|
This is intended as a sequel to Kekoa Proudfoot's Unofficial Quake 3 Map Specs document, which describes how to parse BSP files. It therefore uses the same notation.
This is an unofficial document. Quake 3 is a registered trademark of id Software, which does not sponsor, authorize, or endorse this document.
This document describes the Quake 3 BSP file format as the author understands it. While every effort has been made to ensure that the contents of this document are accurate, the author does not guarantee that any portion of this document is actually correct. In addition, the author cannot be held responsible the consequences of the any use or misuse of the information contained in this document.
|
The rendering process has five steps:
The first two steps do not involve any OpenGL calls. Step 3 renders a cube centered at the viewer with a pre-warped texture to create the illusion of a detailed 3D environment. The practice of creating and rendering sky boxes is discussed elsewhere and is not detailed further in this document. Steps 4 and 5 render the actual visible surfaces of the map. The opaque list contains triangles that will be rendered without alpha blending. It is sorted from front to back to take advantage of early-out depth tests on newer graphics hardware. The transparent list contains alpha blended surfaces which must be rendered from back to front to generate a correct image. A straightforward quicksort on the camera-space depth of first vertex of each surface is sufficient for these purposes. For the kinds of maps involved, splitting overlapping polygons for truly correct render order or using a radix sort for faster sorting will only increase the complexity of a renderer with improving the resulting image quality or frame rate.
1. Determine the set of visible faces.
2. Partition the visible faces into transparent and opaque lists.
3. Clear the frame buffer and render the sky box
4. Render the opaque list in front-to-back order.
5. Render the transparent list in back-to-front order.
The Visible Surface Determination section explains how to use the BSP tree and precomputed visibility data to find visible faces.
The remaining steps are straightforward and not discussed in detail, except for the actual face rendering. The vertex indexing scheme of Quake 3 files can be confusing because there are two levels of indirection. The Rendering Faces section explains how to generate triangle sets from the indices stored in a face.
|
| Lump Index | Lump Name | Description |
|---|---|---|
| 1 | Textures | Surface descriptions (assume these have been converted to OpenGL textures). |
| 2 | Planes | Planes used by map geometry. |
| 3 | Nodes | BSP tree nodes. |
| 4 | Leaves | BSP tree leaves. |
| 5 | Leaffaces | Lists of face indices, one list per leaf. |
| 7 | Models | Descriptions of rigid world geometry in map (we only use model[0]). |
| 10 | Vertexes | Vertices used to describe faces. |
| 11 | Meshverts | Lists of offsets, one list per mesh. |
| 13 | Faces | Surface geometry. |
| 14 | Lightmaps | Packed lightmap data (assume these have been converted to an OpenGL texture) |
| 16 | Visdata | Cluster-cluster visibility data. |
There are additional data used during rendering that do not appear in the file. These are:
Patches are Faces that describe sets of biquadratic Bezier surfaces. Each Patch contains an array of Bezier instances, which are described later in this document.
These Beziers are tessellated into triangles during loading so they can be rendered as triangle strips. Your implementation must create this tessellation and add an index into the patch array for patch faces.
|
void swizzle(Vector3& v) { float temp = v.y; v.y = v.z; v.z = -temp; } |
|
Two notes before we look at this process in more detail. First, the output is an array of potentially visible faces. A z-buffer test and frustum clipping (both typically provided by hardware) are still needed to generate the exactly visible set. Second, as Max McGuire says in his Quake 2 BSP File Format,
Many people incorrectly associate the BSP tree with the visibility algorithm used by Quake and similar engines. As described above, the visible surface determination is done using a precomputed PVS. The BSP tree is primarily used to divide the map into regions and to quickly determine which region the camera is in. As a result, it isn't that fundamental to any of the rendering algorithms used in Quake and any data structure giving a spatial subdivision (like an octree or a k-D tree) could be used instead. BSP trees are very simple however, and they are useful for some of the other non-rendering tasks in the Quake engine.
To determine the set of visible faces:
1. Find visCluster, the index of the cluster containing the camera position.
2. Select all leaves visible from that cluster.
3. Iterate through all faces in those clusters.
Find the camera cluster (visCluster)
Recall that a Quake 3 map is divided into convex spaces called leaves. Adjacent leaves are joined into clusters. The map file contains precomputed visibility information at the cluster level, which is stored in the visData bit array.
The index of the cluster containing the camera is
leaf[index].cluster
, where index is the index of
the leaf containing the camera. To find the index of the leaf
containing the camera, walk the BSP tree.
The root node is index 0 in the nodeArray. Each node has a splitting plane associated with it. This plane divides space into two child subnodes. If the camera lies in front of the splitting plane, recurse into the front node. Otherwise recurse into the back node. We repeat this process until a BSP leaf is reached.
In the Node data structure, a leaf is denoted by a negative child node index. To convert the negative index into a legal leaf index, negate and subtract one.
The following function takes a camera position as input. It walks the BSP tree until a leaf is found and then returns the index of that leaf. Remember that this is return value is a leaf index, not a cluster index. The cluster index is stored in the leaf.
int Q3Map::findLeaf(const Vector3& camPos) const { int index = 0; while (index >= 0) { const Node& node = nodeArray[index]; const Plane& plane = planeArray[node.plane]; // Distance from point to a plane const double distance = plane.normal.dot(camPos) - plane.distance; if (distance >= 0) { index = node.front; } else { index = node.back; } } return -index - 1; } |
bool Q3Map::isClusterVisible(int visCluster, int testCluster) const { if ((visData.bitsets == NULL) || (visCluster < 0)) { return true; } int i = (visCluster * visData.bytesPerCluster) + (testCluster >> 3); uint8 visSet = visData.bitsets[i]; return (visSet & (1 << (testCluster & 7))) != 0; } |
Because a face may protrude out of the leaf, the same face may be in multiple leaves. Use the alreadyVisible set to avoid touching the same face twice. A simple code snippet for this is:
for (int i = 0; i < leaf[L].facesCount; ++i) { const int f = i + leaf[L].firstFace; if (! alreadyVisible.contains(f)) { alreadyVisible.insert(f); visibleFaces.append(f); } } |
|
There are four kinds of Faces in a Quake 3 map: polygons, patches, meshes, and billboards. Polygons and meshes are collections of triangles. A patch is a bezier-spline patch that must be tessellated into triangles for rendering. Billboards are polygons whose orientation changes to always face the viewer.
Polygons and meshes are rendered in the same manner. The position, texture coordinate, and lightmap coordinate are stored in the vertex array. Using OpenGL vertex arrays, these can be referenced with a single index by setting the active vertex pointer and tex coord pointers into the same array, offset by the memory location within a Vertex for each type of coordinate.
Patches are tessellated into triangles, either during loading or per-frame, and rendered as triangle strips. The tessellation process creates vertices that did not exist in the original mesh, so each patch contains its own vertex array instead of using the global one stored in the map file.
Although handling the shaders and effects that can be stored in Quake
3 maps is more complicated, simple alpha blending can be supported to
render translucent surfaces correctly. When a texture contains an
alpha channel, enable blending and select the
glBlendFunc(GL_SRC_ALPHA, GL_ONE_MINUS_SRC_ALPHA)
blending mode. Alpha blended faces should not be backfaced culled;
they appear to have only one polygon for both sides (there is probably
a two-sided polygon flag somewhere that is the correct place to obtain
such information).
Each face mesh, curFace of type Face describes a mesh
containing (curFace.meshVertexesCount / 3) triangles. The indices
into the vertex array for the vertices of these triangles are
themselves indirected. The meshVertex
array stores the indices of the vertices, in the correct order to
create triangle lists. For a given face, these are
meshVertex[curFace.firstMeshVertex]
through
meshVertex[curFace.firstMeshVertex + curFace.mushVertexesCount -
1]
. The meshVertex values are also offet by
curFace.firstVertex
.
This indexing scheme, although confusing, is arranged conveniently for using glDrawElements to render the triangle lists. The following code renders a mesh using this function.
const Face& curFace = face[visibleFace[f]]; static const stride = sizeof(Vertex); // BSP Vertex, not float[3] const int offset = face.firstVertex; glVertexPointer(3, GL_FLOAT, stride, &(vertex[offset].position)); glClientActiveTextureARB(GL_TEXTURE0_ARB); glTexCoordPointer(2, GL_FLOAT, stride, &(vertex[offset].textureCoord)); glClientActiveTextureARB(GL_TEXTURE1_ARB); glTexCoordPointer(2, GL_FLOAT, stride, &(vertex[offset].lightmapCoord)); glDrawElements(GL_TRIANGLES, curFace.meshVertexesCount, GL_UNSIGNED_INT, &meshVertex[curFace.firstMeshVertex]); |
In the above code, the firstMeshVertex offset is applied directly to the vertex pointer since there is no other provision for offsetting the indices with glDrawElements.
class Bezier { private: int level; Array<Vertex> vertex; Array<uint32> indexes; Array<int32> trianglesPerRow; Array<uint32*> rowIndexes; public: Vertex controls[9]; void tessellate(int level); void render(); }; |
The following is an implementation of the tessellate method with structure based on the tessellator in the Paul Baker's Octagon project.
void Bezier::tessellate(int L) { level = L; // The number of vertices along a side is 1 + num edges const int L1 = L + 1; vertex.resize(L1 * L1); // Compute the vertices int i; for (i = 0; i <= L; ++i) { double a = (double)i / L; double b = 1 - a; vertex[i] = controls[0] * (b * b) + controls[3] * (2 * b * a) + controls[6] * (a * a); } for (i = 1; i <= L; ++i) { double a = (double)i / L; double b = 1.0 - a; BSPVertex temp[3]; int j; for (j = 0; j < 3; ++j) { int k = 3 * j; temp[j] = controls[k + 0] * (b * b) + controls[k + 1] * (2 * b * a) + controls[k + 2] * (a * a); } for(j = 0; j <= L; ++j) { double a = (double)j / L; double b = 1.0 - a; vertex[i * L1 + j]= temp[0] * (b * b) + temp[1] * (2 * b * a) + temp[2] * (a * a); } } // Compute the indices int row; indexes.resize(L * (L + 1) * 2); for (row = 0; row < L; ++row) { for(int col = 0; col <= L; ++col) { indexes[(row * (L + 1) + col) * 2 + 1] = row * L1 + col; indexes[(row * (L + 1) + col) * 2] = (row + 1) * L1 + col; } } trianglesPerRow.resize(L); rowIndexes.resize(L); for (row = 0; row < L; ++row) { trianglesPerRow[row] = 2 * L1; rowIndexes[row] = &indexes[row * 2 * L1]; } } |
Once constructed, this data can be rendered directly with vertex arrays:
void Bezier::render() { glVertexPointer(3, GL_FLOAT,sizeof(BSPVertex), &vertex[0].position); glClientActiveTextureARB(GL_TEXTURE0_ARB); glTexCoordPointer(2, GL_FLOAT,sizeof(BSPVertex), &vertex[0].textureCoord); glClientActiveTextureARB(GL_TEXTURE1_ARB); glTexCoordPointer(2, GL_FLOAT, sizeof(BSPVertex), &vertex[0].lightmapCoord); glMultiDrawElementsEXT(GL_TRIANGLE_STRIP, trianglesPerRow.getCArray(), GL_UNSIGNED_INT, (const void **)(rowIndexes.getCArray()), patch.level); } |
| Copyright © 2003 Morgan McGuire. All rights reserved. |<EMAIL_ADDRESS>|
Acknowledgements
Kris Taeleman answered a question while I was working on this document, and I used the following resources:
Max McGuire's Quake 2 BSP File Format,
Kekoa Proudfoot's
Unofficial Quake 3 Map Specs,
Ben "Digiben" Humphrey's Unofficial Quake 3 BSP Format,
Nathan Ostgard's Quake 3 BSP Collision Detection,
Leonardo Boselli's Apocalyx source code,
Paul Baker's Octagon source code,
The Aside Software Titan source code,
The Q3Radient Manual
Keywords: quake 3 quake3 q3 arena quake3arena q3arena map bsp file render opengl spec specs format vertex order


About Us
Home
Pat's Cookies
Contact Us
Shops
Location :
Min / Cust :
Max / Cust :
Avg Cookie / Sale :


| Pros | Cons |
|---|---|
| Adding and Removing of items is fast as only a pointer has to be updated. Deleting the end is fast if we cache the previous node, otherwise you'll have to loop until the end of the LinkedList. | Read is expensive as the item has to be searched O(n) to find the item |
| Flexible size | |
| Constant time adds anywhere in the list (excluding the find) |
value: [a] [b] [c] [d]
next: [ ]-> [ ]-> [ ]-> [ ]-> null


Move your mouse over each flashcard to see the name of the state's capital.
Montgomery
Juneau
Phoenix
Little Rock
Sacramento
Denver


I plan to use a thermistor to read the temperature
of my computer's exhaust, and LEDs to display that
temperature as green, yellow, or red. I will use a
Pop-tart box to house the device and mount various
components. I will complete the wiring by 3/7,
the code and housing by 3/8, and documentation by
3/9.


[§304A‑1142] Program; establishment. There is established within the community college system a construction academy pre-apprenticeship program to meet the critical shortfalls in qualified construction labor projected over the next decade. [L 2006, c 234, pt of §2]


本书pdf是文字版 和 彩图版。
相关书籍：
Chemistry的不同版本10e，12e，13e目录内容完全一致，应该书籍内容也差不多。
University Chemistry该书Raymond Chang是作为副作者，也在这里列出来了。
Chemistry: The Study of Change
Atoms, Molecules, and Ions
Mass Relationships in Chemical Reactions
Reactions in Aqueous Solutions
Gases
Thermochemistry
Quantum Theory and the Electronic Structure of Atoms
Periodic Relationships Among the Elements
Chemical Bonding I: Basic Concepts
Chemical Bonding II: Molecular Geometry and Hybridization of Atomic Orbitals
Intermolecular Forces and Liquids and Solids
Physical Properties of Solutions
Chemical Kinetics
Chemical Equilibrium
Acids and Bases
Acid-Base Equilibria and Solubility Equilibria
Entropy, Free Energy, and Equilibrium
Electrochemistry
Nuclear Chemistry
Chemistry in the Atmosphere
Metallurgy and the Chemistry of Metals
Nonmetallic Elements and Their Compounds
Transition Metals Chemistry and Coordination Compounds
Organic Chemistry
Synthetic and Natural Organic Polymers


This is your
life.
Do what you love, and do it often.
If you don't like something, change it.
If you don't like your job, quit.
If you don't have enough time, stop watching TV. If you are looking for the love of your life, stop;
They will be waiting for you when you
start doing things you love.
Stop over analyzing, life is simple.
All emotions are beautiful. When you eat, appreciate every last bite.
Open your mind, arms, and heart to new things and people, we are united in our differences. Ask the next person you see what their passion is,


Um, this page tests JavaScript files using a JavaScript framework, and JavaScript is disabled in your browser.
We're pretty sure you understand why that's not going to work, right?
Here are the
instructions
on how to enable JavaScript in your web browser.


🇺🇸wwg1wga🇺🇸 Yes here we go again. Did anyone honestly believe it would be any different? If they have nothing to hide then they shouldn't be worried. By constitutional LAW any legal american can observe!!!!!!!!
How will we win exactly? Like how delusional can you be. Joe Biden will be two years in his presidency and you will still be like "Trump's gonna win". I want Trump to win to but at some point you need to be realistic.
Get LOUD with Georgia's executive branch, the legislature, and get the judge on the phone. Raise HELL!! We get what we tolerate. Frankly I want to FIRE most of DC politicians because they refuse to listen to us. Example: Gender studies in Pakistan. I'm DONE!! Oh--& they gave THEMSELVES their second raise this year, THIS one is for $57K/yr - More than many people make in a year!!
It isn't!! Georgians MUST stand up to their executive branch & get in front of the Georgia legislature & raise HELL. Meanwhile, get the judge on the phone. Pictures pictures pictures!! Video is also a good idea.
Until the right rise up and put the politicians in fear for their lives, this will continue. That being said, this will continue and we will lose everything. In 6 months it'll be illegal to be even slightly right of center...
Here we go again
Cause it’s rigged just like the general election
Steal 2.0
We will win but it is still fraud
Of course they have.
Are we surprised by any of the BS?
Fraud after fraud after fraud. It never ends.
Jesus the corruption doesn’t stop!
They do not care. They figure they can get away with anything. Sickening.
 How is this OK?
Report it!!!.People Just need to get in and fight!.No way those people are winning!!!
🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸💥DEFEND LIBERTY💥🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸 🇺🇸💥TRUMP 2020💥🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸💥💥💥💥GOD BLESS THE USA💥🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸🇺🇸
Seen this play before!
Ugh this never ends!
The cheats are at it again. Where is Brad and his henchman Gabe?
Her we go again
Here we go.
I am shocked! 😩
Why why why did ANYONE believe that Georgia's vote would be legit this time?
Voter fraud was allowed to stand last election....why did anyone think it wouldn't be used this time??
OMG. NOT AGAIN.


Regime Change is a massively multiplayer Real-time strategy game. All players enter into a single world, where they can compete or cooperate with each other. Explore the map to collect money. The player with the most money will be THE BOSS, and will have special powers that will enable him to increase his control over the map!
 Game over!
FPS:
ALERT: This is an error.
Score: $
Available cash: $
Population: 2 Maximum: 10
THE CURRENT BOSS:
$
|
Currently inactive
|


This is for debugging a hypersdk file transfer issue I'm having.
You should see logs for the creation of a hyperdrive below. The script saves files of increasing size to the drive.
You'll need to save the drive's key and load the hypersdk_debug_B.html page in a different browser to recreate the issue.
When the hypersdk_debug_B page is loaded you might see the following error in the console:
Uncaught TypeError: Cannot read property 'update' of null at XSalsa20.update (hyper-sdk-bundle.js:72718) at XORJS.update (hyper-sdk-bundle.js:72686) at XOR.encrypt (hyper-sdk-bundle.js:62572) at SimpleProtocol._sendNow (hyper-sdk-bundle.js:62330) at SimpleProtocol._send (hyper-sdk-bundle.js:62318) at SimpleProtocol.data (hyper-sdk-bundle.js:62256) at Channel.data (hyper-sdk-bundle.js:33587) at onvalue (hyper-sdk-bundle.js:36342) at Request._callback (hyper-sdk-bundle.js:37014) at Request.callback (hyper-sdk-bundle.js:55488)


--- layout: post title: Axa Storyboards date: '2014-08-16T07:30:00+02:00' categories: - Storyboards picture_url: https://film-Storyboards.tumblr.com/post/94903875638/axa-Storyboards ---


Photos: Kunal Kemmu and Soha Ali Khan step out for a romantic dinner
by Kajol MathurKunal Kemmu and Soha Ali Khan have been married for four years now and have a beautiful daughter – Inaaya Naumi Kemmu. The two are quite active on social media and share glimpses of their personal life on their Instagram handles. We snapped the adorable couple on a romantic date last night.
They headed out for dinner at a popular restaurant in the city and were seen posing for our shutterbugs present there. While Soha looked gorgeous in a red suit which she paired with grey dupatta, Kunal looked dapper in a black tee, denims and a snapback.
Scroll through their full gallery below.


Looking for a freeCodeCamp Study Group near your home town?
This simple website is a catalog of all of the free code camp study groups around the world. The group closet to your browser location should be displayed at the top of the page. Feel free to search the rest of the locations by city name.


Vision General Index Page
|
Home
|
Terminology
|
|
A
|
B
|
C
|
D
|
E
|
F
|
G
|
H
|
I
|
J
|
K
|
L
|
M
|
N
|
O
|
P
|
Q
|
R
|
S
|
T
|
U
|
V
|
W
|
X
|
Y
|
Z
|


client:
get
fence:
false
true
key:
get
set
fence:
false
true
key:
val:
set
del
fence:
false
true
key:
del
add
fence:
false
true
key:
val:
add
replace
fence:
false
true
key:
val:
replace
append
fence:
false
true
key:
val:
append
prepend
fence:
false
true
key:
val:
prepend
scan
fence:
false
true
from:
to:
scan
changes
fence:
false
true
from:
to:
changes
noop
fence:
false
true
noop
test
fence:
false
true
test
event:


overview
further reading: the mediations of climate change
intro
museums and nature
welcome!
plan for the day
- museums, nature and climate change
- wireframes presentations
- unity plastic scm setup
- planning and work session
mitigating
theoretical problems
what is the role of a natural history museum?
the history of nature, stuff that doesn't exist anymore, timelines and chronologies
stuff that is going on out there
representation of nature distant from here
learning about: outer space and very foreign nature, awareness of current nature in the near future, anthropocene
nature as an object to exhibit and scientifically represent.
how else could we represent nature?
the new museology
natural history museums both objectify and educate. in the past, they used to be teleogical justification of the superiority of the (white).
with a shift from the new museology movement in the 1970s, we can see how they reinvent themselves.
education
one of the Paris agreement's pledges is
to substantially increase public education and participation
and a complex, multi-scalar phenomenon demands a multi-faceted response.
what should visitors be educated to?
- extinct species, or soon to be extinct (consequences)
- emotional and motivational response
- personal responses/actions
Relations between climate change, science, culture, and social practices need to be reframed. Current approaches to representing the science of climate change in museums and science centers are based on a separation of the science from its social and cultural dimensions. Climate change must be embedded in all programs. Climate change as a phenomenon is now part of the ecology of life, and it must be embraced as a fundamental element of living in the contemporary world.
museums' roles also change as public perception of climate change evolves (from cultural construct to scientific agreement)
concrete problems
main sources of museum footprints:
- building
- tourism
- shipping
- climate management
institutional actions
should museums challenge or provide certainty and security? optimistic of pessimistic?
for instance, visitors feel like the museums should be presenting all opinions when scientific perspectives diverge, and contextualize them.
grassroots action
indigenous knowledges
science vs. scientism, cognitive justice and civic epistemologies.
ways of doing things that might not necessitate plastic, heavy machinery or disposability
learning from the past to change the future
adapting
adapting through museums
adaptation in museums
how could museum change to better minimize their footprint?
- less tourists?
- less lending works?
- less conservation?
- more digital footprint?
final projects
wireframes
- mariam & dania
- hannah & aakarsh
- catherine & emerson
- samuel & yupu
examples
reblink, art gallery of ontario, contemporary remix
skin and bones, smithsonian natural history museum, spatial assembly and disassembly
GREIFbAR, museum4punkt0 teaching AR experiments
AR Diorama, museum4punkt0, animating static scenes
AR Marine Exploration, prototype to contextualize an element.
National Geographic, a surprise effect as public communication and PR
Krakau Museum enactment of the secrets behind paintings
unofficial uffizi, identifying works
terracotta warriors, manipulating and animating statues
bauhaus dessau, just for fun
plastic scm
best practices:
- working with prefabs
- working in different scenes
design documents
find the template here
- preliminary research and concept
- context, interaction and interface
- experience example


Sorry, this program requires JavaScript to run.
Bubble Sort Selection Sort Insertion Sort Merge Sort Quick Sort
New Sort
Fast
Run
Pause
Step
Comparisons: 0
Copies: 0


{% extends "_base.html" %} {% block page_title %}{{ feature.name }} - {% endblock %} {% block css %} {% endblock %} {% block subheader %}
Consider showing your draft intent email to your spec mentor or sending it to<EMAIL_ADDRESS>They can help make sure that your intent email is ready for review.


--- layout: post title: Can you see the giraffe? date: 2004-12-06 00:00:00 category: personal ---
Can you see the giraffe?


Add a Customer
First Name:
Last Name:
Male
Female
Email:
Phone:
Birthday:
Quantity:
Payment:
Visa
Mastercard
LifeStyle
Rate Us #1::
1
20
Rate Us #2::
1
5
Subscribe:
Upload a file:
Upload a file:


Generating an Authorization Endpoint URL
Scope
Generate URL
Link Client
For more more information, see the
API Documentation


World War one was initially started by a assassination on the Archduke Franz Ferdinand of Austria on the 28th of June 1914. After that countries would be bound by alliances to fight their neighbors.  By the end the death count would reach about 18 million dead. With the US joining to fight alongside the allied powers. The axis would realize their chances of winning the war were very slight. So on the 11th of November 1918 the German government surrendered. And the fighting was over at 11 am.
1914: On June 28, the Archduke Ferdinand, the heir to the throne of Austria-Hungary, is assassinated in Sarajevo. One month later, Austria-Hungary declares war on Serbia. Between August 1 and 6, Germany declares war on Russia and France; Great Britain then declares war on Germany; Austria-Hungary declares war on Russia; Serbia declares war on Germany; and the United States remains neutral. 1915: The Germans torpedo and sink the British ship Lusitania off the southern coast of Ireland. The ship was carrying almost 2,000 civilian passengers, and this event increased tension between America and Germany. 1916: The Battle of Verdun begins in February and is the longest and bloodiest battle of World War 1. 1917: The Zimmerman telegram is intercepted by the British in January, in which Germany tried to lure Mexico to their side by promising them U.S. territory. The U.S. officially enters the war in April.


In no particular order, here are some of the best albums of 2021 and hopefully ones that fans will be listening to for the next several years to come:
Sour by Olivia Rodrigo
You either love or hate Olivia Rodrigo, but regardless, this album made an impact on Top 40s radio stations all around the world. With back to back hits starting with “driver’s license” then “deja vu” and ending with the smashing-success “good 4 u,” the singer’s strategic release made critics take her seriously as a young woman diving headfirst into the music industry. Rodrigo also recently received seven Grammy nominations for the album, proving that the young star’s talent is one to watch out for for years to come. Sour in a sense is the pop album we all needed this year and was a perfect entry into the pop genre for Olivia Rodrigo.
Planet Her by Doja Cat
Doja Cat has been one of this year’s most successful female artists and didn’t disappoint with her third alien-inspired album Planet Her. Integrating her South African heritage and infectious rapping abilities on songs such as “Woman” and “Get Into It (Yuh),” Doja Cat proved her range and experimented outside of her usual R&B roots to produce a noteworthy composition of tracks. This album made a statement through its visuals as well, especially after the release of the music video for “Need to Know” proved Doja Cat’s true devotion to her craft and vision as an artist. Planet Her is a standout album because of the singer’s ability to grow and change her craft as she pleases, not fearing backlash or judgment and instead embracing the new eras of her life.
if i could make it go quiet by girl in red
This 22-year-old’s solo debut encapsulated the feelings of adolescence. From longing to lust to sadness and regret, girl in red’s distinct sound mixed with pulsing beats and echoed piano makes one feel all the emotions of a young adult at once, making the album all the more relatable. if i could make it go quiet highlights the depth and rawness of the songwriter’s lyrical abilities as well. The singer’s strong, husky vocals and maturity helped solidify her spot in the alternative music scene, and girl in red was able to tap into the hearts and minds of all her followers this year.
MONTERO by Lil Nas X
Lil Nas X dropped his first album this year as well and simply did not mess around. MONTERO is the album that proved every critic wrong regarding the artist’s talent. Unlike his famous predecessors “Old Town Road” and “Panini,” Lil Nas X’s new tracks give insight to his rise to fame and dealing with the trials and tribulations of young love, especially as a Black gay man. What makes this album worth the listen is just how diverse each track is as well as the unique features included. Songs like “SCOOP ft. Doja Cat” and “DOLLA SIGN SLIME ft. Megan Thee Stallion” are the swagger fans love to see from the star, while songs like “LOST IN THE CITADEL” and “SUN GOES DOWN” are the vulnerable side of the singer we don’t see as often.
If I Can’t Have Love, I Want Power by Halsey
Halsey’s fourth studio album was a creative project Halsey had wanted to do for a while. Inspired by Halsey’s own pregnancy during the pandemic, the singer wanted to portray the true reality of what women go through during that process. Teaming up with Nine Inch Nails’ Trent Reznor and Atticus Ross, If I Can’t Have Love, I Want Power is a concept album ingrained with the themes of body horror, gender roles and stereotypes and the untold, darker side of pregnancy. The album was also accompanied with a film that hit theaters in August of the same title, bringing Halsey’s story to life in a medieval-like setting. Every song packs a punch and lyrically may be some of the singer’s best. This is especially present in tracks like “I am not a woman, I’m a god” and “Bells in Santa Fe,” which will be statement pieces for the artist for years to come.
An Evening With Silk Sonic by Silk Sonic
Anderson .Paak and Bruno Mars are the duo we never knew we needed until November of this year. The two best friends combined their musical strengths to create An Evening With Silk Sonic which is a revival of the ‘60s and ‘70s R&B sound that Mars is used to producing. This album has only nine songs, but it’s a wild ride. From songs like “Leave the Door Open” to “Smokin’ Out the Window” and “777,” .Paak and Mars utilize their high falsettos and spunky lyrics that easily get you up on your feet in no time. The listening experience is also one that feels like an intimate concert between the listener and the duo, filled with talking bits from funk musician Bootsy Collins as the host of Silk Sonic’s album journey. Overall, this album brings charisma and charm to the music repertoire of 2021.
Jubilee by Japanese Breakfast
Michelle Zauner and the rest of Japanese Breakfast released its third album Jubilee this past June, embracing the sign of the times with a fresh, classic indie sound. This album is Zauner at her most joyful, letting go of the past grief she has grown famous for writing about. Jubilee’s tracks are fluid and influenced by pop music, which is evident in songs like “Posing in Bondage” and “Be Sweet.” Synths and horns also are present all throughout and Japanese Breakfast’s colorful lyrics and are exactly why this album received all the praise it did. Up for Best Alternative Album for the 2022 Grammy Awards, Japanese Breakfast is a noteworthy band ready to sweep the competition.
Back of My Mind by H.E.R.
H.E.R.’s first solo debut album was a notable release in the R&B genre. Back of My Mind is full of raspy vocals, falsetto notes, raps and wails that the singer is best known for. H.E.R.’s strongest tracks are “We Made It” and “Damage” that discuss the hardships that come with loving someone and how to deal with them. With ‘70s and ‘80s influences throughout, this album is the 24-year-old’s way of capturing her audience. The soulful tone is present within every song, and H.E.R. uses her vocal abilities to soothe listeners and make them pay attention to her own experiences.
30 by Adele
Finally, Adele came back to the music scene ready to give fans an emotional whiplash with her fourth album after six years. 30 is the journey of the singer’s divorce from her husband Simon Konecki and may just be her most detailed and vulnerable album yet. With songs like “Easy On Me” and “To Be Loved,” you can feel the heartache of letting go of the one you used to love and the guilt Adele felt for choosing to pursue her own happiness. Adele is hopeful and reflective on songs like “Hold On” and “Oh My God,” which makes these tracks even more relatable to listeners. This album is a clear look into Adele’s life and a masterpiece that perfectly encapsulates the feelings of love, loss, trauma and moving on.
CALL ME IF YOU GET LOST by Tyler, The Creator
This mixtape encompasses Tyler, The Creator using his musical skills to his advantage, implementing his gravelly voice and playful hooks and rhymes. The mixtape has a dramatic undertone but that’s what the rapper does best. Tracks like “Corso” and “Lemonhead” are short and sweet, while others such as “Massa” and “Manifesto” are dark and cynical. CALL ME IF YOU GET LOST is unique because of its composition. Freestyles, original songs, radio singles and sneak peaks of unreleased songs make up the mixtape and leave fans eager for what’s next to come from Tyler, The Creator.


This is it. You've found the ultimate typing experience.
"A vibrant mix of youthful energy and a living history is what makes Aarhus a city with an energetic beat. In Aarhus, when we say walking distance, we really do mean walking distance".
"Utrecht is the lively, beating heart of Holland, an ancient university town built around the Dom Tower. Utrecht is known for its city center with wharf cellars along the canals housing cafes and terraces by the water. Your inspiring visit to Utrecht starts here".
"Prague is rightly considered one of the most beautiful cities in the world. Visitors from all over the world come here to admire not only its history and diverse architecture, but also to enjoy the friendly and romantic atmosphere. Prague is also a city dedicated to art, which you will encounter everywhere you go. It's a city of gardens and parks and, last but not least, a city with a great culinary scene and the best beer in the world".
"Budapest — with the majestic Danube in the middle. Buda, with its romantic atmosphere on one side, and Pest, a dynamic cultural center on the other. One would have to be sharp to find another city in the world with such beautiful natural settings, rich architectural and historical heritage, offering an unparalleled combination of culture, fine cuisine and thermal baths".
"Over the centuries, many cultures have added their mark to Istanbul. Today, you can experience those influences firsthand by exploring its mahalles (neighborhoods). From the holy sites of Sultanahmet and the 19th-century European elegance of Beyoğlu to the high fashion of Nişantaşı, the vibrant cafe society of Kadıköy and the football-loving streets of Beşiktaş, it’s easy to see why travelers say that Istanbul isn’t just one city, but multiple cities within one".
"From its fashion to its architecture to its political history, Berlin has always been edgy. The Berlin Wall is a sobering reminder of the hyper-charged postwar atmosphere, and yet the graffiti art that now covers its remnants has become symbolic of social progress. Check out the Weltzeituhr (world time) Clock, topped by a model of the solar system, then turn back time by dining at the historic Zur Letzten Instanz, a 16th century restaurant that was frequented by Napoleon and Beethoven".


Mix Clips 2D Node
The Mix Clips 2D animation controller node is used to interpolate between a set of animations which are positioned in 2D space. You give it a 2D coordinate, and it will determine which animation clips are relevant and mix them together with proper weights depending on how close the coordinate is to each clip.
The purpose of this node is to generate a continuous animation space from just a few discrete clips. This is often used for locomotion, where you only have animation clips for walking into a fixed number of directions and at certain speeds, but you'd like to be able to move a character into any direction and at any speed in between.
This node can generally be used to combine animations that can be thought of as having a position on a 2D plane. For example if you have animations for aiming forwards, to the left, right, up and down, you can use the mix 2D node to generate any pose in between.
Be aware that the poses will be combined linearly, though. If the poses from two clips are too different, the result may not look very good. In this case it is best to create additional clips with in-between poses.
How To Use
You add multiple animation clips and give each clip a position (X
and Y
). As with the mix clips 1D node, the playback of all clips is synchronized, meaning that the length of each clip may differ, but they will be played back such that they start and end in unison. That means your clips must be authored accordingly, so for example for locomotion all clips should start with the left foot forwards, then move the right foot forwards, then the left again. From that point on the clips will be looped.
What the coordinates represent is up to you. For locomotion you could say that X
represents left/right movement and Y
forwards/backwards. You would then position a walk left clip at (-1, 0)
a walk right clip at (+1, 0)
a walk forward clip at (0, +1)
and a run forward clip at (0, +2)
.
Through the X
and Y
input pins you provide a 2D coordinate. During testing you may hook this up directly to an input node, though later you'll probably need more control.
The node will then take that input coordinate to decide which clips should be used with what influence, and mix them together to a single output pose.
Node Properties
See common properties.
InputResponse
: A time duration over which changes to theX
andY
input values are applied. This prevents sudden extreme changes.  In a finished game you may want to smooth out the input yourself, but for starters this node can do a basic smoothing of the input values for you. Thus, if an input value switches from1
to0
, anInputResponse
of 50ms means that the used value will transition smoothly towards0
over that amount of time and thus the output pose will also transition smoothly.CenterClip
: An optional clip for the position(0, 0)
. This clip is always played at its own speed and not synchronized to the other clips. It is meant for idle state animations. It may be much longer and contain many subtle motions for variation. If such behavior is not desired and instead you want the center clip to be synchronized with the rest, you can instead place a clip at position(0, 0)
as well.Clips
: The various clips. Each clip must have a unique 2Dposition
assigned.
Input Pins
See common input pins.
X
,Y
: The input coordinate to select how to blend theClips
. It directly relates to the clips` positions.
Output Pins
See common output pins.


Server-Side Development (alpha 2)
Getting Started
Spin Up An Instance
You can currently run Coronium GS via an Amazon AMI, or Ubuntu 14.04 64bit based install. DigitalOcean is the recommended cloud provider for Ubuntu based instances.
The most current installation options can be found at the Coronium GS site.
See also: Client side development
Download the source
Visit the bitbucket repo to download the latest development bundle for Coronium GS.
Overview: main.lua
The main.lua file that is included in the download (Server/main.lua) is the main development template (see also: main-tpl.lua ). The file is where you build the foundation for your server game, so study it well.
For the full listing of Coronium GS events see: Client Events and Game Events.
Securing
You can set a custom key on the server-side that you must match with the client when it connects. By default the key is 'abc', to change it, at the top of the main.lua:
local gs = require( 'CoroniumGS' ):new( 7173, 'ENTER-YOUR-KEY-HERE' )
You will also need to make sure you pass the same key up with the client connect method.
Event Usage
Coronium GS is an event driven system. You listen for specific events and then perform some action depending on the data passed into these events.
GameStart
To listen for events, we need an event handler, and the listener. For example, to set up listening for a GameStart event, we can do the following:
local function onGameStart( game, players ) p( "new game id: " .. game:getId() ) end gs:on( "GameStart", onGameStart )
ClientData
The 'work horse' of Coronium GS, the ClientData event is called when the server has recieved data from the client. You can capture and process this data to make your game do stuff.
local function onClientData( client, data ) if data.place_marker then --Place a game marker end end gs:on( "ClientData", onClientData )
For the full listing of Coronium GS events see: Client Events and Game Events.
Custom Modules/Events
In many cases you will want to create seperate modules for your game. You store these modules in the modules folder and require them in your code:
local my_mod = require( 'my_module' )
Libraries
On the server-side, Coronium GS requires that you include the Lua libraries specifically. Table, String, Math, OS in particular. Not all Lua libraries are available. For example, to use table functionalty in your file:
local table = require( 'table' ) table.insert( t, value )
If you're getting errors when using any of the Lua libs, double check that they have been imported.
Custom Events
You can use the built it event dispatcher in your module as well by extending the 'Emitter' class:
local Emitter = require( 'core' ).Emitter local my_mod = Emitter:extend() my_mod:doSomething() self:emit( "DidIt", { msg = "I did it!" } ) end return my_mod
Then in some other area or module, you can set up a listener:
local my_mod = require( 'my_module' ) --Listen my_mod:on( "DidIt", function( e ) p( e.msg ) end) my_mod:doSomething()
Timers
You can use timers on the Coronium GS server. But you must be very cautious on when and where you implement them.
Timers can take up precious computing resources, so you never want too many running at the same time. A good practice is to use one global timer and process your events there.
To include timer functionality in your file, you must import the timer library:
local timer = require( 'timer' )
There 2 different timer methods that you can use.
The setInterval timer will run continuously at the millisecond interval you set:
local t = timer.setInterval( 5000, function() p( "I'm a continuous timer!" ) end )
The setTimeout is a one-shot timer. After the timer expires it will not run again and is cleared from memory:
local t = timer.setTimeout( 10000, function() p( "Has it already been 10 seconds!?" ) end )
Clearing Timers
As long as you store a handle to the timer you create, you can clear it at any time:
timer.clearTimer( t )
File IO
Coming soon. You cannot use the standard Lua file IO library because it is not asynchronous, and will halt your program if you do so. The asynchronous file IO will be coming soon.
Games
To create a game for players to join, the client-side must call the createGame method. Once a game is created other players can call the client-side joinGame method to join the game room.
Starting
Once the specified amount of clients are available to start a game, the game will start and a GameStart event will be emitted on the server, and broadcast to all players.
gs:on( "GameStart", function( game, players ) game:broadcast( { greeting = "Hello Players!" } ) end )
Game References
To do any work on a game, you need to pull the Game instance using the getPlayerGame method. As long as you have either a Client /Player belonging to the game, or a game id, you can easily get a handle to a game:
local function onClientData( client, data ) --get the game instance local game = gs:getPlayerGame( client ) --print the game id p( game:getId() ) -- broadcast to all game players game:broadcast( { msg = "Hello all!" } ) end gs:on( "ClientData", onClientData )
To get a handle to a game using a game id:
local game = gs:getGame( 'the-game-id' )
For a full listing of game methods see the Game docs.
Ending
It's your responsibility to end a game. You can do this by broadcasting a GameDone event to all the game players:
local function onClientData( client, data ) --do work here, client wins local game = gs:getPlayerGame( client ) game:publishGameDone() end gs:on( "ClientData", onClientData )
Game Data
You have access to a stored data object on each game. You can access it directly with the data
key, for example:
local game = gs:getPlayerGame( player ) local score = game.data.score
You can also set values to the data object:
game.data.score = 1000
Another way to access the data is with the getData Game method:
game.getData().score = 1000
Your game data is stored in a presistent memory storage space while the game is running.
Sending Game Data
To send the data object to the current game players, you can use the publishGameData Game method, or send it using any of the messaging methods.
local onClientData( client, data ) if data.give_me_data then local game = game:getPlayerGame( client ) --== Send down the current game --== data object to all players game:publishGameData() --== Or to a single player game:publishGameData( client ) end end
Messaging
The Coronium GS server works by sending messages with state and other data for the client to interpet.
Client/Player
When you have a handle on a Client /Player you can use the send method to send a message to that particular client:
local function onClientData( client, data ) if data.new_message then client:send( { msg = "You have a new messsage" } ) end end
Game
If you have a handle on a Game you can broadcast to all players in that game. You can also pull the Client /Players and message via a loop:
broadcast to all
local function onGameStart( game, players ) game:broadcast( { greeting = "Hello everyone!" } ) end gs:on( "GameStart", onGameStart )
game players loop
local function onClientData( client, data ) if data.send_to_all then local game = gm:getPlayerGame( client ) local players = game:getPlayers() for p=1, #players do players[ p ]:send( "My name is " .. player:getPlayerName() ) end end end gs:on( "ClientData", onClientData )
SSH Commands
While logged in via SSH, you can issue the following commands to control the Coronium GS instance:
Start
sudo service gs start
Stop
sudo service gs stop
Restart
sudo service gs restart
Log File
You can view the Coronium GS log file for debugging by opening an SSH connection to your instance and entering the following in terminal:
sudo tail -f ~/gs.log
Demos
You can find a handful of demos in the source bundle download, in the demos folder. By studying those files, you can see more clearly how Coronium GS works in practice.
Server Docs
For a full listing of all available server methods and events, please see the Server Side Documentation.
Support
For support, tips, and community involvement, please visit the Coronium Cloud Community.
Coronium GS ©2014 Chris Byerley @develephant | develephant.net


PRON
: pronoun
Definition
Pronouns are words that substitute for nouns or noun phrases, whose meaning is recoverable from the linguistic or extralinguistic context. Some pronouns – in particular certain demonstrative, total, indefinite, and interrogatives pronouns – may also function as determiners (DET
) and are tagged as such when functioning as a modifier of a noun.
Examples
- Personal pronouns
- 我 / wǒ “I”, 你 / nǐ “you (m.)”, 妳 / nǐ “you (f.)”, 您 / nín “you (polite)”, 他 / tā “he”, 她 / tā “she”, 它 / tā “it”, 之 / zhī “it”, 我們 / wǒmen “we”, 你們 / nǐmen “you (m.pl.)”, 妳們 / nǐmen “you (f.pl.)”, 您們 / nínmen “you (pl. polite)”, 他們 / tāmen “they (m.)”, 她們 / tāmen “they (f.)”, 它們 / tāmen “they (non-human)”, 人家 / rénjiā “others, other (people); he/she/it/they”
- Reciprocal and reflexive pronouns
- 彼此 / bǐcǐ “each other”, 自身 / zìshēn “self”, 己身 / jǐshēn “self”, 自己 / zìjǐ “self”, 我自己 / wǒzìjǐ “myself”, 你自己 / nǐzìjǐ “yourself”, 她們自己 / tāmenzìjǐ “themselves (f.)”, etc
- Demonstrative pronouns
- 這 / zhè “this”, 這些 / zhèxiē “these”, 此 / cǐ “this”, 那 / nà “that”, 那些 / nàxiē “those”
- Total pronouns
- 全部 / quánbù “all”, 一切 / yīqiè “everything”, 所有 / suǒyǒu “all”, 大家 / dàjiā “everybody”, 大伙兒 / _dàhuǒr “everybody”
- Indefinite pronouns
- 任何 / rènhé “any”, 有的 / yǒude “some”, 有些 / yǒuxiē “some”, 很多 / duō “many”, 很少 / shǎo “few”, 許多 / xǔduō “many”, 若干 / ruògān “few”, 大部分 / dàbùfèn “the majority”, / 大量 dàliàng “a large quantity”, 不少 / bùshǎo “not few”, 多數 / duōshù “most”, 另外 / lìngwài “other(s)” (also ADV), 其他 / qítā “other(s)”
- Locational pronouns
- 這裡 / zhèlǐ “here”, 那裡 / nàlǐ “there”
- Manner pronouns
- 這樣(子) / zhèyàng(zi) “thus, this way, like this” (also ADV), 那樣(子) / nàyàng(zi) “that way, like that”
- Interrogative pronouns - 誰 / shéi “who”, 什麼 / shénme “what”, 多少 / duōshǎo “how many”, 哪裡 / nǎlǐ “where”, 哪樣 ／ nǎyàng “which kind/type/way”, 何樣 / héyàng “what kind/type/way”, 怎樣 / zěnyàng “how” (also ADV)
- Other
- X + 方: 對方 / duìfāng “the other party”, 雙方 / shuāngfāng “both parties”, 己方 / jǐfāng “one’s own side/party”, 一方 / yīfāng “one party”, 三方 / sānfāng “all three parties”, etc.
- X + 者: 前者 / qiánzhě “the former”, 後者 / hòuzhě “the latter”, 二者 / èrzhě “the two”, 三者 / sānzhě “the three”, etc.
- 其餘 / qíyú “the rest”
Treebank Statistics (UD_Chinese)
There are 43 PRON
lemmas (0%), 48 PRON
types (0%) and 1608 PRON
tokens (1%).
Out of 15 observed tags, the rank of PRON
is: 12 in number of lemmas, 12 in number of types and 11 in number of tokens.
The 10 most frequent PRON
lemmas: 他、 其、 她、 此、 它、 自己、 這、 我、 之、 你
The 10 most frequent PRON
types: 他、 其、 她、 此、 他們、 自己、 它、 這、 我、 它們
The 10 most frequent ambiguous lemmas: 此 (PRON 120, DET 57, ADP 1), 這 (DET 284, PRON 71), 之 (PART 233, PRON 22, X 1), 你 (PRON 18, NOUN 1), 這樣 (PRON 16, ADV 4), 這裡 (PRON 14, NOUN 2), 本身 (PRON 8, NOUN 2), 本人 (PRON 7, NOUN 3), 個人 (NOUN 6, PRON 4, ADJ 4), 自身 (PRON 4, NOUN 1)
The 10 most frequent ambiguous types: 此 (PRON 120, DET 57, ADP 1), 這 (DET 284, PRON 71), 之 (PART 233, PRON 22, X 1), 你 (PRON 18, NOUN 1), 這樣 (PRON 16, ADV 4), 這裡 (PRON 14, NOUN 2), 本身 (PRON 8, NOUN 2), 本人 (PRON 7, NOUN 3), 個人 (NOUN 6, PRON 4, ADJ 4), 自身 (PRON 4, NOUN 1)
- 此
- 這
- 之
- 你
- 這樣
- 這裡
- 本身
- 本人
- 個人
- 自身
Morphology
The form / lemma ratio of PRON
is 1.116279 (the average of all parts of speech is 1.000284).
The 1st highest number of forms (2) was observed with the lemma “他”: 他, 他們.
The 2nd highest number of forms (2) was observed with the lemma “她”: 她, 她們.
The 3rd highest number of forms (2) was observed with the lemma “它”: 它, 它們.
PRON
occurs with 2 features: zh-feat/Person (1195; 74% instances), zh-feat/Number (193; 12% instances)
PRON
occurs with 4 feature-value pairs: Number=Plur
, Person=1
, Person=2
, Person=3
PRON
occurs with 6 feature combinations.
The most frequent feature combination is Person=3
(947 tokens).
Examples: 他、 其、 她、 它、 他們、 它們、 牠們、 她們、 祂、 他倆
Relations
PRON
nodes are attached to their parents using 14 different relations: zh-dep/nsubj (772; 48% instances), zh-dep/nmod (259; 16% instances), zh-dep/det (243; 15% instances), zh-dep/obl (147; 9% instances), zh-dep/obj (119; 7% instances), zh-dep/appos (25; 2% instances), zh-dep/nsubj:pass (22; 1% instances), zh-dep/advmod (7; 0% instances), zh-dep/iobj (7; 0% instances), zh-dep/case:suff (2; 0% instances), zh-dep/xcomp (2; 0% instances), zh-dep/conj (1; 0% instances), zh-dep/csubj (1; 0% instances), zh-dep/root (1; 0% instances)
Parents of PRON
nodes belong to 11 different parts of speech: VERB (943; 59% instances), NOUN (536; 33% instances), PART (54; 3% instances), ADJ (44; 3% instances), PROPN (12; 1% instances), NUM (11; 1% instances), ADP (3; 0% instances), PRON (2; 0% instances), ADV (1; 0% instances), ROOT (1; 0% instances), X (1; 0% instances)
1187 (74%) PRON
nodes are leaves.
401 (25%) PRON
nodes have one child.
16 (1%) PRON
nodes have two children.
4 (0%) PRON
nodes have three or more children.
The highest child degree of a PRON
node is 12.


Air pollution data
Here are the closest data we could find to your location. More information about this table in the what it means section below.
| Name | Value | AQI |
|---|
Air quality index
Given the closest available data to your location, we can conclude the following air quality for your location. More information in the what it means section below.
Location
Here are some information about the requested location and the devices the data came from.
| Area | {{location.area_name}} |
|---|---|
| Longitude | {{location.coordinates.0}} |
| Latitude | {{location.coordinates.1}} |
Devices used around the location
The areas of data containing the location
What it means
Air pollution data
The table in the air pollution data section above shows parameters and their values. If a row is highlighted in a different color, it means that it couldn't find any recent data (updated every hour) close to the location for that parameter in question. Instead, it used data from daily or yearly updated data sources. Be aware that the data might not be totally representative of the reality at the requested location if the devices are too far from it.
Air quality index
In certain cases, an air quality level is displayed in the row of a parameter. It means that this parameter is part of the European Air Quality Index. This index allows us to give an idea about the global air quality of your location. This information is displayed in the air quality section above.
Location
In the location section are displayed the coordinates of the requested location and two maps. The first map displays the devices around the location which data was taken as they are the closest devices to the location. The second map displays the areas used in order to retrieve the remainder of the data. You can click on a marker or an area of the map which shows you the details, the last record and a link to access data over time in the case of a device.
More information in the about page.


11.03.16
The interim dean for Ohio University’s College of Fine Arts went to school originally to become a doctor.
While initially majoring in biochemistry pre-med at Wellesley College, Elizabeth Sayrs was also taking oboe lessons and music courses. Then she realized her focus was shifting more to her musical aspirations.
She had to call her parents and break the news to them. Although she admits her mother probably would still want her to become a doctor or a lawyer, she can’t imagine her life without fine arts.
“It’s inextricably linked to who I am,” Sayrs said.
She now has a bachelor’s degree in music and a master’s degree and Ph.D. in music theory.
Fine arts was ranked economically as the third-worst major, according to a 2012 Forbes article titled “The 10 Worst College Majors.” Film, video and photography majors were ranked second. Sayrs, however, said not to pay attention to those lists.
“(Fine arts) majors tend to be happier overall and are more likely to be employed in an arts-related field,” Sayrs said.
And even if an artist doesn’t end up in the field, Andrew Barger, a second-year graduate student studying printmaking, said the skills can be transferred to other professions.
“I feel like now if you have some degree in the creative industry, you can still work for some of these high profile jobs, maybe not as a visual artist, but having that creative background,” Barger said. “Anyone that is making work is, I want to say, a problem solver, and a problem solver through visual language. That can be applied to many different things.”
At OU, there are more than 700 undergraduate and 240 graduate or professional fine arts majors split between six different programs of study, according to the Office of Institutional Research 2015-16 data. There are four schools: School of Art + Design, School of Interdisciplinary Arts, School of Music and the School of Dance, Film and Theater.
Fine arts classes are not just for students who are in those majors. Sayrs said everyone should “try their hand” and practice creativity.
“Art-making should be something that is a part of everyone’s practice,” Sayrs said.
But there is a need for those who commit their lives to art, Michelle Lane, an Honors Tutorial College senior with a double major in the Theater Division in performance and production design and technology, said.
“I think it’s really letting artists have the respect that they deserve,” Lane said. “I know my family looked at me and was like, ‘You’re going to be an art student? You’re going into theater? What are you going to do with that?’ And it’s like, you can do so much and people need to understand that it’s just … as valid as other majors.
We might not come up with the next cure for cancer … but we’re here to entertain people. … The arts is something that regardless of what society you look at there’s always some form of it going on. It’s not something that’s going to go away.”
Mallory Scaife, a junior studying music education, said people should follow their passions, like hers for music.
“If you love doing it, then why would you settle for doing something else?” Scaife said.
Matt Starkey
Corrinne Bailey, a senior studying dance, dances in a studio in Putnam Hall on Oct. 25.
She has been dancing since she was 2 years old, but instead of leaping right into the field, Corrinne Bailey wanted to learn the academic side of the steps.
Bailey, a senior studying dance who is from Hilliard, said her education with her major balances between learning the steps of the modern-focused technique and pedagogy. She said the department wants to see its students understand all facets related to dance, including choreography, music, history, lighting and production.
The dance program at OU focuses on modern dance, a form which is more interpretative and leans on abstract movements and ideas.
She teaches second-graders creative movement at East Elementary. She also teaches hip-hop fitness classes at Ping Center.
Bailey said during her first three years as a dance major, she was in rehearsal for about four hours a day, on top of classes.
Now, she is working on her senior project where she is choreographing a solo for herself.
For her, dance is “more than just a hobby.”
“(It’s) definitely a way of life because it’s not just dance,” Bailey said. “It’s movement. It’s the body. It’s people. It’s space. It’s art.”
Matt Starkey
Mallory Scaife, a junior studying music education, plays the piano on Oct. 25.
Mallory Scaife has performance anxiety.
But after months of practicing Concerto No. 1 by Robert Muczynski — a 21-page piece — the OU junior puts her head down and races her fingers across the keys, ebbing her body with each note she plays.
Scaife is a music education major from Wooster, and although her primary instrument is piano, she also plays clarinet and recently picked up bass clarinet.
With her degree, Scaife said she would ideally love to teach middle school or beginner band students.
Music majors, she said, have to go to juries to move onto the next level. It is a requirement to pass the jury to advance in the program.
Music education majors spend the first half of their degree focusing on technique and the last half focusing on teaching, which includes taking courses with education majors not specializing in music and student teaching.
Scaife is in Wind Symphony, which will play Carnegie Hall in February. She is also a vice president of membership for an honorary band sorority Tau Beta Sigma, a treasurer of Collegiate National Association for Music Education chapter at OU and a section leader for the Marching 110.
Matt Starkey
Michelle Lane, a senior studying performance and production design and technology with a focus in lighting, works the lights.
Moving around the grid system above the Forum Theater stage, Michelle Lane looks comfortable. She is standing on metal squares suspended with lights dangling off the edges of the platform, but it is what she loves doing.
She is in the Honors Tutorial College with a double major in the Theater Division in performance and production design and technology, with a focus in lighting.
Lane is originally from Edison, New Jersey. For the future, Lane has dreams to one day own her own production company and to move to a city such as Chicago or Seattle.
She chose to pursue both majors so she is able to understand how actors and those who work backstage operate. She would be able to use that knowledge to help collaborate between the different roles.
Going to a vocational high school led her to pursue theater and attempt to find a program that would let her combine all of her interests. She found that at OU.
Lane said what is interesting about theater is that it reflects the world around it. So when learning about theater, students are learning about people, too.
Matt Starkey
Yaphet Jackman, a third year graduate student studying film, poses for a portrait in the central classroom building on Oct. 28.
Yaphet Jackman said he learned more from a bad film set than any good ones he has been on. He is a thesis film major and wants to pursue cinematography post-graduation.
Jackman is from Guyana in South America and learned about OU’s film major through a partnership between the University of Guyana, which led him to Athens.
Jackman is in his thesis year and is collaborating a screenwriting major to create one work.
He has learned through studying film the amount of funding it takes to create a piece — funding that might not exist. He said he rarely films in Athens, which creates difficulties, but he is looking to do so for his final project.
Though he loves to create — he is not a film geek, a stereotype he thinks comes with film majors. He can’t remember most directors’ or movies’ names, but that doesn’t discredit the work he puts into his projects.
Jackman said he draws inspiration from life.
“You just walk around — there’s bits of inspiration everywhere,” Jackman said. “Human beings are such attractive characters. They’re so diverse. They’re so layered.”
Film school, he said, can act as an incubator for future filmmakers.
Matt Starkey
Andrew Barger, a second-year graduate student studying printmaking, poses for a portrait in his studio at the Ridges on Nov. 1.
What is great about printmaking, Andrew Barger said, is that a piece of art can be copied over and over again. A print can be given to friends, can be sold or can be worked on in the future.
Barger is a second-year graduate student studying printmaking. Originally from Atlanta, Barger pursued a degree in art education as well as printmaking at the University of Georgia.
The best way Barger said he can describe printmaking is that it is like he is making a stamp, which can be done on surfaces like wood or etched into copper. Or, as he described it to his parents, “Have you ever heard of Andy Warhol and screenprinting? … It’s kind of like that.”
Barger said during his graduate program, the first year is spent meeting and presenting to a committee that would critique artists’ work to decide if they can stay in the program. This year, he is supposed to continue creating and come up with a thesis idea to work on in his final idea.
Barger had started off creating politically conceptual prints. Now, he is working more with color and form to create abstract pieces that can open up a dialogue between more people.
Carl Fonticella
Katherine Hammond, a fourth-year doctoral student studying interdisciniplinary arts, poses for a portrait in her office on 31 S. Court St.
Katherine Hammond grew up in Newark surrounded by art. Her walls were covered with clippings from art history books.
With two parents who performed, painted, drew and nurtured their child with art, it’s not a surprise she went into the field.
As an undergraduate, she initially looked into studying studio art or graphic design. However, after picking up an art history minor and taking the introductory class, she changed her mind.
“I was sitting in this giant, dark auditorium, and I can’t tell you how many times an image of an artwork would come up on the screen, and I would just physically respond to it — I just loved it,” she said.
She received her bachelor’s and master’s degrees in art history from OU. She had planned on leaving Athens for her doctorate, but the program at OU brought her back.
As a fourth-year doctoral interdisciplinary arts major, she has two areas of focus — her first and primary in visual art and architecture, and the other in film studies. She also teaches introduction interdisciplinary arts courses.
Hammond is working on her dissertation, which is about graffiti and street art in Egypt following the country’s uprising.


com.amazonaws.mturk.requester
Class RequesterStatistic
java.lang.Object
com.amazonaws.mturk.requester.RequesterStatistic
- All Implemented Interfaces:
- java.io.Serializable
public class RequesterStatistic
- extends java.lang.Object
- implements java.io.Serializable
- See Also:
- Serialized Form
| Methods inherited from class java.lang.Object |
clone, finalize, getClass, notify, notifyAll, wait, wait, wait |
_NumberHITsAssignable
public static final java.lang.String _NumberHITsAssignable
- See Also:
- Constant Field Values
_NumberHITsReviewable
public static final java.lang.String _NumberHITsReviewable
- See Also:
- Constant Field Values
_NumberHITsCreated
public static final java.lang.String _NumberHITsCreated
- See Also:
- Constant Field Values
_NumberHITsCompleted
public static final java.lang.String _NumberHITsCompleted
- See Also:
- Constant Field Values
_TotalRewardPayout
public static final java.lang.String _TotalRewardPayout
- See Also:
- Constant Field Values
_TotalRewardFeePayout
public static final java.lang.String _TotalRewardFeePayout
- See Also:
- Constant Field Values
_TotalFeePayout
public static final java.lang.String _TotalFeePayout
- See Also:
- Constant Field Values
_TotalRewardAndFeePayout
public static final java.lang.String _TotalRewardAndFeePayout
- See Also:
- Constant Field Values
_TotalBonusPayout
public static final java.lang.String _TotalBonusPayout
- See Also:
- Constant Field Values
_TotalBonusFeePayout
public static final java.lang.String _TotalBonusFeePayout
- See Also:
- Constant Field Values
_EstimatedFeeLiability
public static final java.lang.String _EstimatedFeeLiability
- See Also:
- Constant Field Values
_EstimatedRewardLiability
public static final java.lang.String _EstimatedRewardLiability
- See Also:
- Constant Field Values
_EstimatedTotalLiability
public static final java.lang.String _EstimatedTotalLiability
- See Also:
- Constant Field Values
_NumberAssignmentsAvailable
public static final java.lang.String _NumberAssignmentsAvailable
- See Also:
- Constant Field Values
_NumberAssignmentsAccepted
public static final java.lang.String _NumberAssignmentsAccepted
- See Also:
- Constant Field Values
_NumberAssignmentsPending
public static final java.lang.String _NumberAssignmentsPending
- See Also:
- Constant Field Values
_NumberAssignmentsApproved
public static final java.lang.String _NumberAssignmentsApproved
- See Also:
- Constant Field Values
_NumberAssignmentsRejected
public static final java.lang.String _NumberAssignmentsRejected
- See Also:
- Constant Field Values
_NumberAssignmentsReturned
public static final java.lang.String _NumberAssignmentsReturned
- See Also:
- Constant Field Values
_NumberAssignmentsAbandoned
public static final java.lang.String _NumberAssignmentsAbandoned
- See Also:
- Constant Field Values
_AverageRewardAmount
public static final java.lang.String _AverageRewardAmount
- See Also:
- Constant Field Values
_PercentAssignmentsApproved
public static final java.lang.String _PercentAssignmentsApproved
- See Also:
- Constant Field Values
_PercentAssignmentsRejected
public static final java.lang.String _PercentAssignmentsRejected
- See Also:
- Constant Field Values
_NumberKnownAnswersCorrect
public static final java.lang.String _NumberKnownAnswersCorrect
- See Also:
- Constant Field Values
_NumberKnownAnswersIncorrect
public static final java.lang.String _NumberKnownAnswersIncorrect
- See Also:
- Constant Field Values
_NumberKnownAnswersEvaluated
public static final java.lang.String _NumberKnownAnswersEvaluated
- See Also:
- Constant Field Values
_PercentKnownAnswersCorrect
public static final java.lang.String _PercentKnownAnswersCorrect
- See Also:
- Constant Field Values
_NumberPluralityAnswersCorrect
public static final java.lang.String _NumberPluralityAnswersCorrect
- See Also:
- Constant Field Values
_NumberPluralityAnswersIncorrect
public static final java.lang.String _NumberPluralityAnswersIncorrect
- See Also:
- Constant Field Values
_NumberPluralityAnswersEvaluated
public static final java.lang.String _NumberPluralityAnswersEvaluated
- See Also:
- Constant Field Values
_PercentPluralityAnswersCorrect
public static final java.lang.String _PercentPluralityAnswersCorrect
- See Also:
- Constant Field Values
NumberHITsAssignable
public static final RequesterStatistic NumberHITsAssignable
NumberHITsReviewable
public static final RequesterStatistic NumberHITsReviewable
NumberHITsCreated
public static final RequesterStatistic NumberHITsCreated
NumberHITsCompleted
public static final RequesterStatistic NumberHITsCompleted
TotalRewardPayout
public static final RequesterStatistic TotalRewardPayout
TotalRewardFeePayout
public static final RequesterStatistic TotalRewardFeePayout
TotalFeePayout
public static final RequesterStatistic TotalFeePayout
TotalRewardAndFeePayout
public static final RequesterStatistic TotalRewardAndFeePayout
TotalBonusPayout
public static final RequesterStatistic TotalBonusPayout
TotalBonusFeePayout
public static final RequesterStatistic TotalBonusFeePayout
EstimatedFeeLiability
public static final RequesterStatistic EstimatedFeeLiability
EstimatedRewardLiability
public static final RequesterStatistic EstimatedRewardLiability
EstimatedTotalLiability
public static final RequesterStatistic EstimatedTotalLiability
NumberAssignmentsAvailable
public static final RequesterStatistic NumberAssignmentsAvailable
NumberAssignmentsAccepted
public static final RequesterStatistic NumberAssignmentsAccepted
NumberAssignmentsPending
public static final RequesterStatistic NumberAssignmentsPending
NumberAssignmentsApproved
public static final RequesterStatistic NumberAssignmentsApproved
NumberAssignmentsRejected
public static final RequesterStatistic NumberAssignmentsRejected
NumberAssignmentsReturned
public static final RequesterStatistic NumberAssignmentsReturned
NumberAssignmentsAbandoned
public static final RequesterStatistic NumberAssignmentsAbandoned
AverageRewardAmount
public static final RequesterStatistic AverageRewardAmount
PercentAssignmentsApproved
public static final RequesterStatistic PercentAssignmentsApproved
PercentAssignmentsRejected
public static final RequesterStatistic PercentAssignmentsRejected
NumberKnownAnswersCorrect
public static final RequesterStatistic NumberKnownAnswersCorrect
NumberKnownAnswersIncorrect
public static final RequesterStatistic NumberKnownAnswersIncorrect
NumberKnownAnswersEvaluated
public static final RequesterStatistic NumberKnownAnswersEvaluated
PercentKnownAnswersCorrect
public static final RequesterStatistic PercentKnownAnswersCorrect
NumberPluralityAnswersCorrect
public static final RequesterStatistic NumberPluralityAnswersCorrect
NumberPluralityAnswersIncorrect
public static final RequesterStatistic NumberPluralityAnswersIncorrect
NumberPluralityAnswersEvaluated
public static final RequesterStatistic NumberPluralityAnswersEvaluated
PercentPluralityAnswersCorrect
public static final RequesterStatistic PercentPluralityAnswersCorrect
RequesterStatistic
protected RequesterStatistic(java.lang.String value)
getValue
public java.lang.String getValue()
fromValue
public static RequesterStatistic fromValue(java.lang.String value)
throws java.lang.IllegalArgumentException
- Throws:
java.lang.IllegalArgumentException
fromString
public static RequesterStatistic fromString(java.lang.String value)
throws java.lang.IllegalArgumentException
- Throws:
java.lang.IllegalArgumentException
equals
public boolean equals(java.lang.Object obj)
- Overrides:
equals
in class java.lang.Object
hashCode
public int hashCode()
- Overrides:
hashCode
in class java.lang.Object
toString
public java.lang.String toString()
- Overrides:
toString
in class java.lang.Object
readResolve
public java.lang.Object readResolve()
throws java.io.ObjectStreamException
- Throws:
java.io.ObjectStreamException
getSerializer
public static org.apache.axis.encoding.Serializer getSerializer(java.lang.String mechType,
java.lang.Class _javaType,
javax.xml.namespace.QName _xmlType)
getDeserializer
public static org.apache.axis.encoding.Deserializer getDeserializer(java.lang.String mechType,
java.lang.Class _javaType,
javax.xml.namespace.QName _xmlType)
getTypeDesc
public static org.apache.axis.description.TypeDesc getTypeDesc()
- Return type metadata object


Represents a event.
More...
#include <Event.h>
◆ Event()
◆ contactCount()
| int Event::contactCount |
( |
| ) |
|
|
inline |
◆ getContact()
◆ contacts
◆ event
| const char* Event::event = nullptr |
◆ otherBody
| Body* Event::otherBody = nullptr |
◆ otherShape
| Shape* Event::otherShape = nullptr |
◆ selfBody
| Body* Event::selfBody = nullptr |
◆ selfShape
| Shape* Event::selfShape = nullptr |
◆ target
| void* Event::target = nullptr |
◆ targetID
It is body's id on collision event; shape's id on triggered event.
◆ type
The documentation for this struct was generated from the following file:


|
Little Heroes
|
Generated geometry class. More...
Public Member Functions | |
| void | Clear () |
| Step 1: Prepare to fill the buffers – make them clean and valid. More... | |
| void | ApplyTransform (Matrix4x4 widgetToPanel) |
| Step 2: Transform the vertices by the provided matrix. More... | |
| void | WriteToBuffers (BetterList< Vector3 > v, BetterList< Vector2 > u, BetterList< Color32 > c, BetterList< Vector3 > n, BetterList< Vector4 > t) |
| Step 3: Fill the specified buffer using the transformed values. More... | |
Public Attributes | |
| BetterList< Vector3 > | verts = new BetterList<Vector3>() |
| Widget's vertices (before they get transformed). More... | |
| BetterList< Vector2 > | uvs = new BetterList<Vector2>() |
| Widget's texture coordinates for the geometry's vertices. More... | |
| BetterList< Color32 > | cols = new BetterList<Color32>() |
| Array of colors for the geometry's vertices. More... | |
Properties | |
| bool | hasVertices [get] |
| Whether the geometry contains usable vertices. More... | |
| bool | hasTransformed [get] |
| Whether the geometry has usable transformed vertex data. More... | |
Generated geometry class.
All widgets have one. This class separates the geometry creation into several steps, making it possible to perform actions selectively depending on what has changed. For example, the widget doesn't need to be rebuilt unless something actually changes, so its geometry can be cached. Likewise, the widget's transformed coordinates only change if the widget's transform moves relative to the panel, so that can be cached as well. In the end, using this class means using more memory, but at the same time it allows for significant performance gains, especially when using widgets that spit out a lot of vertices, such as UILabels.
| void UIGeometry.ApplyTransform | ( | Matrix4x4 | widgetToPanel | ) |
Step 2: Transform the vertices by the provided matrix.
| void UIGeometry.Clear | ( | ) |
Step 1: Prepare to fill the buffers – make them clean and valid.
| void UIGeometry.WriteToBuffers | ( | BetterList< Vector3 > | v, |
| BetterList< Vector2 > | u, | ||
| BetterList< Color32 > | c, | ||
| BetterList< Vector3 > | n, | ||
| BetterList< Vector4 > | t | ||
| ) |
Step 3: Fill the specified buffer using the transformed values.
| BetterList<Color32> UIGeometry.cols = new BetterList<Color32>() |
Array of colors for the geometry's vertices.
| BetterList<Vector2> UIGeometry.uvs = new BetterList<Vector2>() |
Widget's texture coordinates for the geometry's vertices.
| BetterList<Vector3> UIGeometry.verts = new BetterList<Vector3>() |
Widget's vertices (before they get transformed).
|
get |
Whether the geometry has usable transformed vertex data.
|
get |
Whether the geometry contains usable vertices.


[gecode-users] A problem for restart
Christian Schulte
cschulte at kth.se
Tue Dec 16 16:22:14 CET 2014
Hmmmm, I had a look and that should work. I will look into a little later (after Christmas).
However: it will work when you do not restart on a solution. Then, the combination of all solution search together with restarts is not really that meaningful, is it?
Cheers
Christian
--
Christian Schulte, Professor of Computer Science, KTH, www.gecode.org/~schulte/
From: zichenzu at gmail.com [mailto:zichenzu at gmail.com] On Behalf Of Zhu Zichen's cse
Sent: Tuesday, December 16, 2014 4:14 PM
To: cschulte at kth.se
Cc: users at gecode.org
Subject: Re: [gecode-users] A problem for restart
Dear Christian,
Here are the codes. Many thanks.
Zichen
On Tue, Dec 16, 2014 at 11:04 PM, Christian Schulte <cschulte at kth.se> wrote:
Hi Zichen,
MPG does not make a promise here: it says "the solution might not be found again" but it does not give you a guarantee. But for your example I would have to know how nqueen_rbs looks like.
Cheers
Christian
--
Christian Schulte, Professor of Computer Science, KTH, www.gecode.org/~schulte/
From: users-bounces at gecode.org [mailto:users-bounces at gecode.org] On Behalf Of Zhu Zichen's cse
Sent: Tuesday, December 16, 2014 3:43 PM
To: users at gecode.org
Subject: [gecode-users] A problem for restart
Dear all,
I met a problem when using restart in Gecode.
I simply use restart to find all solutions for 4-Queens while use the same heuristic after each restart:
./nqueen_rbs -restart geometric -restart-scale 2 -restart-base 10 -nogoods 1 -nogoods-limit 128 4
But I got into an infinite loop which keeps printing the first solution.
According to the newest version of document "MPG" (page 160), the master() function posts no-goods when the a solution is found. This means the same solution will not be found again.
I rewrite the master() function by changing the last line "return true" into "return false", now all solutions are generated without trapped into a loop.
I am wondering why the infinite loop happens and whether Gecode has truly recorded previous solutions as nogoods as the document says.
Thanks for help.
Zichen
Image removed by sender.
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://www.gecode.org/pipermail/users/attachments/20141216/95e41805/attachment.html>
-------------- next part --------------
A non-text attachment was scrubbed...
Name: image001.jpg
Type: image/jpeg
Size: 823 bytes
Desc: not available
URL: <http://www.gecode.org/pipermail/users/attachments/20141216/95e41805/attachment.jpg>
More information about the users
mailing list


Pies
Apple
$12.95
Blueberry
$18.97
Cherry
$16.97
Cranberry
$18.94
Peach
$18.97
Pumpkin
$14.97
Rhubarb
$21.97
Strawberry
$12.97


This tests to see that plaintext-only regions can be styled as long as they are fully selected. The editable, plaintext-only cell should contain bold text, which should be implemented with the bold CSS property in the cell's inline style declaration, not with wrapper spans inside the cell.
| non-editable | plaintext-only |


Now that we know all about the CSSStyleValue
types, let's take a look at creating them and setting them on an element.
So far we've been working with computedStyleMap
, which returns all the properties and values affecting an element, but there is also the attributeStyleMap
for getting and setting inline styles. This is much like our already commonly used style()
method, and you might wonder why we need to change something that works. With this new Typed OM method we also work with all the CSSStyleValue
types, rather than just strings. This makes our code far more robust and flexible.
Note: Both the computed and attribute style maps are of type StylePropertyMap
, which is a map-like object, and so supports all the common methods like get()
, set()
, keys()
, values()
, and entries()
— making them intuitive to work with1. There is also styleMap
, which is described further down.
Let's take a look at the methods available to us when using the attributeStyleMap
. To simply add a style and then retrieve it, we can use the set()
and get()
methods.
buttonEl.attributeStyleMap.set('padding-top', CSS.px(10));
const padTop = buttonEl.attributeStyleMap.get('padding-top');
console.log(padTop);
// logs: CSSUnitValue {value: 10, unit: 'px'}
A couple of things to note here: When we are setting the pixel value we are creating a CSSUnitValue
using the CSS.px()
factory method. We could have set it thus:
new CSSUnitValue(10, px);
We can use this to create any CSSStyleValue
we've already seen
Also, when we get the property a CSSUnitValue
returned. That's handy because we don't have to do any parsing to retrieve the number or the unit, they are just available to us.
And there's more, as well as the set()
and get()
methods, there are has()
, delete()
, and clear()
.
buttonEl.attributeStyleMap.has('padding-top') // returns true
buttonEl.attributeStyleMap.delete('padding-top') // removes padding-top from attribute styles
buttonEl.attributeStyleMap.clear() // removes all attribute styles
As well as attribute styles we can also access stylesheet rules:
const stylesheet = document.styleSheets[0];
Object.values(stylesheet.cssRules).forEach(block => {
if (block.selectorText === 'button') {
console.log(block.cssText);
}
})
// Logs css block: button { --unit: 1.2rem; --mainColour: hsl(198, 100%, 66%); display: inline-block; padding: var(--unit) calc(var(--unit)*2); ...}
The methods already discussed are available to us and we can modify or update any of these properties like so:
if (block.selectorText === '.example') {
block.styleMap.set('--mainColour', 'black');
}
Might be worth noting this should be used with caution, as it's a pretty powerful way to update your styles.
Well done! You've covered all the basics of using Typed OM. There's quite a bit there and with all the values quite a bit still to think about (all the math sums for instance) There's a reference with resources here and loads more information in the MDN docs.
There's more examples here of using Typed OM in practice.
1https://developers.google.com/web/updates/2018/03/cssom


Preparation time
less than 30 mins
Cooking time
10 to 30 mins
Serves
Serves 4
Bring some Asian flavour to your fish supper with soy sauce and mirin.
For the purée, place the garlic and white wine vinegar into a small saucepan and cook until the garlic is tender. Drain and set aside.
Place the potatoes into a large saucepan of water and bring to the boil. Cook for around 15 minutes, until done, and drain.
Put the potatoes and garlic through a ricer into another saucepan and add the olive oil and double cream and mix until you have a smooth wet consistency.
Mix the soy, mirin, brown sugar and lemon juice together and add the mackerel to the mixture. Heat a medium frying pan and add the oil, place the fish in the pan and cook each side for 1-2 minutes. Spoon over the remaining marinade while cooking.
Heat a large saucepan of boiling salted water and blanch the purple sprouting broccoli.
For the dressing, place all the ingredients into a bowl and mix or place into a food processor and blend. Just before serving add the dressing to the broccoli and mix.
Place a spoonful of the purée onto a serving plate or bowl. Place the mackerel on top and garnish with the broccoli.


In the past, this has been one of the requirements of Chinese schools. Although our camps are still advertised as having teachers from top US/UK universities, and the program is still highly competitive in order to ensure the quality of education provided to Chinese students, we welcome all applicants who meet the requirements listed above.
Camps have been held in Beijing, Hebei, Jiangxi, Guangdong, Shandong, Liaoning, Zhejiang, Inner Mongolia, Fujian, and Shanxi provinces. Actual locations vary each year. Teachers are informed of exact details during Orientation.
English fluency, adaptability, a vibrant faith, enthusiasm for working with kids, interest or experience in teaching, cross cultural competency, leadership
Application does not imply any sort of commitment. However, once teachers have accepted our offer of a place in the program, they are expected to participate in the entire ISEC Program. See the schedule for this year’s program dates. Late arrivals or early departures are only granted if ISEC leadership has given permission, in writing, the start of the summer.
Interviews are taken over Skype. They typically last 30 minutes, and will generally involve 2 interviewers who are themselves past participants.
We will help you prepare for the summer. Cross-cultural and English teaching instruction are provided online and in person, and you will begin receiving instructions about visas, flights, what to bring, and so on.
You are free to return home any time after the last day of the program; however, this is a great opportunity to go travelling on your own, or maybe even with some of your new friends. This is essentially at your own discretion. You choose when to fly home, as long as it’s after the last day of the program.
As all classes are conducted in English, with in-classroom translation provided by local Chinese university students, teachers do not need to have any Chinese language ability. However, teachers who are fluent in Mandarin Chinese are always a great asset, and we welcome Mandarin-speakers to apply.
ISEC employs the immersion English technique. Consequently, we aim to recreate a British or American style camp in China, allowing Chinese students to have an authentic cultural experience in their own country. Teachers are therefore not required to speak Chinese or have had previous teaching experience (though both are beneficial). Teachers are expected to prepare a series of around ten lessons on a theme of their choice. After acceptance into the program, during pre-departure training and orientation, teachers will receive information, guidelines, and past experience of how best to structure and present their lessons.
Camp Directors manage the day-to-day operations of the camp and manage relationships with all relevant parties to ensure the successful operation of the camps. Directors liason between the ISEC leadership, camp managers, teachers, Chinese coteachers, and local representatives. They care for the needs of the teaching team, and oversee operational details of the camp as a whole. Directors play a big role as the leaders of the teaching team, and are responsible, with support from ISEC leadership, for the overall well-being of the teachers.
Absolutely! We encourage participants to not only raise funds, but to raise awareness and support of your trip with your friends, family, and local network. The best way to support an individual teacher is through our donations page, where you can specify the name of the teacher you wish to support. Daybreak:Asia will reimburse the participant with all donations up to the cost of their flights (purchased, not redeemed from frequent-flier miles), visas, and travel insurance at the end of the program upon receiving a digital receipt. Daybreak:Asia reserves the right to retain donated monies that exceed the listed price of your ticket. For more information, visit our donations page.


We were all sad to see Yvonne leave us at the end of January. Shane says he misses her, but he also likes his new nanny, Bekah. The weather has been very cold this winter, and we had only 3 days in January that did not rain or snow. So Shane hasn't been able to go outside and run around very much. Mom and Dad have been taking him to CMU to run around inside instead. Shane also likes to draw on the white board in Mom's office. In the middle of February Shane got a haircut at Supercuts, his first haircut that wasn't at a kids "haircut house."
Shane went to St. Louis with Mom, Dad, and Maya. He had a good time going to all of Mom and Dad's favorite restaurants -- Mai Lee, Blueberry Hill, Casa Gailardo Grill, and the St. Louis Bread Company. He met Brad and Penny and Braydon. He checked out the Washington University campus and had a good time playing on the playground in Shaw Park.
Shane likes the fact that our new house has two staircases -- a purple staircase and a green staircase. Shane likes to make Maya laugh. Sometimes he lets her play with his toys, but he is very possessive of his trains.
Aunt Ginny, Uncle Jeff, and Cousin Justin came to visit. Shane showed Justin how to color on Dad's white board at work. The weather was really nice and everyone got to play outside.
Shane likes going to school. He especially likes his teacher, Franny. He made bunny ears at school and did the bunny hop.
Shane went to the CMU Carnival. He liked getting ballons and he really enjoyed going on the rides. It was fun walking over the hill to see the buggy races.
Privacy policy
This page maintained by Shane's Mom


{% extends "../customer.layout.html" %} {% block content %}
We hope to seeing you again soon.
Thank you


'It looked like she tried to push the child out of harm's way': Pregnant woman recovering after being hit by train
by Nicole Lampa, VideographerKITCHENER – The pregnant woman who was hit by a train last week in Kitchener, Ont. is recovering in hospital.
Jenna Armstrong's family confirmed to CTV on Tuesday morning that she's now in stable condition. Last week, police had listed her condition as critical.
The woman's family issued a statement saying their hearts go out to everyone who was involved, sending their best wishes for the full recovery of the six-year-old boy who was also hurt by the train.
"We are grateful to everybody who has helped out, including first responders, medical staff, friends and family," the statement reads in part.
Marc Laderoute owns an auto shop near the Lancaster Street rail crossing where Armstrong and the boy were hit.
His security camera caught the whole incident.
"Based on what I saw it looked like she tried to push the child out of harm's way at the last second and took pretty much full impact of the train," he says.
Armstrong's family tells CTV that she was 13 weeks pregnant. Both she and the unborn baby survived the crash.
She's already undergone multiple surgeries, but her family is hopeful.
"Jenna has a difficult road ahead of her, but every day we are more optimistic that she'll make a full recovery."
Last week, the Ministry of Labour confirmed that Armstrong was working as a therapist for BitKids Behaviour Therapy.
Police are still investigating the circumstances around the crash.
In the meantime, the woman's family has set up an online fundraiser to help cover costs during her recovery.
In just two days, it had raised more than $15,000.


Contents
Short Descriptions
|
is a compiler that translates Vala source code into C source and header files. |
|
|
generates a GI file for GObject and GLib based packages. |
|
|
is an utility which generates Vala API (VAPI) files from GI files. |
|
|
contains the Vala API functions. |


Sometimes I need to stop/start remote Windows services with PHP. It’s quite easy to do it with net commnand. This command is a tool for administration of Samba and remote CIFS servers. It’s pretty straightforward to handle them from Linux command line:
net rpc service --help
Usage:
net rpc service list
View configured Win32 services
net rpc service start
Start a service
net rpc service stop
Stop a service
net rpc service pause
Pause a service
net rpc service resume
Resume a service
net rpc service status
View current status of a service
net rpc service delete
Deletes a service
net rpc service create
Creates a service
Today we are going to create a PHP wrapper for this tool. Our NetService library will have two classes: One Parser and one Service class.
The Parser’s responsibility will be create the command line instruction. I will use Behat in the developing process of Parser class. Here we can see the feature file:
Feature: command line parser
Scenario: net service list
Given windows server host called "windowshost.com"
And credentials are "myDomanin/user%password"
And action is "list"
Then command line is "net rpc service list -S windowshost.com -U myDomanin/user%password"
Scenario: net service start
Given windows server host called "windowshost.com"
And service name called "ServiceName"
And credentials are "myDomanin/user%password"
And action is "start"
Then command line is "net rpc service start ServiceName -S windowshost.com -U myDomanin/user%password"
Scenario: net service stop
Given windows server host called "windowshost.com"
And service name called "ServiceName"
And credentials are "myDomanin/user%password"
And action is "stop"
Then command line is "net rpc service stop ServiceName -S windowshost.com -U myDomanin/user%password"
Scenario: net service pause
Given windows server host called "windowshost.com"
And service name called "ServiceName"
And credentials are "myDomanin/user%password"
And action is "pause"
Then command line is "net rpc service pause ServiceName -S windowshost.com -U myDomanin/user%password"
Scenario: net service resume
Given windows server host called "windowshost.com"
And service name called "ServiceName"
And credentials are "myDomanin/user%password"
And action is "resume"
Then command line is "net rpc service resume ServiceName -S windowshost.com -U myDomanin/user%password"
Scenario: net service status
Given windows server host called "windowshost.com"
And service name called "ServiceName"
And credentials are "myDomanin/user%password"
And action is "status"
Then command line is "net rpc service status ServiceName -S windowshost.com -U myDomanin/user%password"
The implementation of the feature file:
namespace NetService;
class Parser
{
private $host;
private $credentials;
public function __construct($host, $credentials)
{
$this->host = $host;
$this->credentials = $credentials;
}
public function getCommandLineForAction($action, $service = NULL)
{
if (!is_null($service)) $service = " {$service}";
return "net rpc service {$action}{$service} -S {$this->host} -U {$this->credentials}";
}
}
and finally our Service class:
namespace NetService;
use Symfony\Component\Process\Process,
NetService\Parser;
class Service
{
private $parser;
private $timeout;
const START = 'start';
const STOP = 'stop';
const STATUS = 'status';
const LIST_SERVICES = 'list';
const PAUSE = 'pause';
const RESUME = 'resume';
const DEFAULT_TIMEOUT = 3600;
public function __construct(Parser $parser)
{
$this->parser = $parser;
$this->timeout = self::DEFAULT_TIMEOUT;
}
public function start($service)
{
return $this->runProcess($this->parser->getCommandLineForAction(self::START, $service));
}
public function stop($service)
{
return $this->runProcess($this->parser->getCommandLineForAction(self::STOP, $service));
}
public function pause($service)
{
return $this->runProcess($this->parser->getCommandLineForAction(self::PAUSE, $service));
}
public function resume($service)
{
return $this->runProcess($this->parser->getCommandLineForAction(self::RESUME, $service));
}
public function status($service)
{
return $this->runProcess($this->parser->getCommandLineForAction(self::STATUS, $service));
}
public function listServices()
{
return $this->runProcess($this->parser->getCommandLineForAction(self::LIST_SERVICES));
}
public function isRunning($service)
{
$status = explode("\n", $this->status($service));
if (isset($status[0]) && strpos(strtolower($status[0]), "running") !== FALSE) {
return TRUE;
} else {
return FALSE;
}
}
public function setTimeout($timeout)
{
$this->timeout = $timeout;
}
private function runProcess($commandLine)
{
$process = new Process($commandLine);
$process->setTimeout($this->timeout);
$process->run();
if (!$process->isSuccessful()) {
throw new RuntimeException($process->getErrorOutput());
}
return $process->getOutput();
}
private function parseStatus($status)
{
return explode("\n", $status);
}
}
And that’s all. Now a couple of examples:
include __DIR__ . '/../vendor/autoload.php';
use NetService\Service,
NetService\Parser;
$host = 'windowshost.com';
$serviceName = 'ServiceName';
$credentials = '{domain}/{user}%{password}';
$service = new Service(new Parser($host, $credentials));
if ($service->isRunning($serviceName)) {
echo "Service is running. Let's stop";
$service->stop($serviceName);
} else {
echo "Service isn't running. Let's start";
$service->start($serviceName);
}
//dumps status output
echo $service->status($serviceName);
include __DIR__ . '/../vendor/autoload.php';
use NetService\Service,
NetService\Parser;
$host = 'windowshost.com';
$credentials = '{domain}/{user}%{password}';
$service = new Service(new Parser($host, $credentials));
echo $service->listServices();
You can see the full code in github here. The package is also available for composer at Packaist.