Animated Codes Made Easy LLC
PRIVACY POLICY
Effective Date: March 1st, 2016 - V1.00
PLEASE READ THE FOLLOWING CAREFULLY.
II. Personally Identifiable Information That We Collect
III. E-mail Newsletter Subscriptions
V. Special Promotions and Purchases; Submission of Content to be Published
VI. Information Collected by Other Means or Media
VII. Information About Other People
IX. Non-Personally Identifiable Information That We Collect
X. Cookies and Related Technology
XI. Not Intended for Persons Under 18
XII. Use, Disclosure, and Sharing of Information
a. Non-Personally Identifiable Information
b. Personally Identifiable Information
c. Information Disclosed to other Users of this Website
XIII. Our Commitment to Data Security
XIV. Hyperlinks To and From Other Sites
XV. Consent to Processing in the United States
XVI. Contact Us Regarding Privacy
____________________________________________________________________________
The "Website" refers to all of the websites at acme.codes, acme.ink, acme.name, animatedqrcodes.com, animatedqrcodes.net, animatedqrcodes.org, animatedcodesmadeeasy.com, .animatedcodesmadeeasy.net, animatedcodesmadeeasy.org, animatedcodes.com, animatedcodes.net, animatedcodes.org and any of their subdomains, or a successor website as indicated by COMPANY. This Website is owned or operated by Animated Codes Made Easy, LLC, or any successor to ownership of the Website, and/or its subsidiary companies in the United States of America (collectively the "COMPANY"). This privacy policy ("Privacy Policy") applies to information that You provide to COMPANY or is collected about You via this Website and/or by Your use of services (collectively, "Services") that may be provided by this Website or by the COMPANY via some other means, including as set forth below and as defined in the applicable Terms and Conditions or other terms.
This Privacy Policy is intended to provide You notice of COMPANY's information management practices, including the types of information gathered, how it is used and safeguarded, and the degree to which You may control the maintenance and sharing of Your information. Your use of any COMPANY Service or Website constitutes acceptance of and agreed to this Privacy Policy and any other applicable terms. This Privacy Policy is part of and incorporated by reference into COMPANY'S Terms and Conditions .
"Users" refer to users of the Websites and Services. Because the Websites and Services are intended to facilitate marketing and transactions among its Users, personally identifiable information that You provide or is provided about You, such as but not limited to Your name, company name, shipping address, billing address, telephone numbers, e-mail address, and payment information such as billing terms may be shared with other Users. Information such credit card information is only shared with parties associated with You or as needed to facilitate a transaction You have agreed to.
Please be aware that COMPANY has a right to indicate to the public what Users and Buyers have accounts with or otherwise uses the Website and/or Services.
When You create a User Account or accept one, You are agreeing to be subscribed to our e-mail newsletters, if any. You may also be asked for other information at the same or later time.
In order to use our Services, You will need to register and create, or otherwise accept, a user account ("User Account"). Note that when You log into a User Account, You are agreeing to be bound by this Privacy Policy and the Terms and Conditions, and are also "accepting" Your User Account. There may or may not be a cost to create a User Account. You may be asked to choose a user name, screen name, or member name (each, a "User Name") and password. You may also be asked to provide certain personally identifiable information and other information about Yourself, such as Your first and last name, company name, billing and shipping address, telephone number, and e-mail address. The Website allows You to update certain information when You are logging in.
This Privacy Policy does not apply to any information You may disclose publicly in such Services. In some instances, You may choose to create a "Public Profile" that will be available to others on the Internet. Public Profiles are managed entirely by You, and You are solely responsible for Your Public Profile's content and its "public" or "private" status. COMPANY bears no responsibility for any action or policies of any third parties who collect any information that users may disclose in user forums or other public areas of this Website. You are also responsible for maintaining and updating the registration information in Your User Account with current and complete information.
If You are holder of a User Account and wish to deactivate or terminate it, please see how to do so in the Terms and Conditions .
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You should be aware that it is not always possible to completely remove or modify information in our databases. In addition, we may institute a policy in which User information is deleted after a certain amount of time, and therefore, Your User information may no longer exist in COMPANY's active database(s). Even if You choose to unsubscribe or otherwise modify Your User Account settings, COMPANY reserves the right to contact You regarding Your account and Your use of this Website and/or the Services.
To participate in some Services such as sweepstakes, contests and surveys ("Special Promotions"), or to make online purchases or subscriptions (such purchases or subscriptions herein referred to as "Purchases"), You may need to provide personally identifiable information, such as name, address, e-mail address, phone number, and date of birth. Your information may be collected by COMPANY or by a third party, such as a co-sponsor or a vendor involved in, or providing services in connection with, a Special Promotion, or an e-commerce partner in the case of a Purchase.
If You make a Purchase or enter a sweepstakes or other Special Promotion on one of our sites or through our Services, COMPANY will collect Your personally identifiable information, and You are deemed to consent to us providing Your information to third parties who provide certain services such as processing of credit card transactions, customer service, promotion or sweepstakes administration, order fulfillment and/or prize delivery, as applicable. (As more fully described below in Section XII, these third parties are generally prohibited from using this information for their own marketing purposes and/or from sharing, selling, or otherwise distributing any personal data of our customers, unless You choose to opt in for such additional uses and/or disclosure by the third parties, under their respective privacy policies.). Also, by entering a sweepstakes or other Special Promotion, You are agreeing to the official rules that govern that sweepstakes or other Special Promotion, which may contain specific provisions applicable to You, including, except where prohibited by law, allowing the sponsor(s) of the promotion to use Your name, voice or likeness in advertising or marketing associated with the promotion.
If You make a purchase or enter a promotion (such as a sweepstakes) in which COMPANY is participating on a third party's website (or through some other means or medium), we will collect Your information from the third party only if You opt-in to receive additional communications from us, or we are required to fulfill some function in relation to Your activity (e.g., to send Your order or deliver a prize).
If You submit to the Website a comment, photograph or other content to be published, online or offline (including on-air, in a DVD, or any other format), we may publish Your name or other personally identifiable information in connection with publishing the content and You are hereby deemed to give us permission to do such.
In some situations, we may also collect personally identifiable information and other information about You through other means, directly or indirectly. For example, if You access any COMPANY content, or purchase such content via Your wireless carrier or through another third party, COMPANY may collect information directly from You or through the third party. Likewise, if You use our software, or provide information to other companies who share information about their customers, we may collect additional information about You. In each of these cases, COMPANY will apply this Privacy Policy to any personally identifiable information.
Some COMPANY Websites and Services may ask You to submit personally identifiable, as well as other information about other people and/or their affiliated companies. For example, in creating a Code Creation Account, a User will have to supply information about their customer.
Such information may be used to facilitate transactions among Users, COMPANY, and third parties. As such, such information may be shared and used by all such parties to the extent COMPANY desires or otherwise allows such information to be shared. You are hereby accepting and agreeing to such use and sharing of information.
Some Services may offer support and technical assistance through customer service centers via telephone, online chat, or e-mail. Whenever You communicate with customer service, You do so with the understanding that an operator may view and make changes to the information in Your User Account in order to provide the assistance that You need.
As part of the registration process for some Services, You may be asked to provide information that does not personally identify You. For example, You may be asked to provide information concerning Your personal preferences, purchasing habits, and the like. This information is generally optional but may be included in Your User Account profile. COMPANY requests this information to understand You better and to also bring to Your attention new services, programs, or offers that may be of interest to You.
In many cases, COMPANY will automatically collect certain non-personally identifiable information about Your use of the Websites and Services. COMPANY might collect, among other things, information concerning the type of Internet browser or computer operating system You are using, the domain name of Your Internet service provider, Your "click path" through COMPANY sites or "click-through" from an e-mail, the Website or advertisement that was linked to or from COMPANY site when You visited, and Your IP address. To do this, COMPANY may use cookies and other technology (see below). If You are using any Services of ours that are wireless, we may also automatically collect information such as the type of wireless device You are using, Your mobile identification number (assigned by Your telecommunications carrier) and telecommunications carrier. Your use of our Websites and Services, and information provided through these technologies, will be anonymous unless You provide us with personally identifiable information, have provided such information in the past, or have a User Account.
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A web beacon is a small graphic image that allows the party that set the web beacon to monitor and collect certain information about the viewer of the web page, web-based document or e-mail message, such as the type of browser requesting the web beacon, the IP address of the computer that the web beacon is sent to and the time the web beacon was viewed. Web beacons can be very small and invisible to the user, but, in general, any electronic image viewed as part of a web page or e-mail, including HTML based content, can act as a web beacon. COMPANY may use web beacons to count visitors to the web pages on the Website or to monitor how our users navigate the Website, and COMPANY may include web beacons in e-mail messages in order to count how many messages sent were actually opened, acted upon or forwarded.
COMPANY recognizes the sensitivity of personally identifiable information concerning children and minors. COMPANY is committed to complying with all applicable laws and regulations regarding children, including the Children's Online Privacy Protection Act ("COPPA"). This site is only intended for persons 18 and over.  COMPANY will not knowingly collect, maintain, or disclose any personally identifiable information from a person under 18.
If you are a parent or guardian who has discovered that Your child under the age of 18 has submitted his or her personally identifiable information without Your permission or consent, COMPANY will make reasonable efforts to remove the information from its active list, at Your request. To request the removal of Your child's information, please send an e-mail to<EMAIL_ADDRESS>and be sure to include in Your message the same User Name and password and/or e-mail address that Your child submitted.
From time to time, COMPANY may use and share with third parties aggregate, non-personally identifiable User information to show general demographic and preference information among users of COMPANY Websites. For example, COMPANY may produce and share with others "trend reports" using such aggregate, non-personally identifiable User information, generated based on information gathered on Users from order information (i.e. products purchased, amount spent, type of product, general addresses to be shipped to etc), retailer information related to purchases (i.e. type of retailer and their buying habits) and brand information (i.e. type of product a Brand showcases).
When You visit or download information from this Website, our web servers may automatically collect website usage information. Website usage information is non-personally identifying information that describes how our visitors use the Website. It can include the number and frequency of visitors to each web page and the length of their stays, browser type, referrer data that identifies the web page visited prior and subsequent to visiting the Website, and IP addresses (see below for more information on IP addresses). COMPANY may use IP addresses for a number of purposes, such as system administration, to generally determine Your computer's server location, to report aggregate information to our business partners or to audit use of the Website. We also may determine Your screen resolution and the technology available in order to serve You the most appropriate version of a web page, e-mail or similar service.
COMPANY uses information about You to deliver the Services that You request, to keep You informed about changes affecting our Services or Your account, to inform You of other Services or offers in which You might be interested, and to improve and enhance our sites and Services. If You provide COMPANY with personally identifiable information, we will take all reasonable and appropriate steps to protect it from unauthorized disclosure.
When You create a User Account or accept one, You are opting in to receive e-mail from us. You can always opt out of future marketing messages by following the directions in each message to "unsubscribe". However, if You choose to opt out of marketing messages, we reserve the right to contact You regarding Your account status, technical support, product information, changes to account terms, and any other matter that might affect our service to You and/or any products You purchased from us or registered with us, as applicable.
As stated in the Terms and Conditions, You will be deemed to have consented to the disclosure to, and use by, a subsequent owner or operator of a COMPANY Website or Service, of any information about You contained in the applicable COMPANY database, if COMPANY or one of its companies assigns its rights and obligations regarding any of Your information at the time of a merger, acquisition, or sale of all or substantially all of COMPANY's or such COMPANY company's assets related to the applicable site or Service to a subsequent owner or operator. In the event of such a merger, acquisition, or sale, Your continued use of the Website or any related Service signifies Your agreement to be bound by the Terms and Conditions and Privacy Policy of the Website's or Service's subsequent owner or operator.
COMPANY and other entities may work together in order to provide portions of COMPANY Websites and some Services (e.g., to fulfill prizes won in a sweepstakes, or to provide other support for a Service). These companies will handle Your personally identifiable information in accordance with this Privacy Policy.
As stated above in Section V, COMPANY may also work with third parties to provide some Services on our Websites. In connection with those Services, You are deemed to consent to us sharing Your information with third parties who provide services such as processing of credit card transactions, customer service, promotion administration, order fulfillment and/or prize delivery, as applicable. Third parties who provide, or participate in, Services on COMPANY Websites are prohibited from using our customers' personally identifiable information for marketing purposes and/or from sharing, selling, or otherwise using such information, unless You choose to opt in to marketing, sharing, or other uses by the third parties. If You do not want Your information to be used for marketing (or other purposes unrelated to the provision of COMPANY Services) by a third party who participates in a Service on one of our sites, do not opt in to such use by that third party when You register to participate in the Service.
Please note that whenever You opt in to receive future communications from a third party, Your information will be subject to the third party's privacy policy. If You later decide that You do not want that third party to use Your information, You will need to contact the third party directly, as we have no control over how third parties use information. You should always review the privacy policy of any party that collects Your information to determine how that entity will handle Your information.
COMPANY will not share, sell, rent, or disclose any personally identifiable information that we have collected except as stated herein, or in the following instances: 1) we have been given Your consent to disclose; 2) we have previously informed You of the disclosure, including by means of our Privacy Policy or on the Website, or through the Service where You provided Your information; 3) we are required by law, legal process, or court order to disclose; 4) disclosure is necessary to identify, contact, or bring legal action against someone who may cause or be causing harm to, or interference with, COMPANY's rights or property, other COMPANY Website users, or anyone else; or 5) to respond to an inquiry, request or complaint that You have made. COMPANY may also use IP addresses in cooperation with Internet service providers to identify users if we deem it necessary to comply with law, to enforce compliance with this Privacy Policy or our Terms and Conditions, or to protect our sites, customers, or others.
The Services of the Website include functionality that may allow You i) to market or advertise Your services or items You wish to sell (such as other QR code services in the marketplace and other scannable code related items), ii) view information about or contact others about the services or items they wish to sell, and/or iii) transact with others. When You seek to market or advertise the services or items You wish to sell, You are consenting that information related to such services or items, as well as Your identity and contact information, will be shared publicly with other users of the Website. When You seek to contact others about the services or items they wish to sell, You are consenting that information about You, such as Your interests, preferences, identity and contact information, will be shared with those You are seeking to contact. When You seek to transact with others, Your communication will be shared with those You are seeking to transaction with, as well as Your identity and contact information.
Some COMPANY Websites and Services may ask You to submit personally identifiable information, as well as other information about other people and/or their affiliated companies. Such information may be used to facilitate transactions among Buyers, Brand Users, COMPANY, and third parties. As such, such information may be shared and used by all such parties. You are hereby accepting and agreeing to such use and sharing of information.
Some of the ways that such information of Buyers, Brand Users and other third parties may be shared and used are as follows:
a. Account holders of the Brand Accounts of a Brand User may be able to view all information of or regarding each other;
b. Account holders of the Brand Accounts of a Brand User may be able to view all information of or regarding Buyers for which such Brand User has either created a Buyer Account or associated such Buyer Account with the Brand User; and
c. Holders of Buyer Accounts that are designated as associated with each other by a Brand User may be able to view all information of or regarding each other.
While COMPANY takes reasonable and appropriate precautions to protect Your personally identifiable information from unauthorized disclosure and to prevent possible security breaches in our Websites, Services, and customer databases, no website, Internet transmission, computer system, or wireless connection is completely secure. Consequently, COMPANY cannot guarantee that unauthorized access, hacking, data loss, or other breaches will never occur. COMPANY cannot guarantee to Buyers that User Accounts are properly affiliated by Brand Users. Your use of COMPANY Websites and Services is at Your own risk.
Whenever You give COMPANY sensitive or confidential information (for example, credit card numbers for Purchases), COMPANY will take commercially reasonable steps to protect the transmission of such information by establishing a secure connection with Your Web browser. COMPANY employs a security technology known as a secure-socket-layer ("SSL") to protect the transmission of payment information to the site. Unless otherwise specified herein or on the Website where You make a Purchase, credit and debit card numbers are used only for payment processing and are not retained for marketing purposes.
COMPANY sites may frame, and/or contain links to, or advertisements about, non-COMPANY Web sites. Other sites may also reference, advertise, or link to COMPANY Websites. COMPANY does not endorse or sponsor other websites, is not responsible for the privacy practices or the content of non-COMPANY sites, expressly disclaims any statements or assertions made on such websites, and denies and disclaims all liability associated with Your use of, and the content on, such other sites and advertisements.
By providing any personally identifiable information to COMPANY, all users, including, without limitation, users in the member states of the European Union, fully understand and unambiguously consent to this Privacy Policy and to the collection, storage, and processing of such information in the United States of America.
COMPANY is dedicated to protecting Your personally identifiable information and welcomes comments and questions on this Privacy Policy. You may e-mail Your questions or comments to:
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COMPANY reserves the right to change this Privacy Policy and its Terms and Conditions at any time. In case of any material change to the Privacy Policy, we will replace the "Privacy Policy" link on the home page of our sites with a link entitled "Updated Privacy Policy" for no less than 30 days. All changes to the Privacy Policy will be effective when posted, and Your continued use of any COMPANY Website or Service after the posting will constitute acceptance of, and agreement to be bound by, those changes.


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In the introduction to Data Feminism, the authors detail the story of human computer Christine Darden, who played an incredibly important role in ensuring the safe travel and return of several major NASA missions. Although she was highly qualified for her position, and skilled enough to be promoted far beyond the role of computer, Darden faced many challenges in her time at NASA—finding herself left to stagnate in her role, while her male counterparts were constantly promoted to positions for which she was equally qualified. That is, until a colleague of hers, Gloria Champine, presented a data visualization to Darden’s boss which illustrated the fact that the organization’s promotion practices were biased in favor of men. The data proved a point which could not be refuted, her boss gave in, and Darden received a well-deserved raise.
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Although Christine Darden did not have an easy career by any means, her story still stuck out to me as one of the positive ones. She was lucky—with the right colleagues and support at the right time, she was able to use data to get what she wanted and deserved.
While data can be incredibly powerful as potential forces for positive change, most of what I have read and studied indicates that positive outcomes are not all that common. Rather, data are regularly used to perpetuate systems of oppression—or, in some cases, considered far too inadequate inadequate evidence to prove discrimination, leaving those in situations like Darden’s with few avenues for achieving the change they desire.
Darden’s case was a very fortunate one. She was able to use data showing a systemic problem–inequity across genders in the promotion process at NASA–as evidence that she, personally, was being discriminated against, which resulted in her gaining her desired end goal: a promotion.
A feat such as Darden’s has historically been incredibly difficult—at times next to impossible. This is due to the fact that the lawmakers and elite of the United States have, on multiple occasions, considered data to be an inadequate tool in proving individualized discrimination.
Perhaps the most famous instance involving this issue is the United States Supreme Court case McCleskey v. Kemp (1987). This case revolved around the issue of the death penalty, with the petitioner (Warren McCleskey) arguing that he was racially discriminated against in the receipt of his death sentence.
As evidence to demonstrate his point, McCleskey and his lawyers testified about a statistical study on the racial factors in death penalty sentencing, which indicated clear disparities in death penalty imposition based on the race of both the accused murderer and their victim(s).
Although the evidence strongly demonstrated systematic bias, the court ruled that the statistics were insufficient proof: although they illustrated a systematic problem of discrimination, they did not prove that the defendant himself—specifically—was discriminated against. As a result, his death sentence stood.
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This case was pivotal in the history of the death penalty, but also had implications for the use of data all across the legal world. The Supreme Court, by declaring the data inadequate, set a precedent that weakened its strength as a tool to protect those facing discrimination. This case, which occurred a little over three decades ago, has yet to be overturned in a major way.
This case happened in the late 1980s, a time when the United States was much more progressive than it had historically been, yet still the court did not consider data-based evidence to be viable proof of discrimination. Things were likely even worse before this time period and do not seem to have changed for the better since then.
If the highest court in the United States does not value data as evidence of discrimination, it begins to beg the question of how we will ever be able to use data to their full positive potential. Christine Darden was able to do so, but she was lucky and had the support of colleagues who were convinced by her evidence. Not everyone is so fortunate. It is wonderful to see positive change—such as the publishing of this book and and an increase in discussions around ethics and bias in data use—but unless things are recognized as a problem nationwide, and the legal system provides full support, it is hard to visualize data reaching their maximum positive potential.


With the negative media attention given to khat I thought someone should paint a more accurate picture of this plant's effect. It is nothing like ecstasy and rather unlike methamphetamine as claimed by people at the DEA. Its psychoactive properties are much more mild, its effect not much more powerful then caffeine.
About 2 years ago I came across khat at a local Ethiopion market. I bought 2 fresh bundles, knowing I may never stumble across this great opportunity again. I had been smoking marijuana earlier in the day and was feeling kind of tired and burnt out. On top of that I was supposed to meet a girl for our first date later on that evening. As that time approached I was a bit worried I would be to tired and stoned to make a good impression on her. I had read khat makes you more social and talkative and is used socially. Sort of like alcohol. With this in mind I thought I would give it a try.
I began to roll 3 leaves at a time into quids. As the leaf entered my mouth there was a sort of generic green plant material flavor. As I chewed the leaf, I noticed A powerful astringent flavor. It was as if my tongue felt dry, yet there was plenty of saliva. This rather strange flavor may be unpleasant at first but you get used to it. I even like it.
From first bite it took about 30 min for any effect. About every 10 minutes I started on a new quid. When the plant material losses the astringent flavor its spent. After I had chewed 12 leaves I was starting to feel my fatigue dissipating. My thoughts became more clear. Like some good frappacino at best.
As I chewed 3 more quids over the next half hour I noticed the effects increase and change slightly. I continued to become more clear headed and alert until I just felt normal. I felt as though it was 12 in the afternoon after a restful nights sleep. A new, very mild feeling of well being set in. No shaking , jaw clenching, dizziness,or uneasy stomach usually associated with stimulants. It was like a large dose of caffeine with no negative side effects.
I then left and went to meet my date. The drive took 30 min and I had no problems driving at all. I would say I noticed very little in the way of becoming social. Nothing like a few drinks of alcohal. Its more like being just awake and alert; slightly more confident and able to pay attention. This makes one more likely to get deeply involved in the conversation.
After 2 hours from the start I began a slow smooth return. By 3 hours or so I was totally normal. No problems sleeping that night.
I finished the bundles over the next few days. In retrospect I would have to say that khat's effects are almost unnoticable. Its similar to coffee but I think it better. I chewed the leaves and made it into a tea. Chewing leaves was always about the same as in the above experience. Taking ten to get an effect and a plateau or rather ceiling of effect at about 20-25 large leaves. The tea was a bit stronger...
I double brewed the tea in my coffee maker. The tea was maybe 45 or 50 leaves. It was the strongest dose of khat I got. It was not much different from the experience above except I noted a hot flash for a while. I had taken the tea at 11 at night and yet I was sound asleep by 1 or 2. All the friends I shared Khat with reported the same things as me or even less of an effect. Khat being illegal makes no sense to me. Maybe It would take out the coffee industy if it ever caught on! Another casualty of the war on drugs.
[Editor's Note: Many experts on khat report that the potency of khat leaves degrades rapidly over time. Also, potency between different plants varies dramatically. It may be that the leaves purchased in the market place were old or just weak.]
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


Release Process
Brooklyn is published to two locations:
- Sonatype, for snapshots and for staging releases
- Maven Central, for full (GA and milestone) releases
Brooklyn artifacts are generally downloaded from:
To publish:
- a snapshot release:
- mvn deploy to Sonatype
- (optional) publish versioned docs to brooklyncentral.github.com project
- a (milestone) release:
- same as above, but with some git versioning
- deploy to Sonatype, then release to Maven Central
- deploy a version branch to brooklyn-examples
- deploy (or update) versioned docs
- a major release:
- same as above, and
- in addition to versioned examples, update brooklyn-examples master to match the current (stable) release
- in addition to versioned docs, publish full (front page) docs to brooklyncentral.github.com project
- bump the snapshot version in brooklyn master to the next release
Configuration
Your .m2/settings.xml must be configured with the right credentials for Sonatype
<servers>
...
<server>
<username> ... </username>
<password> ... </password>
<id>sonatype-nexus-snapshots</id>
</server>
<server>
<username> ... </username>
<password> ... </password>
<id>sonatype-nexus-staging</id>
</server>
...
</servers>
You must be configured to sign artifacts using PGP.
If this is the first time you have used Sonatype, the Sonatype - Maven Usage Guide is required reading.
The code snippets below use the following variables:
export BROOKLYN_DIR=/path/to/brooklyncentral-brooklyn
export EXAMPLES_DIR=/path/to/brooklyncentral-brooklyn-examples
export SITE_DIR=/path/to/brooklyncentral-brooklyncentral.github.com
export SNAPSHOT_VERSION=0.6.0-SNAPSHOT
export RELEASE_VERSION=0.6.0-M1
Preparing a Snapshot Release
Deploy to Sonatype
Execute the following:
mvn -Dbrooklyn.deployTo=sonatype -DskipTests clean install deploy
(Option) Publish snapshot docs.
(Only required if there have been significant changes to docs or java docs.)
cd $BROOKLYN_DIR/docs
git checkout master
if [ ! -f $SITE_DIR/index.html ] ; then echo "could not find docs in $SITE_DIR" ; exit 1 ; fi
# Build the docs
_scripts/build.sh || { echo "failed to build docs" ; exit 1 ; }
# Wipe any previous edition of the same version, replacing with new build.
rm -rf $SITE_DIR/v/$SNAPSHOT_VERSION
mkdir $SITE_DIR/v/$SNAPSHOT_VERSION
cp -r _site/* $SITE_DIR/v/$SNAPSHOT_VERSION/
# and push, causing GitHub to republish with updated /v/$SNAPSHOT_VERSION/
pushd $SITE_DIR
git add -A .
git commit -m "Updated version docs for version $SNAPSHOT_VERSION"
git push
popd
Preparing a (Milestone) Release
Prepare a Release Branch
cd $BROOKLYN_DIR
git checkout -b $RELEASE_VERSION
usage/scripts/change-version.sh $SNAPSHOT_VERSION $RELEASE_VERSION
git commit -a -m "Changed version to $RELEASE_VERSION"
git push -u upstream $RELEASE_VERSION
Deploy to Sonatype, and Close the repo.
mvn -Dbrooklyn.deployTo=sonatype -DskipTests clean install deploy
- Go to oss.sonatype.org ... #stagingRepositories (again, need credentials)
- 'Close' the repo
- Email the closed repo address to brooklyn-dev list, have people download and confirm it works.
Update the brooklyn-examples repo's version Branch
cd $EXAMPLES_DIR
pushd $BROOKLYN_DIR
git checkout $RELEASE_VERSION
popd
if [ ! -d simple-web-cluster ] ; then echo "wrong dir" ; exit 1 ; fi
git checkout master
git checkout -b $RELEASE_VERSION
rm -rf *
cp -r $BROOKLYN_DIR/examples/* .
rm -rf target
git add -A
git commit -m "branch for $RELEASE_VERSION"
git push -u origin $RELEASE_VERSION
Update the Versioned Docs
cd $BROOKLYN_DIR/docs
git checkout $RELEASE_VERSION
if [ ! -f $SITE_DIR/index.html ] ; then echo "could not find docs in $SITE_DIR" ; exit 1 ; fi
# Build the docs
_scripts/build.sh || { echo "failed to build docs" ; exit 1 ; }
# Wipe any previous edition of the same version, replacing with new build.
rm -rf $SITE_DIR/v/$RELEASE_VERSION
mkdir $SITE_DIR/v/$RELEASE_VERSION
cp -r _site/* $SITE_DIR/v/$RELEASE_VERSION/
# and push, causing GitHub to republish with updated /v/$RELEASE_VERSION/
pushd $SITE_DIR
git add -A .
git commit -m "Updated version docs for version $RELEASE_VERSION"
git push
popd
Preparing a Full Release
Complete all above steps.
Deploy to Maven Central
- Confirm that the closed Sonatype repo has no errors
- Return to Sonatype: Staging Repositories
- 'Release' the repo
Deploy the Examples master branch.
cd $EXAMPLES_DIR
pushd $BROOKLYN_DIR
git checkout $RELEASE_VERSION
popd
if [ ! -d simple-web-cluster ] ; then echo "wrong dir" ; exit 1 ; fi
git checkout master
rm -rf *
cp -r $BROOKLYN_DIR/examples/* .
rm -rf target
git add -A
git commit -m "Updated to $RELEASE_VERSION"
git push -u origin master
Update the brooklyn.io Front Page Version
cd $BROOKLYN_DIR/docs
pushd $SITE_DIR
# remove old root files, but not the previous version in /v/
if [ -f start/index.html ] ; then
for x in * ; do if [[ $x != "v" ]] ; then rm -rf $x ; fi ; done
else
echo IN WRONG DIRECTORY $SITE_DIR - export SITE_DIR to continue
exit 1
fi
popd
# re-build for hosting at / rather than at /v/VERSION/
_scripts/build.sh --url "" || { echo "failed to build docs" ; exit 1 ; }
# copy to site dir
cp -r _site/* $SITE_DIR/
# and git push
pushd $SITE_DIR
git add -A .
git commit -m "Updated root docs for version $RELEASE_VERSION"
git push
popd
Announce
- Email the Dev and Users mailing lists.


Located in West Lafayette, Indiana, University Place is a continuous care retirement community featuring Independent Living, Assisted Living, and Skilled Nursing Facilities.
A comprehensive description of our facility and services may be found at the web site UniversityPlace.org.
This site is primarily intended for residents of University Place, their family and friends. The site provides information about community activities and links to our monthly newsletters and historical documents.
Use the sidebar at the left or the horizontal navigation bar at the top of this page to explore the features of this site.


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Sainsbury's celebrates 150th birthday in Christmas campaign
Sainsbury’s is to round off its 150th birthday celebrations by unveiling a Christmas advert harking back to its roots in 1869, in the hope of enticing new customers over the vital holiday period.
The advert tells the story of Nicholas, a young chimney sweep whose work master steals a hat full of clementines from the store.
The scene opens at the brand new J Sainsbury’s store in Victorian London’s Drury Lane, showing off its wares to the street.
Nicholas’s boss grabs the fruit, but the poor boy is caught red-handed as he bends down to pick up a clementine that has fallen to the ground.
Banished from London, young Nick is rescued by Mary Ann Sainsbury who, having seen the whole event, sets off to the snowy mountains to fetch him back.
As she gives him a bag of clementines, the boy says he cannot pay for them.
But Mrs Sainsbury retorts: “If you can’t do something special for someone at Christmas, then when can you?”
Nick then jumps down the chimney of the Manor House Children’s Home, filling the youngsters’ stockings with clementines, before walking off into the sunset wearing a red cape and hat.
The team behind the advert admitted they took liberties with history.
For instance, the first ever Sainsbury’s store only sold milk, eggs and butter, with no clementines in sight, according to Sainsbury’s website.
Perhaps more shocking is that the Shard and London Eye form part of the 1869 London skyline, or that it says “Emissions free” on the side of Mrs Sainsbury’s horse-drawn cart.
“Some of it’s based on true events; there was a shop in 1869 that was open for Christmas,” said Laura Boothby, the supermarket’s head of broadcast marketing.
Filmed in Romania, where the team found a ready-made Dickensian London film set, the short piece is designed to cheer people up.
“The ambition of our Christmas ad every year is just to create festive joy, people don’t want to see miserable ads … hopefully people just want a bit of cheering up, and this will help with that,” Ms Boothby added.
The advert went live online in the early hours of Tuesday morning, and will get its first broadcast screening on ITV during Emmerdale at 7.15pm.
Sainsbury’s did not reveal how much it had spent on the ad, but businesses across the UK are expected to fork out a record £6.8 billion on seasonal promotion, according to the Advertising Association.
Sainsbury’s follows Argos, and rivals Asda and Iceland in rolling out their Christmas TV ads.


This section details the many different ways of creating light in Unity.
A point light is located at a point in space and sends light out in all directions equally. The direction of light hitting a surface is the line from the point of contact back to the center of the light object. The intensity diminishes with distance from the light, reaching zero at a specified range. Light intensity is inversely proportional to the square of the distance from the source. This is known as ‘inverse square law’ and is similar to how light behaves in the real world.
Point lights are useful for simulating lamps and other local sources of light in a scene. You can also use them to make a spark or explosion illuminate its surroundings in a convincing way.
Like a point light, a spot light has a specified location and range over which the light falls off. However, the spot light is constrained to an angle, resulting in a cone-shaped region of illumination. The center of the cone points in the forward (Z) direction of the light object. Light also diminishes at the edges of the spot light’s cone. Widening the angle increases the width of the cone and with it increases the size of this fade, known as the ‘penumbra’.
Spot lights are generally used for artificial light sources such as flashlights, car headlights and searchlights. With the direction controlled from a script or animation, a moving spot light will illuminate just a small area of the scene and create dramatic lighting effects.
Directional lights are very useful for creating effects such as sunlight in your scenes. Behaving in many ways like the sun, directional lights can be thought of as distant light sources which exist infinitely far away. A directional light does not have any identifiable source position and so the light object can be placed anywhere in the scene. All objects in the scene are illuminated as if the light is always from the same direction. The distance of the light from the target object is not defined and so the light does not diminish.
Directional lights represent large, distant sources that come from a position outside the range of the game world. In a realistic scene, they can be used to simulate the sun or moon. In an abstract game world, they can be a useful way to add convincing shading to objects without exactly specifying where the light is coming from.
By default, every new Unity scene contains a Directional Light. In Unity 5, this is linked to the procedural sky system defined in the Environment Lighting section of the Lighting Panel (Lighting>Scene>Skybox). You can change this behaviour by deleting the default Directional Light and creating a new light or simply by specifying a different GameObject from the ‘Sun’ parameter (Lighting>Scene>Sun). Rotating the default Directional Light (or ‘Sun’) causes the ‘Skybox’ to update. With the light angled to the side, parallel to the ground, sunset effects can be achieved. Additionally, pointing the light upwards causes the sky to turn black, as if it were nighttime. With the light angled from above, the sky will resemble daylight. If the Skybox is selected as the ambient source, Ambient Lighting will change in relation to these colors.
An Area Light is defined by a rectangle in space. Light is emitted in all directions uniformly across their surface area, but only from one side of the rectangle. There is no manual control for the range of an Area Light, however intensity will diminish at inverse square of the distance as it travels away from the source. Since the lighting calculation is quite processor-intensive, area lights are not available at runtime and can only be baked into lightmaps.
Since an area light illuminates an object from several different directions at once, the shading tends to be more soft and subtle than the other light types. You might use it to create a realistic street light or a bank of lights close to the player. A small area light can simulate smaller sources of light (such as interior house lighting) but with a more realistic effect than a point light.
Like area lights, emissive materials emit light across their surface area. They contribute to bounced light in your scene and associated properties such as color and intensity can be changed during gameplay. Whilst area lights are not supported by Precomputed Realtime GI, similar soft lighting effects in realtime are still possible using emissive materials.
‘Emission’ is a property of the Standard Shader which allows static objects in our scene to emit light. By default the value of ‘Emission’ is set to zero. This means no light will be emitted by objects assigned materials using the Standard Shader.
There is no range value for emissive materials but light emitted will again falloff at a quadratic rate. Emission will only be received by objects marked as ‘Static’ or “Lightmap Static’ from the Inspector. Similarly, emissive materials applied to non-static, or dynamic geometry such as characters will not contribute to scene lighting.
However, materials with an emission above zero will still appear to glow brightly on-screen even if they are not contributing to scene lighting. This effect can also be produced by selecting ‘None’ from the Standard Shader’s ‘Global Illumination’ Inspector property. Self-illuminating materials like these are a useful way to create effects such as neons or other visible light sources.
Emissive materials only directly affect static geometry in your scene. If you need dynamic, or non-static geometry - such as characters, to pick up light from emissive materials, Light Probes must be used.
Ambient light is light that is present all around the scene and doesn’t come from any specific source object. It can be an important contributor to the overall look and brightness of a scene.
Ambient light can be useful in a number of cases, depending upon your chosen art style. An example would be bright, cartoon-style rendering where dark shadows may be undesirable or where lighting is perhaps hand-painted into textures. Ambient light can also be useful if you need to increase the overall brightness of a scene without adjusting individual lights.
Ambient light settings can be found in the Lighting window.


THOSE MOMENTS.
-
2016 HedgeFinance Conference
-
B&W
yet the celebration of grey.
-
小e
model. tattoo artist. bff.
-
Many a city
unforgettable memories - montreal.
-
ARBITRARY
random mix with worth.
-
James-Alphonse
with great music comes great responsibility.
-
A PLACE I CALL HOME
cosmopolitan nostalgia
-
BOKEH FOG
it's like marshmallows; can't get enough.
-
A DIVERSE MONOLAND
my four months in toronto.
-
OLD STUFF
6 years of amateur shooting.


A simple TCP server implementation. Needs better reuse of resources, optimizations, etc. TCP connectors implement TcpConnectionHandler, and use TcpConnection class - no other dependency with the rest.


recipes site
simple front end site that communicates with a back-end REST API
tech learned: node.js / webpack / react / express / mongodb / AWS S3 / AWS EC2
"pirate" game
simple game created to explore/apply react knowledge. remake of game that I made in high school on the TI-84 calculator. unfinished
tech learned: node.js / react
clone of etherscan.io. created to learn more about ethereum and node.js
basic features complete. not hosted due to extreme space requirements


--- layout: example categories: example/v1.0.0 version: v1.0.0 title: Toggling baselayers description: Toggling between three different baselayers. tags: - ui - layers ---


Sylvie and Bruno
by Lewis Carroll
Sylvie and Bruno, first published in 1889, and its 1893 second volume Sylvie and Bruno Concluded form the last novel by Lewis Carroll published during his lifetime. Both volumes were illustrated by Harry Furniss.
The novel has two main plots: one set in the real world at the time the book was published (the Victorian era), the other in the fictional world of Fairyland. While the latter plot is a fairytale with many nonsense elements and poems, similar to Carroll’s most famous children’s book Alice’s Adventures in Wonderland, the story set in Victorian Britain is a social novel, with its characters discussing various concepts and aspects of religion, society, philosophy and morality.
Source: Carroll, L. (1889). Sylvie and Bruno. London: Macmillan and Co.
- Preface
- Preface and explanation of purpose behind the book.
- Chapter 1: “Less Bread! More Taxes!”
- The Chancellor gets agitated at the roaring crowd outside his window. They are waiting for the Warden and seem to be screaming for less bread and more taxes. Bruno comes in looking for Sylvie.
- Chapter 2: “L’Amie Inconnue”
- Onboard a train, the narrator meets someone who looks like Sylvie. The narrator reviews a letter written to him.
- Chapter 3: “Birthday-Presents”
- The chancellor and the sub-warden discuss the populace who are actually saying more bread—less taxes.
- Chapter 4: “A Cunning Conspiracy”
- The Chancellor signs an agreement with my Lady who has given herself the title of Vice Wardeness.
- Chapter 5: “A Beggar’s Palace”
- There is talk of ghosts.
- Chapter 6: “The Magic Locket”
- Sylvia and Bruno, along with their dad who was made king of elfland, eat the local fruit.
- Chapter 7: “The Baron’s Embassy”
- Bruno and Sylvie and My Lady talk to the Baron about the military and then decide to take a walk and have a picnic in the gardens.
- Chapter 8: “A Ride on a Lion”
- Lady Muriel and the Earl discuss the weight of tea.
- Chapter 9: “A Jester and a Bear”
- Sylvie, Bruno, My Lady, and the Professor wander through the gardens. There is a silly limmerick about a headless bear.
- Chapter 10: “The Other Professor”
- The professor is confused as to which is the lion and which is the gardner.
- Chapter 11: “Peter and Paul”
- The other professor recites a poem about Peter and Paul.
- Chapter 12: “A Musical Gardener”
- Sylvie, Bruno, and the Other Professor continue chatting.
- Chapter 13: “A Visit to Dogland”
- Sylvie, Bruno, and the Other Professor enter Dogland and are spoken to by the guard.
- Chapter 14: “Fairy-Sylvie”
- Arthur and the narrator talk about Lady Muriel and their relationship.
- Chapter 15: “Bruno’s Revenge”
- Bruno and the narrator discuss the fairy king’s dinner party.
- Chapter 16: “A Changed Crocodile”
- Lady Muriel and the narrator talk about inviting Dr. Forester to a future picnic. the narrator sees Bruno and Sylvie curled up in the moss asleep.
- Chapter 17: “The Three Badgers”
- Lady Muriel, Arthur, and the Earl and his daughter consider going off on their own picnic.
- Chapter 18: “Queer Street, Number Forty”
- The Professor appears from nowhere.
- Chapter 19: “How to Make a Phlizz”
- Eric gives a report of the invalid to Lady Muriel and the others.
- Chapter 20: “Light Come, Light Go”
- Lady Muriel meets Sylvie and Bruno.
- Chapter 21: “Through the Ivory Door”
- Sylvie asks the Professor for help.
- Chapter 22: “Crossing the Line”
- Arthur and Lady Muriel prepare for Captain Lindon’s arrival.
- Chapter 23: “An Outlandish Watch”
- The narrator talks to two fishermen’s wives.
- Chapter 24: “The Frogs’ Birthday-Treat”
- Queen Titania’s baby is missing.
- Chapter 25: “Looking Eastward”
- Talk of the Sabbath and Free-Will.


StpCallback_TransmitReleaseBuffer
void StpCallback_TransmitReleaseBuffer
(
const STP_BRIDGE* bridge,
void* bufferReturnedByGetBuffer
);
Summary
Used together with StpCallback_TransmitGetBuffer to transmit a BPDU generated by the STP library.
Parameters
- bridge
- The application receives in this parameter a pointer to the bridge object returned by
STP_CreateBridge.
- bufferReturnedByGetBuffer
- The application receives in this parameter the same value it returned from StpCallback_TransmitGetBuffer. The callback implementation may or may not need this value.
Remarks
This callback is called by the STP library only if StpCallback_TransmitGetBuffer returned a
non-NULL address.


|
reVision
5.0.0
Video game engine project.
|
An abstract base-class for assets. More...
#include <Asset.h>
Public Member Functions | |
| virtual | ~Asset ()=default |
| Destroy the asset only when all references are destroyed. More... | |
| std::string | getFileName () const |
| Retrieves the file name of this asset. More... | |
| void | setFileName (const std::string &filename) |
| Sets the file name of this asset. More... | |
| void | addCallback (const std::shared_ptr< bool > &alive, const AssetFinalizedCallback &callback) |
| Attaches a callback method to be triggered when the asset finishes loading. More... | |
| bool | ready () const noexcept |
| Retrieves whether or not this asset has completed finalizing. More... | |
Static Public Member Functions | |
| template<typename FirstAsset , typename ... RemainingAssets> | |
| static bool | All_Ready (const FirstAsset &firstAsset, const RemainingAssets &...rest) noexcept |
| Check if an input variadic list of shared assets have all completed finalizing. More... | |
Protected Member Functions | |
| Asset (Engine &engine, const std::string &filename) | |
| Create asset that uses the specified file-path. More... | |
| virtual void | initialize ()=0 |
| Initializes the asset. More... | |
| void | finalize () |
| Declares this asset ready-to-use. More... | |
Protected Attributes | |
| Engine & | m_engine |
| std::atomic_bool | m_finalized = false |
| GLsync | m_fence = nullptr |
| std::string | m_filename = "" |
| std::vector< std::pair< std::shared_ptr< bool >, std::function< void()> > > | m_callbacks |
Friends | |
| class | AssetManager |
An abstract base-class for assets.
Represents some form of data to be loaded from disk, such as shaders, models, levels, and sounds.
|
inlinevirtualdefault |
Destroy the asset only when all references are destroyed.
|
protected |
Create asset that uses the specified file-path.
| void Asset::addCallback | ( | const std::shared_ptr< bool > & | alive, |
| const AssetFinalizedCallback & | callback | ||
| ) |
Attaches a callback method to be triggered when the asset finishes loading.
| alive | a shared pointer indicating whether the caller is still alive or not. |
| callback | the method to be triggered. |
|
inlinestaticnoexcept |
Check if an input variadic list of shared assets have all completed finalizing.
| <> | variadic list of assets to check (auto-deducible). |
| firstAsset | the first value to check. |
| ...rest | the rest of the values to check. |
|
protected |
Declares this asset ready-to-use.
| std::string Asset::getFileName | ( | ) | const |
Retrieves the file name of this asset.
|
protectedpure virtual |
Initializes the asset.
Implemented in Sound.
|
noexcept |
Retrieves whether or not this asset has completed finalizing.
| void Asset::setFileName | ( | const std::string & | filename | ) |
Sets the file name of this asset.
| filename | the file name to set this asset to. |


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Rutgers Involvement Fair
September 2, 2013.
Rutgers Student Center / College Ave Gym, College Ave.
Rutgers Yoyo Dojo will be participating in the Fall 2013 Involvement Fair! Feel free to visit us at our booth, where we will give demonstrations and interactive lessons. We will be performing on the stage that day at around 3pm!
Come and enjoy the festivities!


GillespieSSA: Gillespie's Stochastic Simulation Algorithm (SSA)
GillespieSSA provides a simple to use, intuitive, and
extensible interface to several stochastic simulation
algorithms for generating simulated trajectories of finite
population continuous-time model. Currently it implements
Gillespie's exact stochastic simulation algorithm (Direct
method) and several approximate methods (Explicit tau-leap,
Binomial tau-leap, and Optimized tau-leap). The package also
contains a library of template models that can be run as demo
models and can easily be customized and extended. Currently the
following models are included, decaying-dimerization reaction
set, linear chain system, logistic growth model, Lotka
predator-prey model, Rosenzweig-MacArthur predator-prey model,
Kermack-McKendrick SIR model, and a metapopulation SIRS model.
Downloads:
Reverse dependencies:
Linking:
Please use the canonical form
https://CRAN.R-project.org/package=GillespieSSA
to link to this page.


PROGRAM
PROGRAM
Our speakers include the following researchers.
David Bacon, IBM Research.
Dr. Bacon's projects include the Metronome real-time garbage collector, thin locks synchronization, rapid type analysis, and the Hermes programming language. His current work focuses on real-time systems, high-level hardware synthesis, system visualization, and non-locking algorithms including concurrent garbage collection.
Byron Cook, Microsoft Research.
Dr. Cook’s research interests include program verification, theorem proving, concurrency, and programming languages. Byron has developed the Terminator termination prover and the SLAyer shape analysis tool. Before moving to MSR Cambridge Byron co-developed the SLAM software model checker.
neal Glew, intel Research.
Neal Glew received a PhD from Cornell University in 2000. Neal joined Intel Corporation In 2002. His research has focused on Typed Assembly Language, Java virtual machines, and parallel functional languages.
Jan-willem Maessen, Sun Laboratories.
Dr. Maessen is working on the design and implementation the Fortress programming language at Sun Microsystems Laboratories. His interests include language design, computer architecture, parallel algorithms, and memory consistency models. Jan has a Ph.D. from MIT, and worked on parallel Haskell.
Martin Odersky, EPFL.
Prof. Odersky designed the Pizza and GJ extensions of Java. His current research concentrates on the design of the language Scala which achieves a fusion of object-oriented and functional programming, while remaining compatible with platforms such as Java and .NET.
Vivek Sarkar, Rice University.
Prof. Sarkar conducts research in programming languages, program analysis, compiler optimizations and virtual machines for parallel systems. His past projects at IBM include the X10 language, Jikes RVM, ASTI, and PTRAN. He is currently working on the Habanero Multicore Software project at Rice University.
Peter Sewell, CAmbridge University.
Peter Sewell is a Senior Lecturer at the University of Cambridge, following a Royal Society University Research Fellowship and study at Edinburgh and Oxford. His main interests are in applied semantics: for programming languages, specification and verification techniques for network protocols, and security.
Prague, Czech Republic
June 22 - 27
Sponsored by


H.B. Woodrose Seeds
First off let me say this was my first experience with any form of psychedelic. I had no clue what to expect, other than what I had heard from a friend of mine.
Preparation:
I took a nail file and shaved off the outer coating of the seeds until it was light brown and somewhat shiny. For the last 3 seeds I decided to pulverize them hoping they'd take effect sooner.
At 6:20 P.M. I took my first two seeds. It was hard to chew them with braces. They're rock hard.
At 7:00 I took another seed. I was only planning to do three seeds for my first time.
Fifteen minutes later I began to feel a little floaty, but it went away. I was bored as hell and was getting somewhat impatient.  I was approaching the hour and a half mark and felt nothing. Frustrated, I prepared another seed, pulverizing it this time, and ate it.
Waited a little. Still nothing. I prepared two more seeds, but didn't eat them yet. I found a good movie on TV. At 9:20 I still felt nothing. I thought I had a weak batch. My friend was feeling stuff with one seed. I'd had four. So I took the last two.
Slowly the effects came on. Extremely subtle. I just laid down and stared at the TV for an hour. I think I blinked once or twice that whole time.
Nature called. By this time everyone in my house was asleep. Total silence. This was about when I first witnessed visual distortions of any kind. The bathroom is an extremely small, and monotonously lit. On the wall that I was facing there is a small painting of a plant of some kind. I stood there and stared at it for a while, then I noticed that parts of the frame was starting to disappear into the surrounding whiteness.
I spent the next two hours in my room listening to electronic music and creating strange patterns out of little spheres which appeared just above the carpet. This kept me busy for a few hours. At around 2:00a.m. I decided I should get some sleep. I had read that most people found it easy to fall asleep on LSA. However I was still peaking.
I think the first mistake I made was to turn the music off.
The mental effects of LSA were like turning on a ‘television’ in my mind, constantly feeding me with totally random thoughts and images. With music playing I didn’t pay much attention to the television. When my environment was totally silent I wasforced to watch this television. I couldn’t turn it off, and trying only made it worse. Especially while peaking. For the next two hours I was convinced that I was going insane.
After an hour I could tell that the effects were diminishing, but my mind was still racing with random thoughts. Ever 30 minutes or so I got out of bed and walked around the house in an attempt to re-orient myself. I still felt I was completely alone. I had no concept of the outside world.
At around 4:00a.m. I managed to fall asleep. I woke up at 7:30a.m. and it felt like last night was all a dream and that everything was going to be okay. I decided to go watch some more TV.
A half hour later I began to feel like I was still trapped in a dream. I had no recollection of the other day before the trip, and I had trouble convincing myself that I was back to reality. Everything seemed different. It wasn’t until about 11:30 in the morning that I suddenly felt normal again. The intense fear I felt the other night seemed almost enjoyable.
That afternoon I began to feel slightly nauseous but I never vomited.
I am debating whether or not to take the seeds again. If I do I will most definitely not take them at night or alone. I will also have some soothing music ready if I do start feeling anxiety. I found that classical music works best. The trip was not as visual as I had expected, though that wasn’t necessarily a bad thing. I had to concentrate to make things happen, and it took practice but I got better at it.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


Enjoy the beautiful arches and dome of the Galway Cathedral.
Inside the cathedral is even more beautiful with its elegant stained glass windows.
There is a lovely riverside path from the Galway Cathedral to the Spanish Arch.
Check out the Spanish Arch!
Ships passed through the Spanish Arch carrying goods from Spain to unload in the city.
Water no longer flows through the arch, but the arch sits next to a fast flowing river.
Walk down the streets of Galway and discover the shops and pubs it has to offer.
Galway is a small city and easily explored by foot. You can get from the Spanish Arch to Galway Cathedral and anywhere else in a matter of minutes!
Galway is a great place to get a Claddagh ring. The traditional Irish ring represents love, loyalty and friendship through the heart, crown and hands, respectively.
The Aran Islands are only a short ferry ride from Galway and it is a trip that I highly recommend!
Take a trip to see one of Ireland's top destinations: the Cliffs of Moher.
Located in the Burren region in County Clare, the Cliffs of Moher are just a short trip from Galway.
The highest point of the cliffs is 214m and on a clear day you can see the Aran Islands and Galway, among other places.
The Cliffs of Moher have also been featured in the sixth Harry Potter film.


CrimPapers
Articles published on 22 August 2019
On 22 August 2019, 8 new articles were published in 7 journals.
Reducing Discretion in the Administration of Prison Leave: in Search of Legitimacy
Victimization, Crime Propensity, and Deviance: A Multinational Test of General Strain Theory by Marco Teijón-Alcalá, Christopher Birkbeck
Parenthood, Maturation, and Desistance: Examining Parenthood Transition Effects on Maturation Domains and Subsequent Reoffending
Precocious and Problematic? the Consequences of Youth Violent Victimization For Adolescent Sexual Behavior
Human Trafficking in Southeast Asia: Results From A Household Survey in Vietnam by Ngan Dinh, Conor Hughes, James Hughes, Margaret Maurer-Fazio
Dynamic Patterns of Terrorist Networks: Efficiency and Security in the Evolution of Eleven Islamic Extremist Attack Networks
Fear of Crime and Related Factors in Relatives of Individuals With Mental Disorders by Gül Ergün, Aysun Güzel
Mock-Juror Reactions to Multiple Interview Presentation and Rapport-Building by Genevieve F. Waterhouse, Anne M. Ridley, Ray Bull, Rachel Wilcock


INTERNSHIPS
Craigslist is currently looking for Teachers/Instructors for their hands-on after school enrichment programs. Interns must be available between the hours of 2:00 and 5:00. This is a part time position and could be 1 to 5 days a week with approximately a 2 hr. time frame each day. After school programs take place at several elementary and pre-schools on the Eastside. This is a program for teens who enjoy working with preschool & elementary aged children, and need a part time position.
The Microsoft High School internship program is one of the most rewarding programs for high schoolers available. They have the opportunity to develop cutting-edge technology, work with high-tech professionals, and get paid for their work. It is the perfect program for teens dedicated to the STEM field and ready for an intense comittment.
RadioActive is the youth media program at KUOW where youth delight in discovering public radio journalism. RadioActive supports young people’s growth as media makers by sharing access to public radio’s knowledge, skills and institutions. It is a short drive away from Redmond.


The Kp index is a somewhat simplified (some might argue too much so) scale which represents
the latest predicted planetary geomagnetic activity on a range from 0 to 9.
Generally speaking; we want this to be 7 and greater.
Gauge offline
A component of Interplanetary Magnetic Field (IMF) generated by the sun. For auroras to occur,
the IMF must link up to the Earth’s magnetic field so that the ionised particles can channel
down the magnetic field lines into our atmosphere.
So in short, we want this to be negative.
Say, -8 and below is good, but this means nothing unless we have the particles..
Gauge offline
This is fairly straight forward; auroras are caused by ionised particles colliding with the
Earth’s atmosphere - with higher speeds comes the potential for more spectacular collisions.
Generally we'd like to see speeds over 600-700km/s, with a negative Bz.
Gauge offline
Not typically a pivotal factor for prediction, as higher speeds result in lower density.
However if they are both high, you can probably get excited.


| Block |
The basic building block of the Blocks framework.
|
| BlockRegistry |
A thread safe register for blocks.
|
| BlocksConfig |
The main configuration object of Blocks.
|
| BlocksTheme |
A Blocks theme.
|
| Chunk |
A chunk holds an array of Block elements.
|
| ChunkCache |
An in memory threadsafe chunk cache implementation.
|
| ChunkManager |
The ChunkManager is responsible for the administration of chunks and the maintenance of the underlying ChunkCache.
|
| ChunkManagerState |
An application state to handle the lifecycle of a ChunkManager.
|
| ChunkMesh |
A class to help create a mesh for a specific block type of a chunk.
|
| ChunkPager |
A pager implementation that pages the meshes of the chunks around the given location.
|
| ChunkPagerState |
An AppState implementation that manages the lifecycle of a ChunkPager .
|
| Cube |
A shape implementation for a cube.
|
| FacesMeshGenerator |
A chunk mesh generator that creates and combines a quad mesh for each of the visible faces of a block of the same
type.
|
| FileRepository |
A File repository implementation for loading and storing chunks using the Protocol Buffers method.
|
| FlatTerrainGenerator |
A ChunkGenerator implementation that creates a flat looking terrain at a given y value.
|
| Pager<T> |
An abstract implementation of a 3D pager.
|
| PhysicsChunkPager |
A pager implementation that attaches and detaches collision meshes to the given physicsSpace based on the location
in the grid.
|
| PhysicsChunkPagerState |
|
| Pyramid |
A shape implementation for a pyramid.
|
| RoundedCube |
A shape implementation for a rounded cube.
|
| ShapeRegistry |
A thread safe register for shapes.
|
| Slab |
A shape implementation for a slab.
|
| Stair |
A shape implementation for a stair.
|
| TypeRegistry |
A thread safe register for block types.
|
| Wedge |
A shape implementation for a wedge.
|


This is Mainly for the customers who are going to use our e-learning portal online.
Monthly Subscription Plan for Online Users
Starter Plan
₹ 0/ Month
Enhanced Plan
₹ 1000/ Month
Professional Plan
₹ 2500/ Month
Maximum Plan
₹ 4000/ Month
Yearly Subscription Plan for Online Users
₹ 0/ Year
₹ 10000/ Year
₹ 25000/ Year
₹ 45000/ Year


The ExpressionLogger object provides the ability to record the value for one or more expressions whenever the object is triggered during the simulation run. An ExpressionLogger can be triggered by one or more types of events:
· At regular time intervals,
· Whenever an object changes state, and
· Whenever the value of an expression changes.
Logging at regular intervals is handled by the keywords in the Key Inputs tab. State and value tracing is handled by the keywords in the Tracing tab.


SLEEPLESS IN SEATTLE A film review by Jon Webb Copyright 1993 Jon Webb
Meg Ryan and Tom Hanks are destined for each other, though they haven't met. Meg becomes aware of Tom when he discusses his former marriage on a call-in radio show and becomes known as "Sleepless in Seattle".
This movie is much like MADE IN HEAVEN in the view it presents of love: that it is perfect, unchangeable, and that for every man there is exactly one woman, and vice versa. An oddly constant view (with no basis in reality, that I can think of) from Hollywood, by the way: I can think of dozens of films that present the same idea, from DAMAGE to A STRANGER AMONG US.
SLEEPLESS IN SEATTLE is filled with Nora Ephron's own pleasant sense of humor, e.g., the running joke on AN AFFAIR TO REMEMBER being deeply loved by women but not understood by men. It's a cute movie, somewhat thin on plot--after all, everything that happens is designed to bring Ryan and Hanks together at the end of the film, so nothing else matters.
I would say that the final meeting is flubbed from a directorial point of view. It should be a soaring moment, comparable to the great uplifting moments from old romantic movies, but instead it is only a little sweet.
Tom Hanks and Meg Ryan play their stereotyped characters, Ryan a little more obviously than Hanks. She's fun to watch, but I wonder if she can do anything other than act loopy (PRELUDE TO A KISS wasn't encouraging).
What I think this movie lacks most is some sort of hard edge. It should have some believable tension; Ryan's fiancee is never a credible threat.
But it's still a great date movie.
-- J
.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Plan your Workday
9:00 A.M.
10:00 A.M.
11:00 A.M.
12:00 P.M.
01:00 P.M.
02:00 P.M.
03:00 P.M.
04:00 P.M.
05:00 P.M.


In Too Deep
(Australia) 1990
Directed by Colin South & John Tatoulis Written by Deborah Parsons Cast - Hugo Race, Samantha Press, John Flaus, Dominic Sweeney and Rebecca Elmaloglou.
104 minutes colour
Review By Ralph "Leechboy" Beard
Rating: 4 out of ten or ** out of five (You Decide)
PLOT OUTLINE - Wendy (Samantha Press), a jazz Singer, loves Mack (Hugo Race) a criminal and wanna be rock singer who's planning a bank heist. Mack is also being tailed by a couple of cops, one an inexperienced rookie (Dominic Sweeney), the other (John Flaus) a worn out veteran who frequents Wendy's jazz club. They're tailing Mack, because he has an audiotape that may show evidence of governmental corruption. Meanwhile Wendy's sexually awakener, fifteen year old sister (Rebecca Elmaloglou) has moved in with her, and is secretly watching Mack and Wendy's late night love trysts… Much zaniness ensues
THE REVIEW: Main problem first - About 2% of rood rock star to actor conversions in filmdom ever really work. Unfortunately, trying to cast Hugo Race as a violent, sexy criminal falls into the "what the hell where they thinking" category that takes up 98% of the rest. But, hell, it's not as if he's the only problem in this well-intentioned but ultimately below average Aussie thriller.
Leads, Race and Samantha Press are wooden and dull, hampered by some unfortunate attempts at sexy dialogue early on. Though they do manage some heat later in their love scenes, helped, no doubt by them keeping their mouths shut. The film suffers every time the story shifts back to these two. Which is unfortunately, the other main story isn't any great shakes either.
The second part, concerning two cops, political corruption and that elusive tape is incredibly muddled. At many points during the movie I had no idea what was going on, a situation that didn't improve on repeated viewing. There is no doubt that this film's Achilles heel is its script.
As for the rest of the cast, it's a mixed bag. John Flaus, one of Australia's most criminally underused actors, is in top form as the withering, alcoholic Jazz fan cop, who may or may not have sold out to the highest bidder. Although he falters at one point, when the script calls for him to get up on stage and deliver a drunken beat sermon, but believe me, they way it was written, no one could have pulled it off. Dominic Sweeney is fine, though he seems to be uneasy in front of the lens but he really isn't given a whole lot to do. Pre Home and Away Elmaloglou is pretty good as the inquisitive JoJo, but her character seems extraneous to the story, well, at least until the final scenes.
I must admit, In Too Deep does have some impressive qualities, not the least of which is it visual element. Cinematographers Mark Gilfedder & Peter Zakharov have achieved the almost impossible by making Melbourne look like a sweat drenched tropic city, which is akin to turning London into San Paolo. The bar is an oppressive red, like all of it's patrons are being baked while they drink, outside it hazy orange by day and cool blue by night. If only Deborah Parson's script could have supported this idea better. Having two director's (Colin South & John Tatoulis) doesn't help either, the most glaring example of which is the final retribution/Fight scene, where for some reason the camera pulls away from the onscreen action, and more importantly it doesn't pull away to anything else. It just stays static as the fight happens in the distance. It has no reason to it; it's just bad direction.
And, ultimately, that is what sums up In Too Deep, it's tries to be good, and you want it to work, but, it's just lacking the talent behind it, that it needs to succeed.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


DISCLAIMER: This data is for informational purposes only and is not verified or purposed for official representation or interpretation of any kind by the University of Chicago, the City of Gary, LocalData, or the Gary Redevelopment Commission. If you'd like to suggest improvements or corrections, by all means, let us know.


We're sorry but Loopover doesn't work without JavaScript enabled. Please enable it to continue.
<% if (VUE_APP_GA_ID) { %> <% } %>


Michal likes to write code.
These are the skills Michal has in coding:
To get into contact with Michal visit her GitHub: Michals Profile


This is a Progressive Web App test by mdworld.nl. The goal is to make Web Apps behave more like Hybrid/Native Apps. The explored specs include:
Additionally, this app is implemented with Vue and Wing CSS.
Sources on Github Run on Heroku


{% load i18n %} {% block content %}
{% trans "We're sorry but you are not permitted to access this page." %}


Business Analyst
Interfaces business and technology
Lay would not tell me what it is that he does so I figured I'd just put some placeholder text about what a business analyst should do.
Developer
Implements Software
A Developer within Lilly designs and implements software for both internal and external use. They do this through the use of many technologies such as the Salesforce.com platform.
Systems Analyst
Systems Analyst Desc
Systems analysts act as a more technical point of contact for customers. They convert vague user requirements into formal user stories.


{% include "includes/layout/header.html" %}
{% include "includes/content/carousel.html" %}
{% include "includes/content/nosotros.html" %}
{% include "includes/content/servicios.html" %}
{% include "includes/content/machineshop.html" %}
{% include "includes/content/casingsolutions.html" %}
{% include "includes/content/noticias.html" %}
{% include "includes/content/contacto.html" %}
{% include "includes/layout/footer.html" %}
{% block scripts_js %}{% endblock %}


@* * Copyright 2021 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import uk.gov.hmrc.agentepayeregistrationfrontend.controllers.routes.AgentEpayeRegistrationController @import play.api.Configuration @import uk.gov.hmrc.agentepayeregistrationfrontend.models.RegistrationRequest @this( uiMainTemplate: main_template, uiForm: FormWithCSRF, uiInput: Input, uiErrorSummary: ErrorSummary, errorPrefix: error_prefix ) @(detailsForm : Form[RegistrationRequest])(implicit request: Request[_], messages: Messages, config: Configuration) @uiMainTemplate(title = errorPrefix(detailsForm) + Messages("details.agent.title"), bodyClasses = None) { @if(detailsForm.hasErrors){ @uiErrorSummary(Messages("error.summary.heading"), detailsForm, Seq.empty, Some("detailsForm")) } @uiForm( action = AgentEpayeRegistrationController.details, 'class -> "form js-form") {
@Messages("details.agent.description")


OFFICE SPACE
* (out of 4) - a poor movie
Release Date: February 19, 1999 Starring: Jennifer Aniston, Ron Livingston, Gary Cole, Stephen Root, David Herman, Ajay Naidu, John C. McGinley, Paul Willson Directed by: Mike Judge Distributed by: 20th Century Fox Films Corp. MPAA Rating: R (language, brief sexuality) URL: http://www.execpc.com/~kinnopio/reviews/1999/office.htm
Confucius once said, "Governing a nation is like cooking a small fish -- don't overdo it." His maxim might be easily applied to writing a comedy script, for quantity over quality is one of the worst mistakes an amateur scribe can make. Granted, Mike Judge, writer-director of the workplace satire OFFICE SPACE isn't exactly an amateur (his most infamous work, the MTV series "Beavis and Butt-head" was pure gold for its network). But unfailingly, Judge manages to make some rather inexcusable mistakes in OFFICE SPACE by spreading an iffy plot over too much ground.
The iffiness in Judge's plot -- a group of coworkers plan the downfall of their despicable boss -- is not in its appeal. In fact, based on the popularity of Scott Adams' cartoon "Dilbert," which will soon have its own television series, a satirical view of the American workplace is a hot item in Hollywood. Unfortunately the concept lends itself to skit-length sequences which would be more at home on the set of "Saturday Night Live" rather than a full-length feature. The most convincing evidence of this are the trailers for OFFICE SPACE, which feature almost all of the movie's top content; this leaves the actual picture appearing very deflated.
Other evidence of OFFICE SPACE's failure to work are its lack of good jokes. The comedy is marginally funny at best, but not enough to get a packed house of theater-goers to laugh out loud. The material in the movie is on-key for an older demographic than Judge is used to targeting, and this could partially explain his work here. However, the movie is loaded with too many misfires -- including the token plot -- to allow for any excuse.
The plot centers around three or four cubicled engineers, headed up by Peter Gibbons (Ron Livingston), at a company named Initech. After the movie elaborately establishes the miserable working conditions at Initech, the movie introduces us to two consultants (John C. McGinley and Paul Willson) which are in charge of "downsizing" the company's payroll. When Peter and his gang learns of this, as well as the reason behind it -- so their smooth talking boss Bill Lumbergh (Gary Cole)'s stock will go up -- they set about creating a plan to see his downfall.
The circumstances that follow were obviously intended to be hilarious but they come out as anything but. A sympathetic cast and a muddled Jennifer Aniston-as-love-interest subplot are all that keep this one together, but it's definitely missable in lieu of something more intelligent.
all contents © 1999 Craig Roush
-- Craig Roush<EMAIL_ADDRESS>-- Kinnopio's Movie Reviews http://www.execpc.com/~kinnopio
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


This tutorial will teach you how to manipulate the DOM from JavaScript. Knowledge of how to access the DOM from JavaScript is assumed. There are five short lessons, followed by one exercise.
It is highly recommended that you open your browser's JavaScript console now. When stuff doesn't work, there's usually an error printed in the console. The console is your friend.
The simplest way to to change the DOM is to assign some HTML to an element's
innerHTML
[?]
property. This will erase the element's current content and
replace it with your own.
E.g. element.innerHTML = 'Hello
World'
Here is a span which contains some text and an image: Wish upon a
This is the DOM tree for the above span:
 ┣ Wish upon a ┗
Write some JavaScript code below that removes both the text and the star, and replaces them with a star that's 'on'. There is a 'star_on.gif' image on this server.
In the previous lesson we used innerHTML
. Never use
innerHTML
again. Although it is simple, fast and convenient,
it opens a boat load of security holes, both obvious and subtle. Trust us.
The rest of this tutorial will examine the more complicated, but safe
alternative.
Since destroying something is easier than building something, let's
start by destroying a node. Every node has a method
removeChild
[?]
that takes as an argument the node that is to be destroyed. Note
that this method needs to be called on the offending node's parent.
E.g. node1.removeChild(node2)
Here is a span which contains some text and an image: Shooting
This is the DOM tree for the above span:
 ┣ Shooting ┗
Write some JavaScript code below which deletes the star.
Nodes may be added as children of another node with the
appendChild
[?]
method. This method is called on the new parent and takes the child as its argument.
If the child you are appending is an existing element in the DOM, it will be automatically
removed from its existing location. Any grandchildren will follow the child.
E.g. node1.appendChild(node2)
Here is a span which contains some text and an image:
This is the DOM tree for the above spans:
 ┣  ┃ ┣ Here's a star: ┃ ┗  ┃  ┗  ┗ Move it here:
Write some JavaScript code below which moves the star from 'source' to the end of 'target', without changing the text.
Creating a new text node is easy, use just call
document.createTextNode('hello')
[?]
Here is a span which contains a formula: 6 * 7 =
This is the DOM tree for the above span:
 ┗ 6 * 7 =
Write some JavaScript code below which completes the equation.
New elements are created by calling
document.createElement('SPAN')
[?]
with the argument being the element's HTML tag name.
Here is an empty span:
This is the DOM tree for the above span:

Write some JavaScript code below which creates an image, sets its 'src' property to a star, and inserts it into the empty span.
You now know the API for manipulating a DOM tree.
For this exercise, put all these pieces together to write code that takes a
string and renders it with undulating font sizes. Each letter should be in its own
'span' tag, and each span's .style.fontSize
property starts at '10px'
and increases by 5 pixels until the middle of the string is reached, before shrinking
back to 10 pixels. Here is an example:
Below is an empty div with the id 'rollercoaster' which you can append to:
Bonus: Try creating an undulating sine wave or shifting colours.
Use the Intro to JavaScript forum to share your solution to this exercise and see other people's solutions.


CHOOSE YOUR TREK
Create New Trip
Filter by choosing from the dropdown menu
Click the table column name below to sort the list
| ID | Name | Continent | Category | Weeks | Cost |
|---|
Filter by choosing from the dropdown menu
Click the table column name below to sort the list
| ID | Name | Continent | Category | Weeks | Cost |
|---|


Civil Servants Are Nigeria's Problem -Afe Babalola
According to him, the type of civil servants Nigeria had was capable of making him have enemies if he had accepted the offer to serve as a minister.
by SaharaReporters, New York
Legal icon and Senior Advocate of Nigeria, Afe Babalola, has said that civil servants are the country's main problem.
Babalola, who spoke in Ibadan, Oyo State, during the conferment of Honorary Doctor of Letters on him by the University of Ibadan, said he turned down two ministerial appointments because he didn't want to work with civil servants.
According to him, the type of civil servants Nigeria had was capable of making him have enemies if he had accepted the offer to serve as a minister.
He said, “Well, I turned ministerial appointments down for two reasons.
“One, I cannot work with the present type of civil servants in this country.
"The civil servants are the problems in this country.
"None of them can work the way I work.
"I will create instant enemies if I had accepted to be a minister.
“The second reason was that my clients are so many.
"They protested and felt I would be disappointing them if I accepted to be a minister.”


This is a project I worked on with Reality Garage for Tristate Generation & Transmission. We were tasked with building a Virtual Reality guided tour of their renewable energy co-op program, with the words "whimsically eductional" as a guide. We built it to integrate with our Inspire XR platform (I have a few pages describing it on this site), which imposed a lot of unique technical constraints on the art we could use.
We built this experience to run on Android phones (with the Samsung Gear VR), so we landed on a low poly art style to limit the complexity of the assets. Turns out VR is pretty computationally expensive.
The phone's processing power wasn't our only limitation, however, as we needed to be able to animate, package, and export all the assets so that we could import, place, and use them at runtime (A big pain, but essential to the InspireXR platform's operation). We ended up working with Unity's Asset Bundles system to accomplish this, but we had to be efficient to load everything in a reasonable time.
This has been my largest project thus far working as a Technical Artist - I led all asset creation and animation and worked to make every scene look great in VR, within the constraints of the platform.


Piper is a puzzle game inspired by Pipe Dream. The goal of the game is to connect the lefthand entry pipe to the righthand exit pipe by rotating and moving the intermediary pipes.
There is a time limit. After a set amount of time (depending upon the game mode) green sludge will begin to be pumped through the entry pipe. If at any point there is no pipe in front of it, you lose!
Any pipe may be rotated by clicking on it and dragging the mouse. Clicking and dragging right or down will swing the pipe clockwise. Left or up will swing it counter-clockwise.
Alternatively, any piece may be rotated clockwise 90 degrees with a single left or right.
Additionally, any pipe adjacent to the empty space may be swapped for the empty space with a left click. This takes precedence over rotations on the left click. Rotations next to the empty space require clicking and dragging.
Note well, proper use of the empty space is integral to getting a high score in this game. You cannot cross over any pipe that has already been filled with sludge. If your empty space gets stuck somewhere, your game may become impossible to win.
When in puzzle mode, the sludge will move slower, so you will have more time to plan your moves. However, you will also have to contend with barriers. Barriers cannot be moved, and if the sludge ever meets a barrier, you will lose.
When in challenge mode, the slude will move slightly slower, but you will have two entry and exit pipes to connect. If you two streams meet each other, you will lose.
Nice Job.
Your score was:
Play Again
You were spaces away from the end.
Try Again


Shock as 'bubbly' ward sister at RPH dies aged 27
by Matthew CalderbankTributes have been made to a ‘bubbly’ 27-year-old nurse who died unexpectedly at her home.
Katy Marie Blezard, affectionately known as ‘Blez’ to family and friends, passed away at home overnight in Chipping, near Longridge on Friday, November 8.
Ms Blezard’s family said the cause of death has not yet been established.
“Katy was a happy and bubbly character with a huge heart,” said her family.
“She will be lovingly remembered and deeply missed by all who knew her.”
Katy began her career at Royal Preston Hospital in 2013, where she worked on the neurosurgery ward.
In recognition of her hard work and leadership skills, Katy was promoted to the senior position of sister, responsible for the overall running of the ward.
After six years helping patients with acute brain and spinal disorders, Katy joined the hospital’s critical care unit in September.
Sarah Cullen, nursing director at Lancashire Teaching Hospitals NHS Trust, said: “We are saddened to hear of our colleague Katy Blezard’s death. Our thoughts are with Katy’s family at this difficult time.
“Katy will be remembered with great fondness by her friends and colleagues.”
When not working hard, her family said Katy could often be found playing hard in her role as first team keeper for Longridge Hockey Club, or out with her dog “Zippo”, or in the Sun Inn pub in Chipping.
Her sister, Lucy Blezard, said: “Katy played hockey from a very young age. She was talent spotted by Kay Hannon, an England Hockey coach, when she was in her early teens.”
A well-respected hockey keeper, Katy would serve as captain of the girls’ Lancashire hockey squad for three years running, and was selected to play for the North of England ladies’ hockey team.
A minute’s silence was held ahead of hockey matches across Lancashire last weekend.
Longridge Hockey Club also held a minute’s applause before last weekend’s game, with Katy’s favourite tipple, a can of Fosters, sitting in the goal.
Nicki Wilkinson, captain of Longridge Hockey Club, said: “Our beautiful, bubbly, crazy 1st team keeper Katy has been taken from our lives much too soon.
“Our club has been torn apart and our hockey family devastated. Katy will leave a big hole in all our hearts as well as our net.”
Just days after her death, Katy was named in the England Hockey Team of the Week for her performance in her team’s recent 2-1 victory over local rivals Garstang.
A funeral service to celebrate Katy’s life will be held at 12pm this Thursday, November 21 at St Bartholomew’s Church, Chipping.
The service will be followed by a celebration of Katy’s life at the Sun Inn, Chipping.
Katy’s family are inviting friends, colleagues and team mates to wear hockey kits, uniforms and bright colours at the service.
Donations in memory of Katy can be made to Longridge Hockey Club, or towards the family’s chosen endometriosis charity, as Katy suffered from the condition for a number of years.


Send a Space Jam electronic postcard to someone you love. Click on the thumbnail of the card you want to send, and instructions will follow...
Looking for more WeB cards? Check out the WB Post Office! You'll find Bugs, Taz and all your favorites there -- just click to go!


--- layout: post title: "Day 15 - Bar Brothers Workout" subtitle: "Day 15, after not doing an evening workout yesterday, I realized that my weight had not dropped, but guess what, my weight had not increased since yesterday. Which is excellent to me." date: 2019-11-05 background: '/img/posts/intro-barbrothers.png' ---
My weight stayed the same as yesterday and it is excellent, I did not have the strength to exercise in the evening so I decided yesterday would be my day of rest, today I have to do walking but not cardio because my legs still hurt. Most important not to give up or retire no matter how long it takes, even though I wanted to download as soon as possible, but my body didn't work that way. At least not at this point.
At the end of the evening I arrived home late and had no time to walk, I did a short cardio at home and started my Bar Brothers training focused on the shoulders, the training was harder than usual and I managed to do only half of it uniformly.
I will do all the rest of the workout tomorrow with Bar Brothers Cardio and if it is time and early to go for a walk, anyway I hope my weight tomorrow will finally be 94kg, it's time to move on.
Good night.
Cheers!