDriver", ColorSensorDriver.class); //manager.register("IrSeekerOp", IrSeekerOp.class); //manager.register("CompassCalibration", CompassCalibration.class); //manager.register("I2cAddressChangeExample", LinearI2cAddressChange.class); //manager.register("NxtTeleOp", NxtTeleOp.class); //manager.register("LinearK9TeleOp", LinearK9TeleOp.class); //manager.register("LinearIrExample", LinearIrExample.class); //manager.register ("PushBotManual1", PushBotManual1.class); //manager.register ("PushBotAutoSensors", PushBotAutoSensors.class); //manager.register ("PushBotIrEvent", PushBotIrEvent.class); //manager.register ("PushBotManualSensors", PushBotManualSensors.class); //manager.register ("PushBotOdsDetectEvent", PushBotOdsDetectEvent.class); //manager.register ("PushBotOdsFollowEvent", PushBotOdsFollowEvent.class); //manager.register ("PushBotTouchEvent", PushBotTouchEvent.class); //manager.register("PushBotDriveTouch", PushBotDriveTouch.java); //manager.register("PushBotIrSeek", PushBotIrSeek.java); //manager.register("PushBotSquare", PushBotSquare.java); } }


| Username | First Name | Last Name | Actions |
|---|---|---|---|
| [Username] | [First Name] | [Surname] | |
| Username 2 | First Name 2 | Surname 2 | |
| Username 3 | First Name 3 | Surname 3 | |
| Username 4 | First Name 4 | Surname 4 | |
| Username 5 | First Name 5 | Surname 5 | |
| Username 6 | First Name 6 | Surname 6 | |
| Username 7 | First Name 7 | Surname 7 | |
| Username 8 | First Name 8 | Surname 8 | |
| Username 9 | First Name 9 | Surname 9 | |
| Username 10 | First Name 10 | Surname 10 |


Ocala events
-
they kill emo girl in mexico
Calendar | eugeneweekly.com
Ideological Polarization & the Construction of Women's Interests w/Ronnee . of Eugene, 1685 W. 13th Ave, info at 543-5344 or<EMAIL_ADDRESS>Donat. . Siri Vik: My Funny Valentine, 7:30pm today, tomorrow & Saturday, 2pm .
http://www.eugeneweekly.com/content/calendarEugene Calendar of Events | Lane County Events Calendar ...
eugene springfield cascade mountains oregon coast . Ideological Polarization and the Construction of Women's Interests" . Siri Vik: My Funny Valentine .
http://www.eugenecascadescoast.org/visitors/calendar-of-events/
ralph lauren stonewall color Upcoming events in Ocala
16s rdna 27f and 1492r primers Hottest Tickets
-
Apr 11pirate radio movie cast
Amway Center -
Apr 28n c wyeth wikipediia
Amway Center -
Jun 25summer of fun bed linen
Bob Carr Performing Arts Center -
Mar 30botas para moto cross
Amway Center -
Aug 27best chicken fried chicken in houston
Amway Center -
Jun 21freestone realty northbrook il
Amway Center -
Sep 13best chicken fried chicken in houston
Francis Field -
Mar 17live opps home business
St Augustine Amphitheatre -
Oct 8peers and hilton henley on thames
Amway Center -
May 42007 gary fisher rig 29er
Bob Carr Performing Arts Center
Ocala's best venues
-
Builders and Contractors in the 541 Area Code
VIK Construction Eugene Oregon 3011 North Delta Highway. VIK Construction CO Eugene Oregon 3007 North Delta Highway. VIK Construction CO Eugene .
http://www.findcontractor.org/builders-contractors-areacode/541.htm -
Billy Munich | LinkedIn
Estimator at Essex General Construction. Past. Project Engineer at Vik Construction Company; OSU Baseball at Oregon State University. Education. Oregon .
http://www.linkedin.com/pub/billy-munich/32/151/b0a -
Builders - Home Builders Association of Lane County
www.2020construction.org. A-1 Commercial Construction Inc. . www. crescenthomesoregon.com. D C Fine Homes Inc. . Vik Construction Co.<PHONE_NUMBER> .
http://www.hbalanecounty.org/builders.phptheme from discotheque mp3
98 people's favorite
-
OBITUARIES. - Free Online Library
(Vitals, Obituary) by "The Register-Guard (Eugene, OR)"; News, opinion and . He worked for Vik Construction, S2 Contractors and Donald Drake Company.
http://www.thefreelibrary.com/OBITUARIES.-a0129840766 -
Events - Eugene, Cascades & Coast | Lane County
Ideological Polarization and the Construction of Women's Interests". Dates: Mar 14 . Area: Eugene Oregon. 9 Parts of . Siri Vik: My Funny Valentine. Dates: Mar .
http://eugenecascadescoast.mobi/calendar.cfm


Warehouse Keeper Walderal:
Oh, really? Please show it to me!
Show him the blueprint for the Tower of Insolence.


Dr. Paul Mason (August 1998)
Two dilemmas exist concerning prison movies: first, hardly any
research has been undertaken in the area and secondly, there has been little attempt to
define the prison movie. Paradoxically, whilst the genre may not be instantly
recognisable, there are many prison movies that stick in the memory. I Am A Fugitive
from A Chain Gang (1932), based on the real life events of Robert Burns from his book
I Was A Fugitive from A South Georgia Chain Gang !, was an extraordinary film
depicting the harrowing experience of James Allen (Paul Muni) who escapes the chain gang
only to live in constant fear of being caught. In a powerful final scene, Allen says a
last goodbye to the woman he loves - Helen (Helen Vinson):
Allen: But I havent escaped,
theyre still after me, theyll always be after me. Ive had jobs but I
cant keep them - something happens, someone turns up. I hide in the rooms all day
and travel by night: no friends, no rest, no peace...keep moving thats all
thats left for me. Forgive me Helen, I had to take a chance to see you tonight, just
to say goodbye.
Helen: Oh Jim, it was all gonna be so different
Allen: It is different, theyve made me different. (hears a
noise and, startled, whispers) Ive gotta go
Helen: I cant let you go like this, cant you tell me
where youre going (shakes his head) Will you write ? (shakes head again) Did you
need any money ? (shakes head, backing away from her and staring wildly) But Jim, how do
you live ?
Allen: I steal
Fifteen years later Jules Dassins Brute Force
(1947) offered a bleak representation of prison life. Of the many brutal scenes in the
film, the most graphic is undoubtedly the death of a prison informer. He is forced into
the pit of a drop hammer, surrounded by other inmates carrying blow torches. Naturally the
hammer falls, and the prison guards need to find a new grass. Along with the tense
protracted negotiations between warden and inmate in Riot In Cell Block Eleven
(1954) and Burt Lancaster tending to his canaries in Birdman of Alcatraz (1962),
the prison movie is best remembered for inmates battling with the prison authorities. Paul
Newman as Luke Jackson is determined to do his two years as hard time in Cool Hand
Luke (1962). Jackson refuses to submit to authority, facing unmerciful beatings from
the guards and inmates alike, and memorably wins a bet to eat fifty hard boiled eggs. For
his non-conformity, Steve McQueen in the title role of Papillon (1973) does two
lengthy spells in solitary confinement, forced to consume insects to survive the second
spell; while Paul Crew (Burt Reynolds) refuses to throw the cons versus guards football
game in The Mean Machine (1974) realising his sentence will be increased and his
life made a misery by the Warden.
Prison movies veer wildly from the ridiculous: Lock Up
(1989) (Stallone does Rambo in a prison yard) and Chained Heat (1992) (Bridget
Nielsen prances about as a leather clad lesbian prison warden) to the sublime: Daniel
Day-Lewis as Gerry Conlon fighting for his freedom in In The Name Of The Father
(1994) and Kevin Bacon and Christian Slater fighting against Alcatraz and the authorities
in Murder In The First (1994). What follows here is a look behind the bars at the
significance of the prison movie. First, we must return to the issue of defining the
genre.
The Prison Movie As Genre
The term 'prison movie' is both a nebulous and problematic one. It
is not a term used in everyday discourse like 'gangster film', 'musical' or 'western' is
used and yet most of us would describe Midnight Express, Birdman of Alcatraz
and Papillon as 'prison movies'. Only Querry (1973), Nellis & Hale (1981) and
Crowther (1989) have written about the prison movie and none of them attempts to define
the genre. It is perhaps the difficulty in definition which explains why so little has
been written about the prison film despite over three hundred having been made since 1910.
The biggest problem with prison films is deciding how much of a film has to be set in
prison to be classed as a prison film. As Nellis & Hale (1981) point out:
scenes of imprisonment occur in all different
types of...film...like A Man For All Seasons, swashbuckling melodramas like The
Count Of Monte Cristo and even in westerns, There Was A Crooked Man for
example. (Nellis & Hale 1981, p.6)
Conversely, a film about prison does not necessarily have to be
set in one. David Hayman's film Silent Scream (1990) concerns the suffering and
mental anguish brought on by incarceration, yet this is not predominantly set in prison. We're
No Angels (1955), Breakout (1975), In The Name Of The Father (1995)
and Sleepers (1996) could all be seen as concerned with prison, yet in all of
them a significant part of the film takes place outside the prison walls. Further more,
Laurel & Hardy in The Hoose Gow (1929), Elvis Presley's Jailhouse Rock
(1957) and Porridge (1978) whilst all mainly set within the walls of a prison are
merely star vehicles with prison as a backdrop. Having considered these problems, I
settled on the following definition of a prison movie - 'a film which concerns civil
imprisonment and which is mainly set within the walls of a prison or uses prison as a
central theme'. Whilst not without its flaws, not least of which being the well documented
problem of delineating genre , I think it is a working definition allowing a discussion of
prison movies. Before looking at two specific issues in prison movies, I will deal briefly
with broader thematic patterns .
Escape, Battle and Riot
Along with the prison as machine and inmates first experience of
prison (discussed below), there are of course other themes prevalent in the prison film -
not least of which is the prison escape documented in numerous films such as Prison
Break (1938), Crashout (1955), Breakout (1975) and, perhaps most
memorably Midnight Express (1978). The constant battle with authority too
punctuates most prison films. Often depicted as a battle to survive, inmate defiance has
been central to the prison movie. Robert Stroud's refusal to be institutionalised in Birdman
Of Alcatraz (1962) is a prime example of such a battle. There is a constant struggle
throughout the film between the Governor and Stroud culminating in Stroud's tirade against
the prison system:
you want your prisoners to dance out the
gates like puppets on a string with rubber stamp values impressed by you with your sense
of conformity, your sense of behaviour even your sense of morality...When they're outside
they're lost - automatons just going through the motions of living but underneath there's
a deep deep hatred for what you did to them...The result? More than half come back to
prison.
The battle is sometimes physical with brutal exchanges between
officers and inmates (McVicar (1980), Scum (1983) Lock Up
(1989) for example). While at other times it is expressed in mental victories over the
system - broadcasting music over the exercise yard tannoy from the Governor's office in The
Shawshank Redemption (1995); deliberately losing the big race in The Loneliness
Of The Long Distance Runner (1962) and getting Alcatraz closed down in Murder In
The First (1995). The target for inmate battles is often represented as a huge
faceless system of which the guards and the Warden are only part: inmates must fight the
machinery of punishment.
House Of The Dead: the prison machine
Central to the prison movie is the concept of the prison as a
machine: the 'system' with its impenetrable sets of rules and regulations which grind on
relentlessly. The effect of such a mechanistic depiction of punishment is to highlight
both the individual fight for survival and the inherent process of dehumanisation which
comes with incarceration in the system. The monotony and regulation of prison life is most
often depicted by the highly structured movement of prisoners. From prison films of the
1930s and 40s like Numbered Men (1930), The Criminal Code (1931), San
Quentin (1937), Men Without Souls (1940) and Brute Force (1947)
through to recent movies like Dead Man Walking (1995) and The Shawshank
Redemption (1995) shots of inmates trudging along the huge steel landings, up and
down stairwells to and from their cells has been used to convey the system within prison:
Rows of cell doors open simultaneously and
hundreds of prisoners tramp in unison to the yard. In the cavernous mess hall, they sit
down to eat the mass-produced fodder their keepers call food. The camera tracks along a
row of prisoners to reveal faces mainly individuated by the manner in which they express
their revulsion at the meal. (Roffman & Purdy 1981, p.26 on a scene from The Big
House)
One of the most memorable examples of this depiction of routine
came in the Mervyn LeRoy directed I Am A Fugitive From a Chain Gang (1932). After
his first night's sleep in the camp, James Allen (played by Paul Muni) awakes to the sound
of the chains which bind the inmates together being pulled along the bunks and out of the
dormitory. With heads bowed the inmates sit with their legs over the bunks waiting for the
chains to disappear out of sight after which they stand up and march out of the dorm and
onto trucks where they are transported to the mines to hammer rocks. All of this is
accompanied by the deafening sound of rattling chains and guards shouting abuse at the
men.
Many prison films continually repeat shots of inmates doing the
same tasks which acts both as a link between scenes and as a reminder to the audience of
the mundane regime of prison. In San Quentin (1937) for example we are regularly
shown the massive exercise yard filled with inmates; in The Pot Carriers (1961)
inmates are frequently seen lining up to collect food; and in McVicar (1981) many
of the conversations take place as prisoners walk either up or down stairwells or from
their cells. This uniformity in movement not only underlines the highly structured routine
of the prison but extends the machinery image further. The motion of inmates, in contrast
to the solid silence of the walls which contains it, mirrors the workings of a machine -
prisoners are the cogs that whir around, driving the huge mechanism of punishment
unswervingly onward.
Indeed, in some films the camera pans round the prison interior,
dwelling on landings, stairwells, bars and cell doors, stressing the quasi-industrial
nature of the prison. In Wedlock (1990) the audience follow new inmate Magenta
(Rutger Hauer) around the high-tech maximum security prison to which he has been sent. The
camera sweeps around the dripping silver pipes, huge fans and metal columns accompanied by
an insistent humming noise. Two Way Stretch (1960), Midnight Express
(1978) and Silent Scream (1990) also feature lengthy internal shots of the prison
while prison movies featuring Alcatraz (Alcatraz Island (1937), Birdman of
Alcatraz (1962), Escape From Alcatraz (1979) and two TV movies Alcatraz:
the Whole Shocking Story (1980) and Six Against The Rock (1987)) all dwell
on their grim surroundings.
As well as its physical presence, the prison film shows the
inflexible rules of the machine:
'I know 'em. There the same in all Pens. They
tell you when to eat, when to sleep, when to go to the privy'. (From Birdman of
Alcatraz (1962))
Although used primarily to illustrate injustice, the hard and fast
prison rules serve to emphasise the unyielding processing of inmates through the penal
system. This is expressed through seemingly trivial regulations such as no inmate may
touch the prison radio in The Ladies They Talk About (1933); no talking during
hard labour in (amongst many others) Road Gang (1936), Papillon (1973)
and Scum (1983); inmates to refer to each other only by their prison name in Wedlock
(1990) and so on. Breach of such regulations is often punished by long periods of solitary
confinement, a penalty often represented as harsh given the original offence (Papillon
(1973) and Murder In The First (1995) for example).
The injustice suffered by inmates at the hands of the prison
machine is used by some films to make political points. This was particularly true of
films made in the 1930s with prison represented as a symbol of 'the system': the cause of
the despair and recession in 1930's America. Films such as Hell's Highway (1932)
and Blackwell's Island (1939) show prison as 'the ultimate metaphor of social
entrapment' (Roffman & Purdy 1981, p.26) with the emphasis on the brutality of prisons
and chain gangs robbing men of their individuality and freedom:
the evil in the men's prisons appears to have
been transformed into some larger entity. More often than not, that larger entity takes
the form of a political or big city "machine". The effect of this was to
encourage the audience to ... vent whatever animosity they might be able to muster on ...
the "system" that seemed, to the thirties audience, to control the very life of
every honest, hard working (or unemployed) man in America. (Querry 1976, p.159)
The representation of the prison as a machine in cinema is
fundamental to the prison movie. For it is from this idea that the other themes flow:
escape from the machine, riot against the machine, the role of the machine in processing
and rehabilitating inmates and, entering the machine from the free world as a new inmate.
On Entering Prison
One method frequently employed by prison films to stress the
systematic nature of the prison experience is the emphasis on its effect on inmates. In
particular the dehumanising process which turns men into prisoners, numbers and
statistics. This process begins with the routine new inmates first go through when they
enter the prison. When Gerry Conlon is first taken to prison in In The Name Of The
Father (1995) he hands over his clothes which are placed in a box by a stern looking
prison officer. Stripped naked, he is then hosed down in cold water and, covered with
delousing powder. His clothes are replaced by prison issue uniform and he is pushed into
his cell. The dehumanising process begins. A similar process occurs in both Numbered
Men (1940) and The Shawshank Redemption (1996) but versions of this routine
are present in nearly all prison films. Their significance centres on the prison's control
of the body. Inmates stripped, examined and washed accentuate the transformation from
outsider to insider.
There are also parallels here with public executions. Executions
at the gallows and guillotine were visible displays of the sovereigns ultimate
control over his subjects. This mastering of the body of the condemned, while not ending
in the taking of it, is present in the routine on entry to prison. Perhaps most symbolic
is the cutting of the hair seen in The Loneliness Of The Long Distance Runner
(1962), Papillon (1973) and Midnight Express (1978), historically an
attack on liberty and personal autonomy and, of course, visually the most noticeable
difference between inmate and free man. The speed and mechanical implementation of these
rules regarding the entry of a new inmate is the first, and perhaps therefore the most
striking, example of the regulated institutional nature of prison the viewer sees. The
machine begins to roll.
This new-inmate procedure has another function other than
highlighting the process of turning men into prisoners. As viewers, we have limited
knowledge of prison and hence when a character enters prison, we too share their ignorance
and fear. As an audience we are subjected to the harsh regime of prison life, stern
officers and claustrophobic cells. Cinema is aware of our ignorance and often uses it to
elicit sympathy for the new inmate: the naively of "Red" Kennedy (Humphrey
Bogart) in falling for an inmate prank in San Quentin (1937) and freshly
convicted James Rainbow trusting a well-known tobacco baron in The Pot Carriers
(1962) for example. As part of the new arrival, inmates often meet with a violent
introduction from guards. Chain gang films like Road Gang (1936) and I Was A
Fugitive From A Chain Gang (1932) depict guards whipping inmates new to the regime of
hard labour. While in The Mean Machine (1974) Paul Crew (Burt Reynolds) is beaten
by Head Guard Captain Kennauer and in Murder In The First (1996) Henry Young
(Kevin Bacon) had his foot sliced with a razor by Chief Warden Glenn (Gary Oldman).
The Appeal Of The Prison Film
If one could total up all the hours of screen time that have been
devoted to imprisonment, all the years of effort that have been put into making prison
films, and if one could count all the people that had seen them, one might be tempted to
wonder if it had all been worth it. Nellis & Hale (1981,p.44):
One could argue that it was worth it, if only because particular
prison experiences have come to light because of a film. However the question remains
whether the prison film ever created 'an atmosphere more conducive to prison reform'
(Nellis & Hale (1981, p.44). There are perhaps two reasons for this failure. The first
concerns some of the films that comprise the genre. Those prison movies which used the
horrors of imprisonment for titillation and shock value, indifferent to any wider
reformist stance. Most at fault were the exploitative films about women in prison made in
the 1970s including the Women's Penitentiary trilogy: The Big Doll's House
(1971), The Big Bird Cage (1972) and Women In Cages (1972). Consequently
those prison films with a genuine reformist stance are viewed as simply more refined
versions of their crass counterparts. The second reason for the prison film's failure to
encourage reform is more political - that the only reason any prison film contributes to
the penal debate is because passages already exist for it to happen. In the case of I
Am A Fugitive From A Chain Gang (1932), Nellis & Hale (1981) point out the
publicity at the time concentrated on how un-American chain gangs were and how they
resembled the barbarous acts of nations given a bad press at the time, such as the French
on Devil's Island. Hence the billboard poster advertising the film:
Watch the crowds as they come out !
Women...with tears in their eyes ! Men...ready to fight ! (Quoted in Querry 1975, p.28)
Despite the apparent failure of the prison film to change the
penal system, its popularity is unquestionable. Root (1982) argues that the attraction of
the prison film lies in something intangible:
It isn't immediately obvious why prison films
should occupy such a prominent place with the film going public. Most prison films...don't
have glamorous locations, rarely involve international stars and usually have very little
sex in them. (Root 1982, p.14)
The appeal of films concerning prison lies in a combination of
factors. These include the 'deterrent factor' - making the audience think twice before
committing a crime; the 'graphic and extreme sadism' (Root 1982, p.14) particularly
prevalent in films like Scum (1982) and Midnight Express (1978); and the
identification with revolt against authority as we are encouraged to revolt with the hero
against his inhumane treatment: to stop the prison machine.
Perhaps most appealing to the audience is the prison film opens up
the world of the prison. The audience have the opportunity to share in the criminal world,
to move in circles of illegality from the safety of their cinema seats. This
viewer-experience is positively encouraged by the film: the audience is locked up with the
inmates, hears of the escape plan, talks to the officers and exercises in the yard. It is
perhaps in this that the real appeal of prison film lies.
References:
B. Crowther, Captured On Film - The Prison Movie (BT Batsford Ltd. London,
1989)
M. Nellis & C. Hayle, The Prison Film, Radical Alternatives To Prison
(London 1982).
R. Querry, Prison Movies: An Annotated Filmography 1921 - Present in Journal
Of Popular Film, vol 2, Spring 1973, pp.181-97.
P. Roffman & J. Purdy, The Hollywood Social Problem Film, (Indiana
University Press 1981)
J. Root, 'Inside' The Abolitionist No.10 , Radical Alternatives To Prison
(London 1982).
For an interesting summary of the arguments surrounding genre criticism see: Film
Genre Reader II (B. Grant ed., Austin University of Texas Press 1995).
I have chosen not to focus on narrative structure and character
development here. For an extensive, although superficial overview of prison movie plots
and characters see: Crowther (1989).


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Are you sure you want to uninstall this game?
Uninitialized. This is filled in by render.js so we can take advantage of the information in the package.json file.
render.js
package.json


No kids details yet.
No. |
Photo |
Name |
gender |
Dob |
standard |
level |
Area |
group |
village |
school |
Delete |
|---|---|---|---|---|---|---|---|---|---|---|---|
{{i+1}} |
|
{{k.name}} |
MaleFemale |
{{k.dob | date:'mediumDate'}} |
{{k.standard}} |
Aatma ShikshaAatma ShodhAatma Vishesh |
{{k.area.areaName}} |
{{k.group.groupName}} |
{{k.village.villageName}} |
{{k.school}} |


Description
This program uses a sorted map and a sorted relation to display sorted lists of the name and size of files contained on a disk. It uses the default classes, ISortedMap and ISotredRelation, to implement the collections. The program uses the sorted map to store the name of the file because all elements in a sorted map are unique and all names on a disk are unique. It uses a sorted relation for the file size because there may be identical file sizes and identical values are permissible in sorted relations.
Concept
This program is a sample to demonstrate the use of the default classes ISortedMap and ISortedRelation.
Task
This program uses a sorted map and a sorted relation to display sorted lists of the name and size of files contained on a disk.


Here you can create, edit and delete zones, including any map existing on each zone.
This section allows you to create, edit and delete classes in the game. So, ¿Warrior or Mage?
From here you can select the sprites that will fill buttons, boxes, backgrounds, titles, etc.
Add, replace o remove the existing resources for the game. This is not only restricted to pure graphics.
Already choose a project name? Change it here! Not only it but also routes, IPs, passwords and more.
You really been editing for 3 hours in a row? Time for a pizza or a healthy breakfast. Hit here to leave the editor.


CrimPapers
Articles published on 12 November 2019
On 12 November 2019, 14 new articles were published in 13 journals.
Water, Crime and Security in the Twenty-First Century: Too Dirty, Too Little, Too Much by Randall Amster
Together Despite the Odds: Explaining Racial and Ethnic Heterogeneity in Union Dissolution After Incarceration by Alex O. Widdowson,
wade C. Jacobsen,
sonja E. Siennick,
patricia Y. Warren
Relationship Between Body Habitus and Aggression Subtypes Among Healthy Young Adults From the American Midwest by Samantha N. Hartin, Waheeda A. Hossain, Ann M. Manzardo, Shaquanna Brown, Paula J. Fite, Merlin G. Butler
Attitudes Toward Concealed Carry on Campus: Results From A Nationwide Survey of Criminologists by Matthew R. Hassett, Bitna Kim
Bringing Course Material to Life Through Experiential Learning: Impacts on Students’ Learning and Perceptions in A Corrections Course by Linsey Belisle, Breanna Boppre, Jaclyn Keen, Emily J. Salisbury
Predicting Future Criminal Convictions of Children Under Age 12 Using the Early Assessment Risk Lists
Young Adults Exposed to Intimate Partner Violence in Childhood: the Qualitative Meanings of This Experience
Attribution of Blame Toward Offenders: Victim and Offender Ethnicity, and Observer Ethnic and Religious Background by Nir Rozmann, Inna Levy
Substance Or Semantics? the Consequences of Definitional Ambiguity For White-Collar Research by Miranda A. Galvin
Focally Concerned About Focal Concerns: A Conceptual and Methodological Critique of Sentencing Disparities Research by Mona Lynch
Egan K. Green, Ronald G. Lynch, and Scott R. Lynch (2018). the Police Manager
Note: although this article was published on 18 October 2019, the publisher only added it to the journal RSS feed on 12 November 2019, which is why it is shown in the list of articles for that date.
Bridging the Gap? Police Volunteering and Community Policing in Scotland
Dear British Criminology: Where Has All the Race and Racism Gone? by Coretta Phillips, Rod Earle, Alpa Parmar, Daniel Smith
Interventions to Reduce Intimate Partner Violence Perpetration By Men Who Use Substances: A Systematic Review and Meta-Analysis of Efficacy by Danielle Stephens-Lewis, Amy Johnson, Alyson Huntley, Elizabeth Gilchrist, Mary McMurran, Juliet Henderson, Gene Feder, Louise M. Howard, Gail Gilchrist


Iraqi security and medical officials say one protester killed and 32 wounded in clashes on ...
BAGHDAD - BAGHDAD (AP) - Iraqi security and medical officials say one protester killed and 32 wounded in clashes on strategic Baghdad bridge.
Copyright 2019 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


The Snake Game
START
PAUSE
RESTART
Your Score:
{{ user.score }}
Highest Score Ever:
{{ app.highestScore }}
Made with
by
Paulo Campos.


Compartment Model Helper¶
Due to the COVID-19, many people would write different iteration of the compartment model. This is written to reduce the repetitive coding of people. For example, the SEIR model can be written as
linear.exposed.infectious = 1;
linear.infectious.recovered = 1;
interaction.susceptible.infectious.exposed = 1;
seir_model = epimodel(linear, interaction);
init_dist.infectious = 1e-4;
init_dist.susceptible = 1 - 1e-4;
seir_model.set_initial_dist(init_dist);
seir_model.simulate(10);
plot(seir_model.time_knots, seir_model.results.susceptible);
title('susceptible');
One should be able to infer the syntax easily, but see Tutorials for further explanations of the syntax.


This page must be lost in the desert, or just doesn’t exist. So I guess that makes this a 404 Error page.
Don’t worry, we’ll never desert you.
If you keep seeing this error page, please let us know via the issues page on our Github’s issue page detailing how you got here. This will be a huge help.
You can try going back to your Cactool instance’s homepage, or pressing the back button!


94 When a block is used inside a custom block, its continuation may include parts of more than one script. For example, if we make a custom square block and then use that block in a script: then the continuation of the ﬁrst use of move 100 steps is in which part comes from inside the square block and part comes from the call to square. Nevertheless, ordinarily when we display a continuation we show only the part within the current script. The continuation of a command block, as we’ve seen, is a simple script with no input slots. But the continuation of a reporter block has to do something with the value reported by the block, so it takes that value as input. For example, in the script the continuation of the 3+4 block is Of course the name result in that picture is arbitrary; any name could be used, or no name at all by using the empty-slot notation for input substitution. A. Continuation Passing Style Like all programming languages, Snap ! evaluates compositions of nested reporters from the inside out. For example, in the expression Snap ! ﬁrst adds 4 and 5, then multiplies 3 by that sum. This often means that the order in which the operations are done is backwards from the order in which they appear in the expression: When reading the above expression you say “times” before you say “plus.” In English, instead of saying “three times four plus ﬁve,” which actually makes the order of operations ambiguous, you could say, “take the sum of four and ﬁve, and then take the product of three and that sum.” This sounds more awkward, but it has the virtue of putting the operations in the order in which they’re actually performed.


Gary Lineker slams Tottenham for sacking irreplaceable Mauricio Pochettino
Gary Lineker has slammed Tottenham for sacking Mauricio Pochettino and insists the club will fail to find a manager more suitable for the position than the Argentine.
Spurs released a statement on Tuesday evening confirming that Pochettino had been ‘relieved of his duties’ after five years in the hot seat, along with his coaching staff Jesus Perez, Miguel D’Agostino and Antoni Jimenez.
Pochettino found himself under pressure after a dismal start to the season in which Tottenham have struggled to live up to their heights of last term when they reached the Champions League final and finished fourth in the Premier League.
He departs with Spurs sitting just six points above the relegation down in 14th. Former Manchester United and Chelsea boss Jose Mourinho is the overwhelming favourite to take over the reins in north London.
Big-name managers Carlo Ancelotti, Max Allegri and Brendan Rodgers are also in the running for the job, but Lineker is adamant Pochettino remained Spurs’ best option.
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‘Mauricio Pochettino has been sacked by Spurs. He helped the club to punch massively above their weight for years,’ the ex-Spurs and England striker tweeted following Tottenham’s statement.
‘Good luck with finding a better replacement….ain’t gonna happen.’
Former Spurs boss Harry Redknapp believes the players were largely to blame for Pochettino’s dismissal.
‘People talk about the players there all loving him – if they love him that much, maybe they should have started playing a bit better. At the end of the day, they’ve got him the sack.
‘The results have not been good enough. They’ve not performed well enough. That’s what gets you sacked as a football manager.
‘They’ve had one Champions League final, and if you look back at the run, really, everything went their way a little bit.
‘But they’ve not won a trophy in five or six years with an incredible squad of players, full of internationals.’
Asked if he would consider a return to Tottenham, Redknapp replied: ‘I don’t live in cuckoo land.
‘But I’d walk there if they offered it.’


Grade Calculator
Activities
Give grades to the numeric activities:
Name
Short Name
Weight
Grade
Percentage
Activity 1
A1
/
Activity 2
A2
/
Activity 3
A3
/
Activity 4
A4
/
Result
ADD ASSIGNMENT
MARK BOOSTER
REALITY (UNBOOST)
WEIGHTED
MEAN


Before Change
try:
with open("config.txt") as f:
lines = f.readlines()
facebook_token = lines[0].split(" ")[-1].strip()
try:
model_dir = lines[1].split(" ")[-1].strip()
except:
model_dir = "20170512-110547"
After Change
try:
with open("config.txt") as f:
lines = f.readlines()
for line in lines:
my_line_list = line.split(" ")
if my_line_list[0] is "image_batch":
defaults["image_batch"] = int(my_line_list[2])
elif my_line_list[0] is "distance":
defaults["distance"] = int(my_line_list[2])
else:
defaults[my_line_list[0]] = my_line_list[2]
except:
print("No config.txt found")
print("You must create a config.txt file as specified in the README")
// create_new_config = input("Would you like us to create a


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defaultCaptureDeviceSpecifier
OpenALManager
defaultDeviceSpecifier
OpenALManager
defaultFunction
OALFunctionAction
delegate
OALAudioTrack
deleteBuffer:
ALWrapper
deleteBuffers:numBuffers:
ALWrapper
deleteSource:
ALWrapper
deleteSources:numSources:
ALWrapper
delta
OALFunctionAction::delta()
OALMoveToAction::delta()
OALMoveByAction::delta()
destroyContext:
ALWrapper
device
OALSimpleAudio::device()
ALBuffer::device()
ALCaptureDevice::device()
ALContext::device()
ALDevice::device()
deviceCurrentTime
OALAudioTrack
devices
OpenALManager::devices()
OpenALManager::devices()
deviceWithDeviceSpecifier:
ALDevice
deviceWithDeviceSpecifier:frequency:format:bufferSize:
ALCaptureDevice
direction
ALChannelSource::direction()
ALSoundSource-p::direction()
disable:
ALWrapper
distanceModel
ALContext
distanceModel:
ALWrapper
dopplerFactor
ALContext
dopplerFactor:
ALWrapper
duration
OALAction::duration()
OALAudioTrack::duration()
ALBuffer::duration()
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