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HEAT A film review by Alex Brenner Copyright 1996 Alex Brenner
Directed by Michael Mann Robert De Niro Al Pacino Val Kilmer Tom Sizemore Ashley Judd
Before I proceed, two pre scripta. Firstly, I am aware that there has been recently posted another review of Heat, which was largely negative. That the tone of this critique is vastly different should not be taken as a criticism of that article, which contains a few valid points. Secondly, this is not a review, nor could it be. I have not seen the film for a few months, and thus I am not concerned with minutiae of detail and plot. This is, rather, a criticism, and therefore assumes that the reader possess a ready familiarity with the 'text.'
--
'Heat' is often billed as a cerebral action movie, its major selling points being the unification of De Niro and Pacino, and direction from Michael Mann, who achieved a notable success in 1991 with the action-fuelled 'Last of the Mohicans.' However, the film fails on that front, and it would be a mistake to judge it on the same basis as pulp like 'Independence Day.' It is unquestionably the work of an auteur, and it attempts to convey what are, for a mainstream film, astonishing depths of meaning and significance. Its slow, contemplative pace is more reminiscent of art European cinema than the Hollywood blockbuster tradition to which it undoubtedly alludes. It would be easy to dismiss the plot as perfunctory. After all, there exists no great innovation in its formulaic telling of lawmaker and breaker mano-a-mano; its use of close encounters and near misses as plot devices is not going to win praise. But then, the plot need not be any more than perfunctory: its place is to support exploration of the two protagonists and associated themes. Indeed, the extent of the focus is interesting, for it persists to the point where the subsidiaries almost become like a chorus. The eloquent commentaries delivered by some of the lesser participants are clearly fulfilling the need for a cementing of imagery. It is a thing which can be hard to do on film; Scorsese uses voice-over, for instance, to explain motivations and desires that might otherwise have to be tediously run through with action. Mann is not so explicit, but there is certainly something of this here. It would almost certainly be a misinterpretation to state that Mann cast De Niro and Pacino for their box-office pulling power. It is far more likely that he wished to aid a vertical coherence in resolution of theme. Permit me to explain. De Niro and Pacino's characters are disconnected from their peers, and isolated in general - indeed, this maybe is one criticism that could fairly be levelled at Mann: that these ideas are somewhat overstressed. Time and again, we see Pacino failing to communicate with his family and colleagues, both in a literal and a figurative sense. We are told often enough that his marriages have failed, and then, of course, his daughter tries to kill himself. Similarly, De Niro is always picked out from a crowd; we see his face, focus razor-sharp, over a blur of city lights. So we see that De Niro is set apart from society, suggested by plot, dialogue, and images. However, this stressing is ultimately not too intrusive. The two are both unusally able: Pacino is a great cop, De Niro a great crook, and yet both are poor at communication, despite their intelligence and instinctive powers of understanding and empathy. Beginning to recognise a pattern here? Mann's use of De Niro and Pacino enhances his exposition no end, as they are fundamentally reprising the roles they play in real life. Thus do we see themes repeated and enhanced at different levels of the work. Where there exists a unity of vision between a poster and subtext, there exists a coherent, intelligent vision, or so Mann would have us believe. Of course, one might take this further, and suggest that Mann is cheekily making a statement concerning the greatness of his work. When De Niro and Pacino finally come together, in the film, in life, the sparks fly. If one is concerned momentarily with these themes of seperateness and isolation, one might be inclined to see the film as a paean to such a condition. There is no doubt that Mann reserves a certain reverence for his two heroes, particularly De Niro. His portrayal of their genius speaks of an admiration for men such as these, whose wit, loneliness, empathetic skills, and inability to relate spring from the same source: their observation and perception of people, the world, and the ways in which they work. There is of course, in this, a certain arrogance, which is explied at a number of points, like when De Niro casually seduces a girl, or Pacino at a crimescene, talking down to his lesser contemporaries. These men feel a certain aloofness, because they see repeatedly evinced their superiority over other people, hence, again, their failure to possess a circle of friends, a condition stemming from the lack of any desire to associate closely with thos they consider to be their inferiors. Strongly implied in all this is a realisation of Mann's persona, the auteur, in De Niro and Pacino. I daresay that it would be relatively difficult to seperate those elements in the heroes which are Mann's invention and those which are autocharacteristic. There is nothing wrong with this, indeed, it is a positive boon. It is quite clear that Mann has invested in 'Heat' a good deal of personal anguish; perhaps the film was conceived as some kind of therapy! Certainly, there is in 'Heat' much to suggest a working through of the isolated, intellectual personality, its implications and weaknesses. It is thus a moment of great emotional significance when these two meet. Again, the 'cafe' scence was billed as the first scene shared by De Niro and Pacino, the meeting of two great forces, a comment which may just as well be applied within the film as without. Here we see for the first time a recognition (seeded in the scene where Pacino photographs De Niro in open space from a crane) of equality, of another person who might be considered equal. This resolution might seem akin to the old saw 'Two sides of the same coin,' and indeed it is. However, by saying more than just 'the crook and the cop are two sides of the same coin,' Mann invites a more plangent evocation of the joys of companionship. 'The crook and the cop are both sides of the same coin, which is an unusual coin, possessing several odd relationships with other coins' might be more appropriate. Because Mann portrays wonderfully the desolation and pain that lie at the heart of Pacino and De Niro's worlds, it is altogether wonderful to see the two united. It is a testament to 'Heat's' tragic stature that this scene is agonising rather than sentimental, for one may choose to see the film also as a story of unrequited love. After all, the cafe scene bore strong sexual resonances for this viewer at least. And if not sexual, then at least something concerned with love. For what is love if is not the apotheosis of your being in another person? Something along this line occurs between De Niro and Pacino: Pacino recognises that De Niro knows him already far better than his wife or child ever will, and De Niro sees that Pacino understands his motivations and character better than his henchmen or his picked-up floozie ever will. The cafe scene links directly to the final shot, the two holding hands in recognition of the profundity of their communion, of both the acknowledged inevitability of the loss, and its sickening futility. People have complained of 'Heat' being predictable. Well, Neil McAuley might say the same: in the cafe scene there is also an implicit recognition that one of them will be 'taken down' by the other, one consigned to the darkness of death, the other once more to that of loneliness. This is really the core of the film: an exploration of this mentality, with all it has to say about the operation of human relationships; it is an attempt to aestheticise the coldness of self-aware existence, and the profound satisfaction to be derived from an unqualified respect, and subsequently, friendship. Of course, the tragic course of the film never permits that friendship to blossom, but the hint of their mutual respect is enough to reveal the concept. By emoting with such acuity and clarity, Mann makes a bee-line for the soul, so to speak. 'Heat' is enormously affecting, because it is accurate: therefore, the enormous pain experienced by Pacino at the end, a pain, it should be said, tinged with a funereal, longing, respect, or even love, is also experienced by the sympathetic viewer. Its resolution is in some ways a happy one, as the viewer comes, with Pacino, to recognise the contribution that De Niro made to Pacino's life, to lend hope, and that Pacino's life will ultimately be the better for it. So the film is plangent and mournful, yet, like all properly resolved tragedy, somehow heartwarming. All this would, of course, be for very little, were it not for 'Heat's' technical brilliance. That its ideas should be so excellently realised owes much to the synergy between the various cinematic elements at work. Obviously, the main artistic impetus is Mann, the quality of whose direction can be judged from my earlier comments, but whose script is also very good. The cinematography is excellent, ceaslessy portraying a sharp, blue, cold world, where the surfaces repel all dust. The lighting observes superbly the rhythms of the characters, and there is a fine score.  It is his finest screen moment since 'The King of Comedy,' and stands utterly unashamed in the company of Vito Corleone, Travis Bickle and Jake LaMotta. One thing is for certain: there is no facet of De Niro's portrayal of Neil McAuley which does not vastly outshine Nicolas Cage's in 'Leaving Las Vegas,' which was in itself, of course, a remarkably fine performance. The real blot on the landscape is Pacino, but enough has been made of the weakness of his performance by reviewers. It is only fair to say that he suffers by comparison: he won an Oscar for a performance, in 'Scent of a Woman,' which was a good bit worse than his showing here. However, in comparison to the wonders worked elsewhere, he does let the side down a trifle. Is it possible that he thought he was still on Broadway trying to reach row X? (It seems that all great films have an actor who underperforms; 'Taxi Driver' had (that dreadful woman whose name currently escapes me), 'Bladerunner' had Sean Young. Make of this what you will. ) That last sentence implied that I consider 'Heat' to be a great film, and any inference made to that effect would be correct. It is unusual, when one goes to see many films, to have one leap out and hit one in the face with its sheer brilliance, but that is what 'Heat' did. In my time as a regular cinemagoer - not, admittedly, all that long - only 'Se7en' and 'Schindler's List' performed this feat to the same extent as 'Heat.' This is not to say that these are the only films that I consider superb, but they are the only such that I saw first on the big screen. Of these elite three, I would say that perhaps 'Se7en' lacks the timelessness or extreme depth that constitute a genuinely great film. 'Heat,' on the other hand, does not lack these, which in my opinion leaves it in level contention with 'Schindler's List' and 'GoodFellas' for best film of the decade, thus far.
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|
AZX (AppZone eXtensions) documentation
1.1.9-CxL
A set of companion utilities that make AZ development easier
|
This group includes all the information about azx_easy_at configuration and usage. More...
Data Structures | |
| struct | AZX_EASY_AT_ATCOMMAND_TAG |
| Single custom command utility struct. More... | |
| struct | EASY_AT_MODULE_TAG |
| The module structure retrieved by azx_easy_at_init() More... | |
| struct | EASY_AT_HANDLES_TAG |
| Structure containing atpHandle and atpI info for a specific command. More... | |
Typedefs | |
| typedef void(* | azx_easy_at_taskCallback) (M2MB_ATP_HANDLE h, UINT16 atpI) |
| This is the custom command easy at main callback function signature. More... | |
| typedef void(* | azx_easy_at_taskDelegation) (M2MB_ATP_HANDLE h, UINT16 atpI, M2MB_ATP_DELEGATION_IND_E delegationEvent, UINT16 msg_size, void *delegationMsg) |
| This is the custom command easy at delegation callback function signature. More... | |
Functions | |
| M2MB_RESULT_E | azx_easy_at_CMEE (AZX_EASY_AT_HANDLES_T *hdls, INT16 cmee_code, CHAR *cust_cmee_message,...) |
| function to output an error message over ATP interface. More... | |
| const CHAR * | azx_easy_at_cmdTypeAsString (UINT16 type) |
| Provides the command type as a string. More... | |
| M2MB_RESULT_E | azx_easy_at_sendUnsolicited (AZX_EASY_AT_MODULE_T *module, CHAR *message) |
| Send an URC message. More... | |
| AZX_EASY_AT_MODULE_T * | azx_easy_at_init (CHAR *module_name, AZX_EASY_AT_ATCOMMAND_T *list, INT32 list_size) |
| Initialize the easy AT module. More... | |
| M2MB_RESULT_E | azx_easy_at_getAte (AZX_EASY_AT_HANDLES_T *h, INT32 *ate) |
| Gets the ATE setting for the provided instance. More... | |
| M2MB_RESULT_E | azx_easy_at_getCmee (AZX_EASY_AT_HANDLES_T *h, INT32 *cmee) |
| Gets the CME setting for the provided instance. More... | |
| char * | azx_easy_at_TrimAndRemoveQuotes (CHAR *pStr) |
| modifies a string removing quotes in it. More... | |
| INT32 | azx_easy_at_strToL (CHAR *str, INT32 *output) |
| Converts a string into a signed long. More... | |
| INT32 | azx_easy_at_strToUL (CHAR *str, UINT32 *output) |
| Converts a string into an unsigned signed long. More... | |
| INT32 | azx_easy_at_strToULL (CHAR *str, UINT64 *output) |
| Converts a string into an unsigned long long. More... | |
| INT32 | azx_easy_at_strToULHex (CHAR *str, UINT32 *output) |
| Converts a string in HEX format into an unsigned signed long. More... | |
| INT8 | azx_easy_at_strToUS (CHAR *str, UINT8 *output) |
| Converts a string into an unsigned short. More... | |
| UINT8 | azx_easy_at_ASCtoDEC (CHAR ch) |
| converts an ASCII hex character (0-9A-F) to its corresponding value. More... | |
This group includes all the information about azx_easy_at configuration and usage.
| typedef void( * azx_easy_at_taskCallback) (M2MB_ATP_HANDLE h, UINT16 atpI) |
This is the custom command easy at main callback function signature.
This callback function is executed by ATP when a custom AT command is executed. This will contain user code to manage the command
| [in] | h | the ATP handle associated with the command |
| [in] | atpI | the atp instance where the command was received. Can be used internally with m2mb_atp_get_input_data to retrieve the command information (name, parameters list and so on) |
Refer to azx_easy_at_init() AZX_EASY_AT_ATCOMMAND_T list
| typedef void( * azx_easy_at_taskDelegation) (M2MB_ATP_HANDLE h, UINT16 atpI, M2MB_ATP_DELEGATION_IND_E delegationEvent, UINT16 msg_size, void *delegationMsg) |
This is the custom command easy at delegation callback function signature.
This callback function is executed by ATP when a custom AT command is in execution, and user data input is expected. This will contain user code to manage the command
| [in] | h | the ATP handle associated with the command |
| [in] | atpI | the atp instance where the command was received. Can be used internally with m2mb_atp_get_input_data to retrieve the command information (name, parameters list and so on) |
| [in] | delegationEvent | the delegation event (can be DATA or ESCAPE) |
| [in] | delegationMsgSize | additional delegation callback data size in bytes |
| [in] | delegationMsg | additional delegation callback data pointer |
Refer to azx_easy_at_init() M2MB_EASY_AT_ATCOMMAND_T list
| UINT8 azx_easy_at_ASCtoDEC | ( | CHAR | ch | ) |
converts an ASCII hex character (0-9A-F) to its corresponding value.
This function converts a single ASCII hex character (0-9A-F) to the corresponding value. E.g. 'F' -> 0x0F
| [in] | ch | the numeric value |
| const CHAR* azx_easy_at_cmdTypeAsString | ( | UINT16 | type | ) |
Provides the command type as a string.
This function will output a string that describes the current command type. refer to M2MB_ATP_CMDTYPE_E enum. It is called by macro AZX_EASY_AT_CMD_INFO
| [in] | type | the command type as a number (retrieved by m2mb_atp_get_input_data returned structure) |
Refer to azx_easy_at_init()
| M2MB_RESULT_E azx_easy_at_CMEE | ( | AZX_EASY_AT_HANDLES_T * | hdls, |
| INT16 | cmee_code, | ||
| CHAR * | cust_cmee_message, | ||
| ... | |||
| ) |
function to output an error message over ATP interface.
This function will output an error message on ATP interface. The format of the message depends on the cmee level for that interface. Custom cme code and message can be provided. It is internally called with the macro AZX_EASY_AT_RELEASE_WITH_CMEE
| [in] | hdls | pointer to the structure with atp handle and atp instance info |
| [in] | cmee_code | the numeric value of the error. can be one of the standard |
| [in] | level | the custom message, if needed. Leave to NULL to use a standard message. It Supports variadic parameters |
Refer to azx_easy_at_init()
| M2MB_RESULT_E azx_easy_at_getAte | ( | AZX_EASY_AT_HANDLES_T * | h, |
| INT32 * | ate | ||
| ) |
Gets the ATE setting for the provided instance.
This function retrieve the ATE value for the instance passed with h
| [in] | h | the AZX_EASY_AT_HANDLES_T pointer, carrying the ATP instance info |
| [out] | ate | pointer to the variable that will be filled with the ATE value |
Refer to azx_easy_at_init()
| M2MB_RESULT_E azx_easy_at_getCmee | ( | AZX_EASY_AT_HANDLES_T * | h, |
| INT32 * | cmee | ||
| ) |
Gets the CME setting for the provided instance.
This function retrieve the CME value for the instance passed with h
| [in] | h | the AZX_EASY_AT_HANDLES_T pointer, carrying the ATP instance info |
| [out] | cmee | pointer to the variable that will be filled with the CME value |
Refer to azx_easy_at_init()
| AZX_EASY_AT_MODULE_T* azx_easy_at_init | ( | CHAR * | module_name, |
| AZX_EASY_AT_ATCOMMAND_T * | list, | ||
| INT32 | list_size | ||
| ) |
Initialize the easy AT module.
This function will create a module structure (with the provided module_name) and register the list of custom commands.
| [in] | module_name | the module name to be used. It will be showed in all trace prints for that module. |
| [in] | list | pointer to the array of commands info |
| [in] | list_size | size of the list (number of commands) |
| M2MB_RESULT_E azx_easy_at_sendUnsolicited | ( | AZX_EASY_AT_MODULE_T * | module, |
| CHAR * | message | ||
| ) |
Send an URC message.
This function will queue an URC message (buffering it) and send it either as a broadcast (no AT instance was ever used by this module (e.g. no AT commands were received yet) or to the last used AT instance.
| [in] | module | the module structure pointer |
| [in] | message | the URC message. |
Refer to azx_easy_at_init()
| INT32 azx_easy_at_strToL | ( | CHAR * | str, |
| INT32 * | output | ||
| ) |
Converts a string into a signed long.
This function convert an input string into an INT32 number.
| [in] | str | pointer to the string containing the number |
| [out] | output | pointer to the variable that will be filled with the value. |
| INT32 azx_easy_at_strToUL | ( | CHAR * | str, |
| UINT32 * | output | ||
| ) |
Converts a string into an unsigned signed long.
This function convert an input string into an UINT32 number.
| [in] | str | pointer to the string containing the number |
| [out] | output | pointer to the variable that will be filled with the value. |
| INT32 azx_easy_at_strToULHex | ( | CHAR * | str, |
| UINT32 * | output | ||
| ) |
Converts a string in HEX format into an unsigned signed long.
This function convert an input string in HEX format into an UINT32 number.
| [in] | str | pointer to the string containing the number |
| [out] | output | pointer to the variable that will be filled with the value. |
| INT32 azx_easy_at_strToULL | ( | CHAR * | str, |
| UINT64 * | output | ||
| ) |
Converts a string into an unsigned long long.
This function convert an input string into an UINT64 number.
| [in] | str | pointer to the string containing the number |
| [out] | output | pointer to the variable that will be filled with the value. |
| INT8 azx_easy_at_strToUS | ( | CHAR * | str, |
| UINT8 * | output | ||
| ) |
Converts a string into an unsigned short.
This function convert an input string into an UINT8 number.
| [in] | str | pointer to the string containing the number |
| [out] | output | pointer to the variable that will be filled with the value. |
| char* azx_easy_at_TrimAndRemoveQuotes | ( | CHAR * | pStr | ) |
modifies a string removing quotes in it.
This function will modify the input string, removing all quotes it may contain. the string length is modified accordingly.
| [in] | pStr | pointer to the string |


--- layout: post title: Y, N, Z! post_id: 174 categories: - life date: 2006-11-17 11:42:00.000000000 -07:00 author: Jamis permalink: 2006/11/17/y-n-z.html summary: > An amusing incident involving the English alphabet and the author's two-year-old daughter ---
My daughter, who is almost 3, has been learning the alphabet. Today, when my wife asked her what comes after Y, she answered, “N!”
She insisted it was so, because the song goes ”...W, X, Y N Z.”


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'There is humanity in everyone' - Kriegel killers not evil says former Mountjoy governor
by By Vivienne ClarkeThe former governor of Mountjoy prison has called on the Government to invest resources to investigate the growing trend of violent juvenile crime.
John Lonergan was commenting on the case of the two youths who murdered Ana Kriegel. He told RTÉ radio’s Today with Sean O’Rourke show that while he believed the two boys had “committed a horribly evil act,” he did not believe that Boy A and Boy B were evil.
“There is humanity in everyone.”
However, he said he is not happy with how society responded to the crime.
The two 15-year-old boys will spend most of the next decade in prison and possibly far longer under the sentencing regime set down by Mr Justice Paul McDermott. Boy A will serve a minimum of 12 years and Boy B a minimum of eight.
After the minimum terms expire, a judge will review their cases and may suspend all or some of the balance.
Mr Lonergan said that the Government is showing no leadership into investigating why crimes like this are happening. There is a growing trend among young people that they don’t go out without a knife on their person, he said.
“That’s a bad indication. They need to use this case to highlight there is a need for education. It is not good enough for Josepha Madigan to say it is up to the parents.”
Mr Lonergan said that it was alarming that the Government was not putting more resources into monitoring this situation.
READ MORE
Sinn Féin TD: Party can recover from poor showing at local election


{% extends 'layouts/base.html' %} {% block title %} Provide Feedback {% endblock %} {% block content %}
Tell us what you think of our website.


FROM
LITHUANIA
OF THE
FRAGRANT
AMBER COAST
THE AMBER WIZARD
See! O see! the Amber Wizard,
Lithuania's Amber Wizard,
How he shakes his head all golden,
Puffs his cheeks as red as apples,
Steps into the foaming wavelets,
Dives into the Baltic billows;
Downward, downward to the forests,
Ancient pine trees 'neath the waters,
Pine trees shedding balsam amber,
Fragrant amber, light as feathers!
And the Amber Wizard loosens
Lumps of amber, beads of amber,
Casts them upwards through the waters,
Casts them on the sandy seashore;
For the little ones to gather,
As they run beside the wavelets.
Then they rub the balsam amber,
Yellow amber, nut-brown amber,
Amber like the drops of honey,
Crying, "See it glow with shining!"
Crying, "Feel it tingle gently!"
Crying, "Smell it, weird and spicy!"
And the Amber Wizard watches,
Shakes his head all bright and golden,
Puffs his checks as red as apples,
Smiles, and tosses high the amber!


reading time: 5-10 min.
Cohen’s d is a widely known and extensively used measure of effect size. That is, d is used to gauge how strong an effect is (given the fact that the effect exists). For example, one way to estimate d is as follows:
data(tips, package = "reshape2")
library(compute.es)
t1 <- t.test(tip ~ sex, data = tips)
t1$statistic
## t
## -1.489536
table(tips$sex)
##
## Female Male
## 87 157
tes(t1$statistic, 87, 157)
## Mean Differences ES:
##
## d [ 95 %CI] = -0.2 [ -0.46 , 0.06 ]
## var(d) = 0.02
## p-value(d) = 0.14
## U3(d) = 42.11 %
## CLES(d) = 44.4 %
## Cliff's Delta = -0.11
##
## g [ 95 %CI] = -0.2 [ -0.46 , 0.06 ]
## var(g) = 0.02
## p-value(g) = 0.14
## U3(g) = 42.13 %
## CLES(g) = 44.42 %
##
## Correlation ES:
##
## r [ 95 %CI] = 0.1 [ -0.03 , 0.22 ]
## var(r) = 0
## p-value(r) = 0.14
##
## z [ 95 %CI] = 0.1 [ -0.03 , 0.22 ]
## var(z) = 0
## p-value(z) = 0.14
##
## Odds Ratio ES:
##
## OR [ 95 %CI] = 0.7 [ 0.43 , 1.12 ]
## p-value(OR) = 0.14
##
## Log OR [ 95 %CI] = -0.36 [ -0.84 , 0.12 ]
## var(lOR) = 0.06
## p-value(Log OR) = 0.14
##
## Other:
##
## NNT = -19.61
## Total N = 244
However, what does Cohen’s d mean eventually?
Ok, the formula of d is well-known. In essence, d is computed as the difference between two means, normalized by the average variation. So one could say: “Wow, the experimental group was about 0.5 sd above the control! Jippaa!”" Not sure whether “lay persons”" would follow.
How can one get a more intuitive understanding of d?
A first step is to recognize that the two distributions overlap less if d gets larger.
As a sidenote: The size of the overlap can be computed quite easily:
- Take the half of the mean difference (eg., 1-0 = 1, divided by 2 equals 0.5)
- This is exactly the point where the two curves intersect (see figure)
- Assuming that the “left”" mean is zero, you will now have a quantile at 0.5
- Look up the percentile of that quantile (or in R, use pnorm()), ie., about 0.70
- Now you know that at the right of this point, there is about 0.30 of probability mass
So in total, the overlap area amounts to 0.60 ie. 60%. Ok, good, but what does overlap really means?
A more approachable statistics is CLES. CLES stands for common language effect size. Basically, it answers the question:
“If I draw 100 guys from distribution 1 and 100 from distribution 2, what is the chance that guy from 1 has a higher value than guy from 2?”
Ah! This makes sense! At least to me. We have now an observable, practical description of what this effect size means.
From our example above: The chance is 44% that a woman will tip more willingly than a man. To put it differently: Pick 100 pairs (woman/man). On average, 44 of these women will tip more than their male counterpart.


--- layout: archive title: Zulip Chat Archive permalink: /stream/116395-maths/topic/Equalizers.20.26.20Products.20.3D.3E.20Complete.html ---
Is this proven in the category theory lib anywhere? I'm having trouble finding it
Nevermind, looks like this is in a later version of mathlib than I have
Hi @Brendan Seamas Murphy, it just arrived two days ago! I'm curious what you're wanting it for.
I was curious about formulating basic group theory in terms of short exact sequences, and was looking for a good way to state a version of the second isomorphism theorem, that for A, B normal in G, AB/B is iso to A/(A \cap B)
But instead of working with subgroups I have
structure SES (A B C : Group) := (f : A ⟶ B) (g : B ⟶ C) (f_inj : function.injective f) (g_surj : function.surjective g) (im_f_eq_ker_g : set.range f = is_group_hom.ker g)
Given S : SES A G K
and S' : SES B G K'
, I can get an injective map pullback S.f S'.f -> G
, which is easier to work with than the intersection of the images of S.f
and S'.f
I could just construct the pullback manually but I figured I might check if Lean had them already, and then I was wondering if I could avoid doing pullbacks and instead do products and equalizers
@Sian Carey proved the correspondence theorem using bundled subgroups and group homs.
Do you know where it is?
I believe it's currently private. I'll email her.
Also, more generally, I think it's best when constructing (co)limits in algebraic examples to just do the most general construction that works in that setting, and then let typeclass inference provide you with special shapes (pullbacks, equalizers, etc).
We don't have arbitrary limits set up in Grp
yet (or indeed the definition of Grp
), but it should be an easy exercise copying what is in the file algebra/CommRing/limits.lean
.
I have been holding off providing all these has_limits
constructions in all the different algebraic examples, in the hope of doing them uniformly with the help of some tactics, but maybe it's best to just make them all, and we can refactor them later.
https://github.com/ImperialCollegeLondon/lean-groups
(deleted)
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


| 002:285 Khan | : |
The Messenger (Muhammad SAW) believes in what has been sent down to him from his Lord, and (so do) the believers. Each one believes in Allah, His Angels, His Books, and His Messengers. They say, "We make no distinction between one another of His Messengers" - and they say, "We hear, and we obey. (We seek) Your Forgiveness, our Lord, and to You is the return (of all)." |
| 002:285 Maulana | : |
The Messenger believes in what has been revealed to him from his Lord, and (so do) the believers. They all believe in Allah and His angels and His Books and His messengers. We make no difference between any of His messengers. And they say: We hear and obey; our Lord, Thy forgiveness (do we crave), and to Thee is the eventual course. |
| 002:285 Pickthal | : |
The messenger believeth in that which hath been revealed unto him from his Lord and (so do) believers. Each one believeth in Allah and His angels and His scriptures and His messengers - We make no distinction between any of His messengers - and they say: We hear, and we obey. (Grant us) Thy forgiveness, our Lord. Unto Thee is the journeying. |
| 002:285 Rashad | : |
The messenger has believed in what was sent down to him from his Lord, and so did the believers. They believe in GOD, His angels, His scripture, and His messengers: "We make no distinction among any of His messengers." They say, "We hear, and we obey. Forgive us, our Lord. To You is the ultimate destiny." |
| 002:285 Sarwar | : |
The Messengers and the believers have faith in what was revealed to them from their Lord. Everyone of them believed in God, His angels, His Books, and His Messengers, saying, "We find no difference among the Messengers of God." They also have said, "We heard God's commands and obeyed them. Lord, we need Your forgiveness and to You we shall return." |
| 002:285 Shakir | : |
The messenger believes in what has been revealed to him from his Lord, and (so do) the believers; they all believe in Allah and His angels and His books and His messengers; We make no difference between any of His messengers; and they say: We hear and obey, our Lord! Thy forgiveness (do we crave), and to Thee is the eventual course. |
| 002:285 Sherali | : |
This Messenger of OURS believes in that which has been revealed to him from his Lord, and so do the believers; all of them believe in ALLAH, and in HIS angels, and in HIS Books, and in HIS Messengers, saying, 'We make no distinction between any of HIS Messengers;' and they say 'We have heard and we are obedient. Our Lord, we implore THY forgiveness, and to Thee is the returning.' |
| 002:285 Yusufali | : |
The Messenger believeth in what hath been revealed to him from his Lord, as do the men of faith. Each one (of them) believeth in Allah, His angels, His books, and His messengers. "We make no distinction (they say) between one and another of His messengers." And they say: "We hear, and we obey: (We seek) Thy forgiveness, our Lord, and to Thee is the end of all journeys." |
Concepts/Themes Covered: أركان الإسلام > الدين > دعوة العباد إلى الإسلام Pillars of Islam> Religion> Calling Mankind to Islam أركان الإسلام > الصلاة > الدعاء > المأثور من الدعاء Pillars of Islam> The Prayers>The Invocation> What is said Concerning Invocation الإيمان > الأنبياء والرسل > الإيمان بهم Faith> The Prophets and the Messengers of Allah> The Belief in Allah الإيمان > الإيمان بالله > الدعوة إلى الإيمان Faith> Belief In Allah> The Call for Faith الإيمان > المؤمنون > صفات المؤمنين Faith> The Believers> The Believers' Characteristics الإيمان > الملائكة > الإيمان بهم Faith> The Angels> To Believe in them
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


This tests that the Scope view shown in DevTools shows all the relevant information when paused in a Wasm function. This includes the module (instance, memory, globals), local and stack scope. It's important that this information is presented to the user in a meaningful way.
foo
from the scopes.wasm
module and set a breakpoint on the global.get $imports.global
line


Global Data Filters
Number of responses and number of new registered participants within this range will be displayed in the graphs. This also controls the pivot table: only data from responses (and the associated children/families) within this time frame will be included in the table.
| # Unique Responses | |
|---|---|
| # Unique Children | |
| # Registrations in date range | |
| Total # Registrations at range end |
Change the sampling width of the binned graphs.
Determine the kinds of responses that are counted in the binned participation graph and have their own line plotted in the cumulative participation graph. (This does not affect the registration plots or pivot table.)


Scripting Language Reference Manual¶
This section describes the structure of a simulation script and the scripting language that is used to specify the system to simulate.
Structure of a script¶
The main components of a script are the following:
Assigning values to parameters and global variables.
One or more phase blocks which specifiy the environment with which the subject interacts, in particular the sequence of stimuli to present to the subject, and how it depends on the subject’s behavior.
Run the simulation using one or several @run commands.
Postprocessing: Plotting and/or exporting the simulation data.
The below example script highlights the typical structure.
Basic script language syntax¶
The specification of a simulation consists of the components described in Structure of a script. This section describes the basic syntax in the scripting language used in these components.
Stimulus specification¶
Stimuli are specified in various parts of the script, most commonly on a phase line in a phase block, where it tells the simulator which stimulus to present to the subject.
A stimulus consists of one or several stimulus elements. (The stimulus elements are specified with the parameter stimulus_elements.) A stimulus that consists of more than one element is called a compound stimulus. In a stimulus specification, each stimulus element has an intensity (which is any number). If no intensity is specified, the intensity 1 is assumed.
Note that the parameter stimulus_elements lists the names of the stimulus elements and should not include any intensities.
In a phase block, a stimulus is specified as a comma-separated list of stimulus elements, optionally with the intensity in brackets after the stimulus element name,
for example e1,e2
, or e1[0.3],e2,e3[0.9]
.
Note
The order of the elements in a compound stimulus has no effect on the stimulus representation, so:
e1[0.3],e2,e3[0.9]
represents the same stimulus as:
e3[0.9],e2,e1[0.3]
A stimulus is often a single stimulus element, so a phase line that exposes the subject to a stimulus may look like:
L1 e | L2
If the stimulus to present to the subject is a compound stimulus of the elements e1
, e2
, and e3
, it looks like:
L1 e1,e2,e3 | L2
but in general the syntax is:
L1 e1[i1],e2[i2],...en[in] | L2
where e1
, e2
, etc. are stimulus elements, and the intensities i1
, i2
, etc. are scalar expressions.
Spaces¶
Leading and trailing spaces of a line are ignored. Also, spaces before and after assignment operators
(=
and :
) are ignored:
@variables x = 0
n_subjects = 10
start_v = e1->b1 : 1, e1->b2 : 2, default: 0
Spaces before and after ,
and |
in a phase line are also ignored:
LABEL1 e1, e2, e3 | x = 1, y=2, pull_lever : LABEL2
Valid names¶
Global and local variables, stimulus elements and behaviors can
have a short name (like x
and y
) or a more descriptive name (number_of_trials
,
lever
, pull_lever
, food
, etc.). The rules for these names are the following:
A valid name
must start with a letter or the underscore character
cannot start with a number
can only contain alpha-numeric characters and underscores (A-z, 0-9, and _ )
is case-sensitive (
lever
,LEVER
andLever
are three different names)cannot be a parameter
cannot be a function or a local phase function (count or count_line)
cannot be
default
Scalar expressions¶
Numbers are specified in various parts of a simulation script, for example:
The value of a parameter:
beta = number
The value of a global variable:
@variables x = number
The value of a local phase variable:
@phase ... L1 | p=number, L2 L2 ...
A number in a phase stop condition:
@phase phase_name stop: s=number L1 s | L2 L2 ...
A number in a phase line condition:
@phase ... L1 s | b=number: L2 | L3 L2 ...
-
@phase ... L1 s[number] | L2 L2 ...
-
@phase ... L1 s | L2(number1),L3(number2)
As input argument to functions:
x = rand(number1, number2) y = choice(number1, number2, [number1, number2])
These numbers must be scalar expressions, that is, an expression of numbers and variables that evaluates to a single (scalar) number.
For example, number literals are scalar expressions:
1, 2, 42, 1.42, -110.33
With a number of global variables defined:
@variables x=1, y=5, z=6.78
the following are also scalar expressions:
x+y, -3*x+5.65*y, 3.2*10**x-1
The output of functions are also single numbers, so the following are also scalar expressions:
rand(x,y), rand(x, y+1), 3*choice(x, y, z, [3, x, y+1])
Functions¶
The below builtin functions are available in Learning Simulator. They can be used in scalar expressions, and in conditions (phase stop conditions and phase line conditions).
choice¶
The function choice
returns any of the specified values, each with a specified probability. For example:
x = choice(4, 6, 2, [0.3,0.5,0.2])
returns 4 with probability 0.3, 6 with probability 0.5, and 2 with probability 0.2.
rand¶
The function rand
returns a random integer in a specified interval, for example:
x = rand(2, 6)
returns a random integer in the interval [2,6], in other words any of the numbers 2, 3, 4, 5, and 6 with equal probability (0.2) each.
Case-sensitivity¶
Parameter names are not case-sensitive: beta = 0.5
is the same as Beta = 0.5
or BETA = 0.5
.
Parameter values that are not user-defined, such as on
and off
, exact
and subset
,
and the mechanism names (sr
, ac
, etc.) are also not case-sensitive.
User-defined names, such as global variables, local phase variables, names of stimulus elements and behaviors,
and phase line labels, are case-sensitive: x
and X
are different variables (or element names or behaviors or phase line labels).
Comments¶
Comments can be used in the scripting language to make custom comments to the simulation script, and to temporarily “comment out” parts of the script. Comments are ignored by the script parser and therefore not considered in the simulation.
The Learning Simulator scripting language has two kinds of comments: end-of-line comments and block comments.
End-of-line comments starts with # and extend to the end of the current line, for example:
alpha_v = 0.4 # This is a learning rate
# This whole line is also an end-of-line comment
Block comments starts with a line that only contains ###
(disregaring leadning and trailing spaces),
and ends with another line that only contains ###
(disregaring leadning and trailing spaces). For example:
###
This is
a block
comment
###
Parameters¶
A simulation uses a number of parameters, for example how many subjects that should be simulated. Therefore, in order to run a simulation, a number of parameter values must be set.
See Parameters for the documentation of the parameters.
Global variables¶
A simulation may use custom variables using the @variables
keyword.
We call these global variables to distinguish them from
local phase variables.
See Global variables for the documentation of global variables.
Phases¶
The environment that the subject interacts with is specified using one or more @phase
blocks.
A @phase
block defines the sequence of stimuli that the subject is exposed to, and how the next stimulus
in the sequence depends on the response to the previous stimulus.
See A @phase block for the documentation of a @phase
block.
The command @run
¶
The command @run
starts a simulation.
See The command @run for the documentation of the @run
command.
Postprocessing¶
The postprocessing stage of a script processes the data from a finished simulation.
See Postprocessing for the documentation of posprocessing functions.


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🏆 Features
- [x] Accessible from a single swipe of the left/right screen edge
- [x] Accessible with a tap on the indicator
- [x] Customisable menu indicator
- [x] Menu Item supports image & emoji/text
- [x] Boomerang mode
- [x] Supports rotation (Full AutoLayout)
- [x] Supports iPhone X & the Notch !
- [x] Complete Technical Documentation
📝 Requirements
- AutoLayout
- iOS 9.0+
- Swift 4.0
📢 Communication
- If you need help, use Stack Overflow. (Tag ‘CariocaMenu’)
- If you’d like to ask a general question, use Stack Overflow.
- If you found a bug, open an issue.
- If you have a feature request, open an issue.
- If you want to contribute, submit a pull request.
- If you use the control, contact me to mention your app on this page.
📲 Installation
CocoaPods
CariocaMenu is now available on CocoaPods. Simply add the following to your project Podfile, and you’ll be good to go.
use_frameworks!
pod 'CariocaMenu', '~> 2.0'
Carthage
Carthage is a decentralised dependency manager that builds your dependencies and provides you with binary frameworks.
You can install Carthage with Homebrew using the following command:
$ brew update
$ brew install carthage
To integrate CariocaMenu into your Xcode project using Carthage, specify it in your Cartfile
:
github "arn00s/cariocamenu"
Run carthage
to build the framework and drag the built CariocaMenu.framework
into your Xcode project.
Manually
If you prefer, you can integrate CariocaMenu into your project manually.
Just Drag&Drop all the files under Sources/
into your project.
💻 Usage
Preparing your menu controller
To create and display your menu, you’ll need to create a custom CariocaController (UITableViewController & CariocaDataSource)
This will define your menu settings & appearance. Check DemoMenuContentController.swift for code sample.
Creating your menu
For the complete code, check MainViewController.swift.
if let controller = self.storyboard?.instantiateViewController(withIdentifier: "DemoMenu")
as? CariocaController {
addChildViewController(controller)
carioca = CariocaMenu(controller: controller,
hostView: self.view,
edges: [.right, .left],
delegate: self,
indicator: CariocaCustomIndicatorView()
)
carioca.addInHostView()
}
Managing rotation
To be able to manage the rotation of the menu, you’ll need to forward the rotation event to your menu instance.
override func viewWillTransition(to size: CGSize, with coordinator: UIViewControllerTransitionCoordinator) {
coordinator.animateAlongsideTransition(in: self.view, animation: nil, completion: { [weak self] _ in
self?.carioca?.hostViewDidRotate()
})
}
Creating your custom indicator
Here’s the simplest custom indicator. Feel free to check the CariocaIndicatorConfiguration extension for more customisation possibilities.
class CariocaCustomIndicatorView: UIView, CariocaIndicatorConfiguration {
///This will use the basic shape, and change the color to black.
var color: UIColor = UIColor.black
}
Boomerang
A boomerang always comes back to it’s original place.
By default, the boomerang is set to none
. It means that the menu will stay where the user let it.
The other boomerang options are :
horizontal
: The indicator will return always on the original edge.vertical
: The indicator will return always on the original Y position. It may switch from Edge.originalPosition
: The indicator will always come back to it’s original position
👨💻 TODO
- Add a check for the edges at the initialisation. (Only .left & .right are allowed)
- Add UI Tests
- Add a
live tutorial
to indicate users how to get the most of this menu
⚠ Known issues
Check the (GitHub issues)
🤔 FAQ
😍 Why should I use CariocaMenu
?
You’re starting a new iOS app, and you want to innovate on the user experience.
🇧🇷 Why the name CariocaMenu
?
I didn’t want to use the same naming convention that EVERYONE uses. I could have named it ASSuperCoolMenu
, but it sucks.
A Carioca
is someone who lives in Rio de Janeiro 🇧🇷. I lived there for two months, and this idea was born while I was there.
🤙🏼 Contact
❤ Contributions
This is an open source project, feel free to contribute!
- Open an issue.
- Propose your own fixes, suggestions and open a pull request with the changes.
See all contributors
Project generated with SwiftPlate
📝 License
CariocaMenu is released under the MIT license. See LICENSE for details.


Hi
This is an email that was created by embedding a HTML file
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Shiny Pokémon Have Two Types Of Animations In Pokémon Sword And Shield
Squares and stars
by Liam DoolanCan you believe it? Pokémon Sword and Shield are nearly one week old. In this short time frame, players have learned a lot about the new entries. One of the more interesting discoveries is the two different types of shiny animations.
This adds an extra layer to the hunt for shiny Pokémon. If you do encounter a shiny in the wild, upon entering battle, you'll either see the traditional stars animation play or an entirely new effect featuring spinning squares.
While it's all down to luck, there's also a bit of a "programming quirk" – here's how Serebii.net explains it:
With breeding Pokémon, static encounters and Max Raid Battles, when you encounter a Shiny Pokémon it will have a 15/16 chance of being a Pokémon with the Stars sparkle and a 1/16 chance of having the Squares sparkle. However, due to a programming quirk, at time of writing when you encounter a shiny Pokémon as a standard wild encounter, this is essentially inverted with a 4095/4096 chance of the Pokémon having the Squares sparkle and a 0.9375/4096 chance of it having the stars one when encountering a Shiny Pokémon.
Have you caught a shiny? Comment below.
[via siliconera.com, serebii.net]


Title
The title to use for created cases.
Description
The description to send with the case.
Severity
Low
Medium
High
Change the severity of the created case.
Owner
The case owner. Defaults to user name associated with API key that creates the case.
TLP
None
White
Green
Amber
Red
Change the TLP of the created case.
Tags
Use single comma-separated string without quotes for multiple tags (ex. "badIP,spam").


QGIS Overview
What is QGIS?
QGIS is the best GIS tool in the free and open-source software (FOSS) community.
QGIS is a user friendly Open Source Geographic Information System (GIS) licensed under the GNU General Public License. QGIS is an official project of the Open Source Geospatial Foundation (OSGeo). It runs on Linux, Unix, Mac OSX, Windows and Android and supports numerous vector, raster, and database formats and functionalities.
Here’s a link to download QGIS
Explore QGIS:
For a more thorough explanation of QGIS, see the QGIS User Guide here.
The Basics
- Menu Bar The menu bar provides access to QGIS features. In Linux systems, hover over to view menu bar options (haven’t checked other systems). The QGIS version is displayed while not hovering over the menu bar (linux systems). Most common features or tools are accessable through the toolbar icons which will be the prefered method throughout this QGIS introduction.
- Toolbar The toolbar provides access to most standard QGIS functions. Go to Menu Bar > View > Toolbars to activate or deactivate toolbars. Hover over tools to view the description and puropose.
- Map Legend The map legend is a list of all layers in the project. Each layer can be turned on or off with the layer’s checkbox. It’s possible to group layers.
- Map View The map view displays the active layers in the map project. You can set the map view extent by right-clicking on a layer and selecting Zoom to layer extent
- Status Bar The status bar displays current position in map coordiantes (e.g., meters or decimal degrees) as the mouse pointer moves across the map view. To the left of the coordinate display is the button gor toggling extents and mouse position display. To the right of the map coordinates is the scale, which may be set to one of the predefined zoom extends of 1:500 to 1:1,000,000. This scale setting will adjust as you zoom or pan throught the map view. Options for map rendering are to the right of the current map scale setting. To the far right is the current CRS for the map project.
- Processing Toolbox The processing toolbox must be turned on by naviagting to Menu Bar > Processing > Toolbox. This helpful tool allows searching by keyword for the geoalgorithm from each of the active processing roviders.[^2]
Configure your workspace
Project properties
Menu Bar > Project > Project Properties
From here you can set the title, save relative paths (default!), set canvas units, enable on-the-fly projection, etc. On-the-fly projection will project layers added to the project to the configured projection.
Activate necessary providers
Menu Bar > Processing > Options and configuration > Providers > $PROVIDER > Activate (be sure it’s checked)
See the complete list of processing providers and algorithms here
Working with Project Projections
QGIS allows users to define a global and project-wide CRS (coordinate reference system) for layers without a pre-defined CRS. It also allows the user to define custom coordinate reference systems and supports on-the-fly (OTF) projection of vector and raster layers. All of these features allow the user to display layers with different CRSs and have them overlay properly.[^2]
See Intro to Spatial Data for more detailed info on projections.
Each new project starts with the global default projection, EPSG:4326 - WGS 84:
proj=longlat +ellps=WGS84 +datum=WGS84 +no_defs
This can be changed at Menu Bar > Settings > Options > CRS > Default CRS for new projects
However, this is not the same as changing the project projection. You may define the project projection from Menu Bar > Project > Project Properties > CRS. Also keep in mind, the CRS of a new project will change to the CRS of the first layer added to the project.
‘On the fly’ CRS transformation is not enabled by the default QGIS installation.
Supported Data Formats
QGIS support a multitude of data types from simple shapefiles to database tables to Web Feature Service layers. Sticking to the basics, below are quick descriptions of vector and raster data.
Vector
QGIS uses the GDAL OGR library to read and write vector data formats, such as the most commonly known ESRI shapefile. GRASS vector and PostreSQL support is provided by a native QGIS provider plugin[^2]. Here is the complete list of OGR vector formats.
Vector data is added to the project by simply clicking on the Add Vector Layer tool:
View vector attribute table by right clicking on the layer and clicking Open Attribute Table. From here you can sort data, show selected features, show features visible on map, show edited and new features, filter by column, or query data with and advanced filter.
Attribute data can be edited by enabling and edit session with the Toggle Editing Mode icon (top left).
Raster
QGIS uses the GDAL library to read and write raster data formats while GRASS raster support is provided by a native QGIS provider plugin[^2]. Here is the complete list of GDAL raster formats.
Similar to adding vector data, click on the Add Raster Layer tool:
General Spatial Functions
Spatial functions are accessable through Menu Bar > Vector/Raster. Or alternatively, they are accesses through the Toolbox panel where searching for tools by keyword is made easy.
Composing Maps (for print/non-web-based)
This method is ideal for exporting your work for a research paper, admiring your work, and such. Developing a web map for dissimenating your data is a bit more involved and is discussed in the Publish Your Data to a Web Mapi/LeafletJS section. Also, to export data with styles see This section link.
Begin by opening the Print Composer:


| Binary |
Syntax |
Description |
Details |
| 0nnn |
SYS addr |
Jump to a machine code routine at nnn. |
This instruction is only used on the old computers on which Chip-8 was originally implemented. It is ignored by modern interpreters.
This instruction is not understood by the assembler. |
| 00EE |
RET |
Return from a subroutine |
The interpreter sets the program counter to the address at the top of the
stack, then subtracts 1 from the stack pointer. |
| 1nnn |
JP addr |
Jump to location nnn. |
The interpreter sets the program counter to nnn. |
| 2nnn |
CALL addr |
Call subroutine at nnn. |
The interpreter increments the stack pointer, then puts the current PC on
the top of the stack. The PC is then set to nnn. |
| Bnnn |
JP V0, addr |
Jump to location nnn + V0. |
The program counter is set to nnn plus the value of V0. |
| Binary |
Syntax |
Description |
Details |
| 00E0 |
CLS |
Clear the display. |
|
| Dxyn |
DRW Vx, Vy, nibble |
Display n-byte sprite starting at memory location I at (Vx, Vy), set VF = collision. |
The interpreter reads n bytes from memory, starting at the address stored in
I. These bytes are then displayed as sprites on screen at coordinates (Vx, Vy).
Sprites are XORed onto the existing screen. If this causes any pixels to be
erased, VF is set to 1, otherwise it is set to 0. If the sprite is positioned
so part of it is outside the coordinates of the display, it wraps around to
the opposite side of the screen. See instruction 8xy3 for
more information on XOR, and section 2.4, Display, for
more information on the Chip-8 screen and sprites. |
| Fx29 |
LD F, Vx |
Set I = location of sprite for digit Vx. |
The value of I is set to the location for the hexadecimal sprite corresponding to
the value of Vx. See section 2.4, Display, for more information
on the Chip-8 hexadecimal font. |
| Binary |
Syntax |
Description |
Details |
| 3xkk |
SSE Vx, byte |
Skip next instruction if Vx = kk. |
The interpreter compares register Vx to kk, and if they are
equal, increments the program counter by 2. |
| 4xkk |
SNE Vx, byte |
Skip next instruction if Vx != kk. |
The interpreter compares register Vx to kk, and if they are
not equal, increments the program counter by 2. |
| 5xy0 |
SE Vx, Vy |
Skip next instruction if Vx = Vy. |
The interpreter compares register Vx to register Vy, and if
they are equal, increments the program counter by 2. |
| 9xy0 |
SNE Vx, Vy |
Skip next instruction if Vx != Vy. |
The values of Vx and Vy are compared, and if they are not equal, the program
counter is increased by 2. |
| Binary |
Syntax |
Description |
Details |
| 6xkk |
LD Vx, byte |
Set Vx = kk. |
The interpreter puts the value kk into register Vx. |
| 8xy0 |
LD Vx, Vy |
Set Vx = Vy. |
Stores the value of register Vy in register Vx. |
| Annn |
LD I, addr |
Set I = nnn. |
The value of register I is set to nnn. |
| Fx55 |
LD [I], Vx |
Store registers V0 through Vx in memory starting at location I. |
The interpreter copies the values of registers V0 through Vx into memory,
starting at the address in I. |
| Fx65 |
LD Vx, [I] |
Read registers V0 through Vx from memory starting at location I. |
The interpreter reads values from memory starting at location I into registers
V0 through Vx. |
| Fx33 |
LD B, Vx |
Store BCD representation of Vx in memory locations I, I+1, and I+2. |
The interpreter takes the decimal value of Vx, and places the hundreds
digit in memory at location in I, the tens digit at location I+1, and the
ones digit at location I+2. |
| Binary |
Syntax |
Description |
Details |
| 8xy4 |
ADD Vx, Vy |
Set Vx = Vx + Vy, set VF = carry. |
The values of Vx and Vy are added together. If the result is greater than 8 bits
(i.e., > 255,) VF is set to 1, otherwise 0. Only the lowest 8 bits of the result
are kept, and stored in Vx. |
| Fx1E |
ADD I, Vx |
Set I = I + Vx. |
The values of I and Vx are added, and the results are stored in I. |
| 7xkk |
ADD Vx, byte |
Set Vx = Vx + kk. |
Adds the value kk to the value of register Vx, then stores the result in Vx. |
| 8xy5 |
SUB Vx, Vy |
Set Vx = Vx - Vy, set VF = NOT borrow. |
If Vx > Vy, then VF is set to 1, otherwise 0. Then Vy is subtracted from Vx,
and the results stored in Vx. |
| 8xy7 |
SUBN Vx, Vy |
Set Vx = Vy - Vx, set VF = NOT borrow. |
If Vy > Vx, then VF is set to 1, otherwise 0. Then Vx is subtracted from Vy,
and the results stored in Vx. |
| Binary |
Syntax |
Description |
Details |
| 8xy1 |
OR Vx, Vy |
Set Vx = Vx OR Vy. |
Performs a bitwise OR on the values of Vx and Vy, then stores the result in Vx. A
bitwise OR compares the corrseponding bits from two values, and if either bit
is 1, then the same bit in the result is also 1. Otherwise, it is 0. |
| 8xy2 |
AND Vx, Vy |
Set Vx = Vx AND Vy. |
Performs a bitwise AND on the values of Vx and Vy, then stores the result in Vx. A
bitwise AND compares the corrseponding bits from two values, and if both bits
are 1, then the same bit in the result is also 1. Otherwise, it is 0. |
| 8xy3 |
XOR Vx, Vy |
Set Vx = Vx XOR Vy. |
Performs a bitwise exclusive OR on the values of Vx and Vy, then stores the
result in Vx. An exclusive OR compares the corrseponding bits from two values,
and if the bits are not both the same, then the corresponding bit in the result
is set to 1. Otherwise, it is 0. |
| 8xyE |
SHL Vx {, Vy} |
Set Vx = Vx SHL 1. |
If the most-significant bit of Vx is 1, then VF is set to 1, otherwise to 0. Then
Vx is multiplied by 2. |
| 8xy6 |
SHR Vx {, Vy} |
Set Vx = Vx SHR 1. |
If the least-significant bit of Vx is 1, then VF is set to 1, otherwise 0. Then
Vx is divided by 2. |
| Binary |
Syntax |
Description |
Details |
| Ex9E |
SKP Vx |
Skip next instruction if key with the value of Vx is pressed. |
Checks the keyboard, and if the key corresponding to the value of Vx is currently
in the down position, PC is increased by 2. |
| ExA1 |
SKNP Vx |
Skip next instruction if key with the value of Vx is not pressed. |
Checks the keyboard, and if the key corresponding to the value of Vx is currently
in the up position, PC is increased by 2. |
| Fx0A |
LD Vx, K |
Wait for a key press, store the value of the key in Vx. |
All execution stops until a key is pressed, then the value of that key
is stored in Vx. |
| Binary |
Syntax |
Description |
Details |
| -- |
.equ A = B |
Assigns the expression B to the symbol A. |
|
| -- |
.alias v0 = X |
Assigns the alias name X to the register V0. |
|
| -- |
.clearAliases [register/alias[,register/alias]...] |
Clears either all register aliases (if no specific ones are given) or only the specified ones. |
|
| -- |
.origin A |
Makes sure code following this directive gets placed at the given memory address A. |
|
| -- |
IDENTIFIER: |
Defines IDENTIFIER as a global label for the memory address in the generated binary. |
Since all global labels share the same namespace, each identifier can be defined only once. |
| -- |
.IDENTIFIER |
Defines IDENTIFIER as a local label for the memory address in the generated binary. |
Local labels are always scoped to the previous global label (in fact you'll get an error if you try to use a local label without a global one).
|
| -- |
.byte value1[,value2[,value3]]... |
Writes one or more bytes. |
|
| -- |
.word value1[,value2[,value3]]... |
Writes one or more words (little-endian = most-significant byte comes first). |
|
| -- |
.reserve value |
Reserves the specified number of bytes at the current location. |
|
| -- |
.macro identifier[([param1][,param2]...]) = expression |
Defines a single-line macro. The macro may have named parameters. |
|
| -- |
.macro identifier[([param1][,param2]...]) { block } |
Defines a multi-line macro. The macro may have named parameters. |
|


The accordion plugin that smells good the french baguette
About Guinguette.JS
Guinguette.JS is a lightweight accordion plugin written in ES6
No dependencies required
No extra files to download
Patturb and Waymo Duel at Key Hearing Over Driverless Car Technology
MPs who are leaving the protection of parliament for the campaign trail will render the election significantly more vulnerable
to hacking, leading security researchers have warned.
Email Attack Hits Lorr: What to Do if You Clicked
Microsoft has spent a lot of time (and money) trying to make Windows self-repairing, partly because it generally gets the
blame when other programs – or users – try to improve” it. Given that tens of thousands of expert programmers have worked
on the code over the past 30 years, the number of safe, simple, significant and forwards-/backwards-compatible improvements
may be quite small. If Windows 10 knew you had a blank or even a black screen of death, it would try to fix it. If it can’t
fix it, it should switch to the Windows Recovery Environment, otherwise known as Windows RE or WinRE, which boils down to
two options: 1) Start Windows in safe mode using the code on the internal hard drive, then use the troubleshooting routines
to fix it. 2) Use code on an external device such as a recovery DVD or USB thumbdrive to start Windows, and then repair or
replace the code on the internal hard drive. So, your first aim should be to get to WinRE. From there you can get to safe
mode and use the troubleshooting and repair options. If you can’t do that, you will have to – as WinRE puts it – use a device”.
 I’ve spent more than 20 years recommending various anti-virus programs as an essential part of any Windows
setup. However, Windows has changed, and the threat landscape has changed. I am no longer sure that a third-party AV program
is essential, and some of them may be detrimental. Of course, needs vary. Some people are more accident-prone than others,
and some are less sensitive to threats.


{{ID}}
{{TITLE_TYPE}}
{{START_YEAR}} - {{END_YEAR}}
Runtime: {{RUNTIME_MINUTES}} minutes
Genres: {{GENRES}}
Avg Rating: {{AVERAGE_RATING}}
Votes: {{NUM_VOTES}}
Top Billed and Directors/Writers:


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Accessibility on the web
What is accessibility?
(A11Y)
Accessibility = no barriers
The inclusive practice of removing barriers the prevent interaction with, or access to, websites and services, by people (including people with disabilities)
Inclusive by design. Don't design for your concept of ideal human. Humans are diverse and good design accounts for this.
Disabilities aren't in the person, they're created by the things we design which don't cater to the full range of human experience.
1 in 5
people are disabled
Try to provide alternatives as backup for people who may not be able to use your primary method
Not just blind people. Example: Mild motor impairment: Struggle to use a mouse with fine control. Dyslexia, colourblindness, autistic spectrum, ADHD, learning difficulties, poor memory.
Everyone experiences impairments
Example: Someone presenting a talk, or a drunk person, or someone on the phone
via Microsoft
Equality Act 2010
We have a legal requirement to provide equal access to people with disabilities
gov.uk/guidance/equality-act-2010-guidance
The earlier you start considering accessibility the easier it is.
Easier to build in from the start than have to implement it later.
Design considerations
Ensure text has good legibility and readability
Sufficient text size, contrast, line height, line length…
Ensure information is not communicated by shape, colour, or location alone
Provide appropriate text alternative for images
GDS: Accessibility for content designers
Also: We use visual design to communicate how to use an interface. We need to ensure that our interfaces are intuitive for people who can't see them too. Base interfaces on familiar patterns. Example: Toggle is a checkbox.
Native browser form elements are really good
OK
Don't use divs for clickable elements.
When building something, study native elements and try to build on top of them as much as possible, rather than reinventing the wheel
Custom components should not be less useful than their native alternatives.
Mouse, keyboard, touch, ...?
Try using your component with keyboard only, mouse only, and touch device only.
Don't set outline: none
without providing a focus state
Always add focus styles. You can style focus for invisible elements in plain CSS by using `input:focus + label { ... }`
Place HTML elements in natural reading order
i.e. Title -> Nav -> Content
When building a page, try to structure the HTML in the order that someone would want to read it if it were linear. e.g. put the nav before the content regardless of which column it is.
Think about whether the page would still be usable if you disabled CSS. Would the user still have enough context to understand a UI element?
Hidden content
Visible visually
Hidden visually
Visible to screen readers
😀
CSS opacity, position etc
Hidden from screen readers
aria-hidden
display:none
+ HTML5 hidden
TabIndex
Positive
Controls the specific tabbing order (not recommended)
Zero
Makes an element tabbable and inserts it into the regular tab order
Negative
Makes an element programmatically focusable, but not tabbable
An example is moving focus to a summary of errors returned by a form. The summary would typically be located at the start of the form, so you want to draw the attention of screen reader/magnifier users to it, and to position all keyboard-only users at the start of the form so they can begin correcting any errors. You don’t want the error summary itself to be included in the tab order of the page though.
WAI-ARIA
developer.mozilla.org/en-US/docs/Learn/Accessibility/WAI-ARIA_basics
Web Accessibility Initiative – Accessible Rich Internet Applications
WAI-ARIA is a specification written by the W3C, defining a set of additional HTML attributes that can be applied to elements to provide additional semantics and improve accessibility wherever it is lacking.
Screenreader support for ARIA features isn't quite at this level, but the most popular screenreaders are getting there. You can get an idea of support levels by looking at Powermapper's WAI-ARIA Screen reader compatibility article.
Roles, Properties, & States
There are three main features defined in the spec: Roles, Properties, and States.
Roles
e.g. presentation, navigation, tabgroup, tab, etc.
webteacher.ws/2010/10/14/aria-roles-101/
These define what an element is or does. Many of these are so-called landmark roles, which largely duplicate the semantic value of HTML5 structural elements e.g. role="navigation" (<nav>) or role="complementary" (<aside>), but there are also others that describe different pages structures, such as role="banner", role="search", role="tabgroup", role="tab", etc., which are commonly found in UIs.
If you use native elements then you don't often need roles. Use native elements if you can.
Properties
e.g. aria-label, aria-live, aria-describedby, aria-required, etc.
These define properties of elements, which can be used to give them extra meaning or semantics. As an example, aria-required="true" specifies that a form input needs to be be filled in to be valid, whereas aria-labelledby="label" allows you to put an ID on an element, then reference it as being the label for anything else on the page, including multiple elements, which is not possible using <label for="input">. As an example, you could use aria-labelledby to specify that a key description contained in a <div> is the label for multiple table cells, or you could use it as an alternative to image alt text — specify existing information on the page as an image's alt text, rather than having to repeat it inside the alt attribute. You can see an example of this at Text alternatives.
aria-live
off Default. Updates should not be announced.
polite Updates should only be announced if the user is idle.
assertive Updates should be announced to the user as soon as possible.
rude Updates should be announced immediately, interrupting the user if necessary.
States
e.g. aria-hidden, aria-selected, aria-checked, aria-disabled, etc.
Special properties that define the current conditions of elements, such as aria-disabled="true", which specifies to a screenreader that a form input is currently disabled. States differ from properties in that properties don't change throughout the lifecycle of an app, whereas states can change, generally programmatically via JavaScript.
Don't slap ARIA tags on everything
simplyaccessible.com/article/danger-aria-tabs/
You should only use WAI-ARIA when you need to! Ideally, you should always use native HTML features to provide the semantics required by screenreaders to tell their users what is going on. Sometimes this isn't possible, either because you have limited control over the code, or because you are creating something complex that doesn't have an easy HTML element to implement it. In such cases, WAI-ARIA can be a valuable accessibility enhancing tool.
Also, ARIA attributes aren't always helpful. e.g. Tabs
Screenreaders
Fun to play around with. Great for testing.
There are many different screenreaders, and combinations of operating system, browser, and screenreader to consider.
VoiceOver is built into MacOS and iPhones.


This component allows conditional rendering of children components.
If the value defined in the condition
attribute is evaluated to true
, psk-condition
will render its children.
In this example the psk-condition
component is bound to the value of the gdpr
model property and it will render the paragraph only if the property is true
.
GDPR Notice...
GDPR Notice...
This example will demonstrate how to use the psk-condition
together with a model expression. An in-depth explanation of model expressions can be found here.
For this case, a model expression is used to validate the value of an email text input and show an error message if validation fails.
The email address is invalid
The email address is valid
The email address is invalid
The email address is valid
A model expression can also return a Promise
, when that happens, psk-condition
will wait for the Promise to be resolved and based on its value it will decide if the children nodes will be rendered or not.
As seen in the previous code samples, the psk-condition
needs to be placed inside a controller aware component in order to have access to the model so it can evaluate either a property or a predefined expression. Click here to learn more about model expressions. Regardless of the type of condition used, the attribute value must start with the @
character, as explained in the
psk-condition
supports the if/else
construct by using slots
. To enable this behavior the children of the component must name the slot for each outcome of the condition. This component supports the following slots:
condition-true
condition-false
Consider the code example above, to display a certain element when the condition is true, set the slot
attribute to the condition-true
value, use condition-false
otherwise.


If you're like me you end up feeling very torn after taking any personality assessment. Every time I get the results to a test like this I get the same answer. My personality is split.
The Gregoric Thinking Style test was no different. Like many other systems it to identify major traits and preferences of an individual. This model evaluates people based on their perceptual quality and their ordering ability. Perceptual Qualities:
My score was very close for both the Concrete Random and Abstract Sequential thinking styles. What does that mean? It means I'm screwed. No it doesn't, I kid. To me it means people with these traits are very independent, but have a hard time picking a working style. We might seem erratic. Part of me wants to dive right into a problem the other part keeps telling me to slow down, evaluate the challenge. After three weeks of DBC, I can say this style is an asset and weakness at the same time. I've spent hours going around in circles. A solution is pseudocoded half way, but before it's finished I have experimented with countless possible solutions. When none work I go back to the plan. Unfortunately at this point it isn't even clear what the problem was!!
The other styles, well they were a distant third and forth. So learning to work with my two dominant styles is going to be important. The planning phase of a project should be well planned and linear, the implementation of that plan will likely require some experimentation. This is an effective approach. But the reverse approach is not. Experimenting before a solution is fully thought out leads to time being wasted. Working on a plan that will never work is not a good idea. How can this be a positive?
As a person with a strong CR and AS style it is important to know when each one is a benefit and a negative. Measure twice cut once is a popular phrase for a reason. To me that means thinking through different options when psuedocoding a problem. Not spending time trying to debug code that was never correct from the start. This is easier said than done, but being aware of different learning styles is another tool in the belt. I hope I stay aware of the strengths and weaknesses of each.


HTTP Server
HTTP server support in Studs is provided by the Httpd daemon.
Basics
To start a server with the default configuration of port 80
and OTA updates enabled, start the daemon with no arguments:
Httpd().start
To customize HTTP settings pass a HttpConfig instance:
config := HttpConfig
{
it.port = 8001
it.root = MyWebMod()
}
Httpd(config).start
OTA Firmware Updates
Applying firmware updates over-the-air is performed with a standard HTTP PUT
request where the Content-Type
header is application/x-firmware
, and the request body is the firmware file.
Pushing Updates
The simplest way to push updates to a device is using the studs push
CLI. This will update a device using the default HttpConfig
settings:
fan studs push <IP_ADDRESS>
If your device is using non-standard settings:
# alternate port
fan studs push <IP_ADDRESS>:8001
# custom otaUpdateUri
fan studs push <IP_ADDRESS> /custom/update/uri
Example using curl
:
curl -T my-firmware.fw -H "Content-Type: application/x-firmware" \
http://<IP_ADDRESS>/update-fw
Devices are implicitly rebooted after an OTA firmware update has been received to apply. See Disabling Updates for how to customize this behavior.
Disabling Updates
To completely disable OTA firmware updates, configure otaUpdateUri to null
:
config := HttpConfig { it.otaUpdateUri = null }
Httpd(config).start
This will disable Httpd
support for OTA updates. You may, however, still manually implement this functionality in your own WebMod using Sys.updateFirmware.


GIRL, INTERRUPTED **1/2 (out of four stars) A review by Jamey Hughton
Starring-Winona Ryder, Angelina Jolie, Clea DuVall, Brittany Murphy, Whoopi Goldberg, Jeffrey Tambor, Jared Leto and Vanessa Redgrave Director-James Mangold Canadian Rating-PG Released by Columbia Pictures - 01/00
MOVIE VIEWS by Jamey Hughton http://Welcome.to/MovieViews
In `Girl, Interrupted', Susanna (Winona Ryder) is diagnosed with `borderline personality disorder' and sent for a `friendly rest' at the Claymoore psychiatric hospital. The reason? She recently downed an entire bottle of aspirin with a vodka chaser, a move that that has been classified as a failed suicide attempt by her doctor and superiors. But does Susanna really require a period of rehabilitation in a mental ward? You would assume she doesn't belong, but before you can say `One Flew Over the Cuckoo's Nest', Susanna is making new friends and finding herself oddly comfortable within the walls of Claymoore.
`Girl, Interrupted' is the screen adaptation of Susanna Kaysen's memoir that followed her 18-month experience in a psychiatric hospital. The Hollywood interpreter is talented young director James Mangold (`Heavy', `Cop Land'), and along with a capable ensemble cast of intelligent up-and-comers, Mangold is able to craft an intriguing character study within an unsettling environment. The personalities at Claymoore are interesting to behold, particularly the wild cat sociopath Lisa (Angelina Jolie), the rebellious leader of the asylum hierarchy who has been a patient there for eight years.  Daisy (Brittany Murphy) has a problem with food, in that she will only eat her father's rotisserie chicken. And the list goes on. While `Girl, Interrupted' attempts to explore it's characters with great depth, the plot sits inert and lacking destination. The result is an odd but engaging mixture with separate objectives for storyline and characters. Due to the tremendous abilities of the largely female cast, the latter arena prevails.
`Girl, Interrupted' dances around a large portion of the character's issues, always lacking the expertise to tackle them head-on. Mangold manages to persuade us that his film is more intuitive than it should be, and that seems reason enough to remained tuned in to the character's problems. Whoopi Goldberg, sporting an afro and smart-looking spectacles, plays the wise welfare mom Nurse Valerie in a way only Whoopi could. Unfortunately, in terms of helping Susanna cope with her situation, Nurse Valerie only lays out the basic schematics of her `unique' condition... and the character lacks the compelling nature that was probably conveyed on paper. Jeffrey Tambor (as the head psychiatrist at Claymoore) and Vanessa Redgrave (as Susanna's doctor) are not portrayed in the same light. They appear to misunderstand Susanna's condition (if she has one), and such an action would be not difficult to comprehend given the screenplay's lack of proper definition and encompassment.
Mangold's strong suits include being able to coax a convincing performance out of his actors. Ryder has many stunning moments as Susanna, the seemingly misplaced young girl whose troubles extend further than initially evident. But Jolie's considerable talent (on showcase in `Playing by Heart' and, most recently, `The Bone Collector') is the most commanding aspect of the film. Interaction between Susanna and Lisa strikes the perfect thought-provoking chord, right up to and through the sloppy finale. Ensemble acting is what makes `Girl, Interrupted' a worthwhile experience, followed closely by what Mangold cleverly passes off as solid character development. These young women at Claymoore aren't as troubled as the film's disorderly manner, but there's enough youthful talent on either side of the camera to make up for it in impressive fashion.
Just don't expect a chick flick. `Girl, Interrupted' is rough around the edges, and you aren't going to feel particularly upbeat when you leave the theater. It's a character-driven drama at it's core, and there is no chocolate coating that's going to erase the bitter taste in your mouth. Sure, it's good, but it could have been better; the film falls victim to the same syndrome that has plagued similar projects in the past. Instead of constantly informing us about the characters, why not let us learn for ourselves? But I'll get over it. Next patient, please.
(C) 2000, Jamey Hughton
Your Comments Appreciated<EMAIL_ADDRESS>More MOVIE VIEWS by Jamey Hughton at: http://Welcome.to/MovieViews
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Special Events the plugin deliver like onJob and JobFinished
Event flag that displays if a driver is doing a job
Event flag that displays (for some ticks) that a job was finished, doesn't matter how (cancelled, delivered, ...)
Event flag that displays if the game says there is a trailer that is connected with us (so attached, detached doesn't matter for this flag). The event flag is true for:
Trailer is attached


Just finished Zoe's Tale by @scalzi. What an excellent series--perfect return to sci-fi after my non-genre summer reading.
10/30/2009, 8:56:17 PM
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Just finished Zoe's Tale by @scalzi. What an excellent series--perfect return to sci-fi after my non-genre summer reading.
10/30/2009, 8:56:17 PM
Favs: 0
Retweets: 0
link