Fluid Noise Generator uses natural looking random noise to create images and movies from scratch.
With a simple yet powerful interface, Fluid Noise Generator can generate anything from clouds, fire or water to marble, wood grain or rusty metal.
Fluid Noise Generator is perfect if you find the cloud filters or noise generators in other applications lacking in flexibility, or maybe you just need to create a grunge texture to roughen up your photos, generate a terrain bump map, or create an animation for a movie.
For more information visit http://majicjungle.com/fluidnoise.html. For support enquiries please email<EMAIL_ADDRESS>You can open a template image via the File Menu -> Open Template, to get you started. Play with the X and Y zoom settings, and the gradient editor. Click on a color spot in the gradient editor to change it's color. Add new color spots by clicking just under the gradient bar. Click the 'Preview Animation' button to see what your creation looks like animated.
What follows is a description of the various parameters you can change in the options panel.
The width of the document in pixels.
The height of the document in pixels.
The number of levels of detail. Higher values will show greater detail, but take longer to render. Lower values make the result smoother in appearance.
The horizontal frequency. Higher values will appear to compress the output horizontally. Each increment appears to double the compression, as the actual value used is 2^(x * 0.5) where x is the value displayed in the text field.
The vertical frequency. Same as X Zoom, but vertical.
The fraction of each octave that is added to the noise output. Low values will weight the lower resolution octaves higher, resulting in an image with high variation over broad areas and low variation in the detail. High persistence increases the weight of detailed octaves, and will increase the maximum possible value, so amplitude may need to be lowered.
Overall scaling of noise output values. Low amplitude will cause the image to mostly output the colors at the bottom of the gradient, high values will end up clamping to the color at the top of the gradient.
Makes the result tile. This means that the the left side will match perfectly with the right, and likewise vertically.
Used to initialize the random generator. Every value will generate a unique random image. The Random button generates a random seed which will create a new random image. If you use the same number, you will get the same result.
The duration in seconds that the animation will run for. Long durations will slow down the animation, so the animation speed may need to be increased. The maximum duration allowed is 10 minutes, but with large images and long durations the amount of available memory may cause problems while animating or exporting movies.
The animation frequency. This has similar properties to the X and Y Zoom sliders, but modifies the result over the animation duration.
Makes the animation seamlessly loop, so the last frame matches with the first.
Starts the animation in the main window. On the first run-through it displays a progress indicator and generates the animation as quickly as it can. Thereafter the preview animation runs at 30fps if possible. If the document size is larger than what can be rendered in time, it may run slower than 30fps. To stop the preview animation click the button again.
The easiest way to export an image is to drag from the preview window. This will create a png image wherever you drop. Otherwise you can use the File->Export To Image... menu item. This will allow you to export in other formats, or as a 32 bit floating point image. 32 bit images can be exported in TIFF or EXR format, and either the unmodified noise buffer or the resulting colored image can be exported.
By using the File->Export To Animation... menu item you can export the current document to a movie or image sequence. Choose the export format you would like, and use the Options button to configure the options for that codec.
Please note that due to limitations in QuickTime, currently frame rates with fractional values are not supported, and may lead to unpredictable results. So 30 or 60 fps is fine, whereas 29.97 or 59.94 fps may not work the way you intended.


This project has been developed by Group 1 of the course of Geographic Information System of
professor Brovelli.
The group is composed by three Master degree students of Politecnico di Milano: Lorenzo Stucchi, Edoardo
Pessina and Mathias Vestgaard.


Active Cases
{{statistics.active | number}}
Currently Infected Patients
{{statistics.active - statistics.critical | number}}
in Mild Condition
{{statistics.critical | number}}
Serious or Critical
Currently Infected Patients
in Mild Condition
Serious or Critical
Cases which had an outcome
Recovered
Deaths


This is a simple endpoint for testing HTTP async response code. This server will wait n milliseconds before returning a regular text response or javascript.
Use these in a <script> tag. These are good for testing w/ a JSONP style request so they work across domains.
You can specify your own callback function as the second parameter.
By default it is alert()
.
Here is a test showing lots of async ajax requests using the API and returning at different times.


Data renderers allow jqPlot to pull data from any external source (e.g. a function implementing an AJAX call). Simply assign the external source to the "dataRenderer" plot option. The only requirement on data renderers is that it must return a valid jqPlot data array.
Data renderers get passed options by the plot. The signiture for a data renderer is:
function(userData, plotObject, options) { ... return data; }
Where userData is whatever data was passed into the plot, plotObject is a reference back to the plot itself, and options are any options passed into the plots "dataRendererOption" option. The following example shows a more complicated example which uses ajax pulls data from an external json data source.


| 020:064 Khan | : |
"So devise your plot, and then assemble in line. And whoever overcomes this day will be indeed successful." |
| 020:064 Maulana | : |
So settle your plan, then come in ranks, and he will succeed indeed this day who is uppermost. |
| 020:064 Pickthal | : |
So arrange your plan, and come in battle line. Whoso is uppermost this day will be indeed successful. |
| 020:064 Rashad | : |
"Let us agree upon one scheme and face them as a united front. The winner today will have the upper hand." |
| 020:064 Sarwar | : |
Bring together your devices and come forward in ranks; the winner will, certainly, have great happiness". |
| 020:064 Shakir | : |
Therefore settle your plan, then come standing in ranks and he will prosper indeed this day who overcomes. |
| 020:064 Sherali | : |
'Concert, therefore, your plan; and then come forward in a body. And, surely, he who gains ascendancy this day shall prosper.' |
| 020:064 Yusufali | : |
"Therefore concert your plan, and then assemble in (serried) ranks: He wins (all along) today who gains the upper hand." |
Concepts/Themes Covered:
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.


| Opcode | Instruction | Op/En | 64-Bit Mode | Compat/Leg Mode | Description |
|---|---|---|---|---|---|
| 1C ib | SBB AL, imm8 | I | Valid | Valid | Subtract with borrow imm8 from AL. |
| 1D iw | SBB AX, imm16 | I | Valid | Valid | Subtract with borrow imm16 from AX. |
| 1D id | SBB EAX, imm32 | I | Valid | Valid | Subtract with borrow imm32 from EAX. |
| REX.W + 1D id | SBB RAX, imm32 | I | Valid | N.E. | Subtract with borrow sign-extended imm.32 to 64-bits from RAX. |
| 80 /3 ib | SBB r/m8, imm8 | MI | Valid | Valid | Subtract with borrow imm8 from r/m8. |
| REX + 80 /3 ib | SBB r/m8*, imm8 | MI | Valid | N.E. | Subtract with borrow imm8 from r/m8. |
| 81 /3 iw | SBB r/m16, imm16 | MI | Valid | Valid | Subtract with borrow imm16 from r/m16. |
| 81 /3 id | SBB r/m32, imm32 | MI | Valid | Valid | Subtract with borrow imm32 from r/m32. |
| REX.W + 81 /3 id | SBB r/m64, imm32 | MI | Valid | N.E. | Subtract with borrow sign-extended imm32 to 64-bits from r/m64. |
| 83 /3 ib | SBB r/m16, imm8 | MI | Valid | Valid | Subtract with borrow sign-extended imm8 from r/m16. |
| 83 /3 ib | SBB r/m32, imm8 | MI | Valid | Valid | Subtract with borrow sign-extended imm8 from r/m32. |
| REX.W + 83 /3 ib | SBB r/m64, imm8 | MI | Valid | N.E. | Subtract with borrow sign-extended imm8 from r/m64. |
| 18 /r | SBB r/m8, r8 | MR | Valid | Valid | Subtract with borrow r8 from r/m8. |
| REX + 18 /r | SBB r/m8*, r8 | MR | Valid | N.E. | Subtract with borrow r8 from r/m8. |
| 19 /r | SBB r/m16, r16 | MR | Valid | Valid | Subtract with borrow r16 from r/m16. |
| 19 /r | SBB r/m32, r32 | MR | Valid | Valid | Subtract with borrow r32 from r/m32. |
| REX.W + 19 /r | SBB r/m64, r64 | MR | Valid | N.E. | Subtract with borrow r64 from r/m64. |
| 1A /r | SBB r8, r/m8 | RM | Valid | Valid | Subtract with borrow r/m8 from r8. |
| REX + 1A /r | SBB r8*, r/m8* | RM | Valid | N.E. | Subtract with borrow r/m8 from r8. |
| 1B /r | SBB r16, r/m16 | RM | Valid | Valid | Subtract with borrow r/m16 from r16. |
| 1B /r | SBB r32, r/m32 | RM | Valid | Valid | Subtract with borrow r/m32 from r32. |
| REX.W + 1B /r | SBB r64, r/m64 | RM | Valid | N.E. | Subtract with borrow r/m64 from r64. |
NOTES:
*
In 64-bit mode, r/m8 can not be encoded to access the following byte registers if a REX prefix is used: AH, BH, CH, DH.
| Op/En | Operand 1 | Operand 2 | Operand 3 | Operand 4 |
| I | AL/AX/EAX/RAX | imm8/16/32 | NA | NA |
| MI | ModRM:r/m (w) | imm8/16/32 | NA | NA |
| MR | ModRM:r/m (w) | ModRM:reg (r) | NA | NA |
| RM | ModRM:reg (w) | ModRM:r/m (r) | NA | NA |
Adds the source operand (second operand) and the carry (CF) flag, and subtracts the result from the destination operand (first operand). The result of the subtraction is stored in the destination operand. The destination operand can be a register or a memory location; the source operand can be an immediate, a register, or a memory location. (However, two memory operands cannot be used in one instruction.) The state of the CF flag represents a borrow from a previous subtraction.
When an immediate value is used as an operand, it is sign-extended to the length of the destination operand format.
The SBB instruction does not distinguish between signed or unsigned operands. Instead, the processor evaluates the result for both data types and sets the OF and CF flags to indicate a borrow in the signed or unsigned result, respectively. The SF flag indicates the sign of the signed result.
The SBB instruction is usually executed as part of a multibyte or multiword subtraction in which a SUB instruction is followed by a SBB instruction.
This instruction can be used with a LOCK prefix to allow the instruction to be executed atomically.
In 64-bit mode, the instruction’s default operation size is 32 bits. Using a REX prefix in the form of REX.R permits access to additional registers (R8-R15). Using a REX prefix in the form of REX.W promotes operation to 64 bits. See the summary chart at the beginning of this section for encoding data and limits.
DEST ← (DEST – (SRC + CF));
SBB:
extern unsigned char _subborrow_u8(unsigned char c_in, unsigned char src1, unsigned char src2, unsigned char *diff_out);
SBB:
extern unsigned char _subborrow_u16(unsigned char c_in, unsigned short src1, unsigned short src2, unsigned short
*diff_out);
SBB:
extern unsigned char _subborrow_u32(unsigned char c_in, unsigned int src1, unsigned char int, unsigned int *diff_out);
SBB:
extern unsigned char _subborrow_u64(unsigned char c_in, unsigned __int64 src1, unsigned __int64 src2, unsigned
__int64 *diff_out);
The OF, SF, ZF, AF, PF, and CF flags are set according to the result.
| #GP(0) |
If the destination is located in a non-writable segment. If a memory operand effective address is outside the CS, DS, ES, FS, or GS segment limit. If the DS, ES, FS, or GS register contains a NULL segment selector. |
| #SS(0) | If a memory operand effective address is outside the SS segment limit. |
| #PF(fault-code) | If a page fault occurs. |
| #AC(0) | If alignment checking is enabled and an unaligned memory reference is made while the current privilege level is 3. |
| #UD | If the LOCK prefix is used but the destination is not a memory operand. |
| #GP | If a memory operand effective address is outside the CS, DS, ES, FS, or GS segment limit. |
| #SS | If a memory operand effective address is outside the SS segment limit. |
| #UD | If the LOCK prefix is used but the destination is not a memory operand. |
| #GP(0) | If a memory operand effective address is outside the CS, DS, ES, FS, or GS segment limit. |
| #SS(0) | If a memory operand effective address is outside the SS segment limit. |
| #PF(fault-code) | If a page fault occurs. |
| #AC(0) | If alignment checking is enabled and an unaligned memory reference is made. |
| #UD | If the LOCK prefix is used but the destination is not a memory operand. |
Same exceptions as in protected mode.
| #SS(0) | If a memory address referencing the SS segment is in a non-canonical form. |
| #GP(0) | If the memory address is in a non-canonical form. |
| #PF(fault-code) | If a page fault occurs. |
| #AC(0) | If alignment checking is enabled and an unaligned memory reference is made while the current privilege level is 3. |
| #UD | If the LOCK prefix is used but the destination is not a memory operand. |


ledger_transfer
Function - Transfer resources from a parent ledger to a child.
SYNOPSIS
kern_return_t ledger_transfer (ledger_port_t parent_ledger, ledger_port_t child_ledger, ledger_item_t transfer);
PARAMETERS
- parent_ledger
-
[in ledger send right]
The parent ledger
- child_ledger
-
[in ledger send right]
The child ledger
- transfer
- [in scalar] The resource amount to transfer. A positive amount moves the resource allocation from the parent to the child; a negative amount moves the reverse.
DESCRIPTION
The ledger_transfer function transfers resources from a parent to a child ledger.
NOTES
This interface is not implemented in OSF/1 R1.3.
RETURN VALUES
- KERN_RESOURCE_SHORTAGE
- Transferring the resources would cause one ledger to exceed its limit.
RELATED INFORMATION
Functions: ledger_create, ledger_terminate, ledger_read.


Despite global headwinds, India to see $52 bn worth of M&A deals in 2019
India M&A is expected to remain stable in the next few years
by Business StandardIndia is expected to see M&A deals of over $52 billion in 2019 as mergers and acquisitions in the country are expected to remain stable despite global headwinds, according to a new report by Baker McKenzie. “Despite the global headwinds, India M&A is expected to remain stable in the next few years, with private investments reviving against the backdrop of a more favourable business environment,” it said


|
TODO
|
DUEbleed |
2021-01-11 EET |
xet7 - maintainer of Wekan
Did not notice security issue originally when merging new feature from pull request. Did fix issue when finally noticed it at production at Wekan demo server.
|
- Due Cards and Broken Cards: As Admin user, at All Users view of Due Cards and Broken Cards,
fixed to not show cards from other users private boards. This affected only logged in Admin user,
not logged in other users.
- Affected Wekan v4.73-v4.74
- Fixed at Wekan v4.75 2021-01-11
- More details at GitHub issue
and fixed code
|


BABE: PIG IN THE CITY
Reviewed by Harvey Karten, Ph.D. Universal Pictures Director: George Miller Writer: George Miller, Judy Morris, Mark Lamprell Cast: James Cromwell, Magda Szubanski, Mickey Rooney, Mary Stein, Roscoe Lee Browne, E.G. Daily, Danny Mann, Glenne Headly, James Cosmo, Stanley Ralph Ross
Opening up on a farm that's so cozy and picturesque that it seems not of this earth, "Babe: Pig in the City" brings forth memories of the all-time great animal picture, "Lassie Come Home." Like that 1943 masterwork, "Babe" centers on a poor family, one which may have to sell not only its prized animals but the entire spread as well. The soulless bankers have come with the necessary papers: owners Hoggett (James Cromwell) and his rotund wife (Magda Szubanski) need a plan. While this picture is more fanciful than Fred Wilcox's 1943 film--indeed it is propelled by computer animation which puts traditionally hostile animals in the same picture talking to one another--it lacks "Lassie"'s sentimental center, a small boy (played by the late great Roddy McDowall). For a good deal of its 96-minute length it features only animals, forcing the largely pre-adolescent audience to identify with a pig or one of her buddies, be it a dog, a kitten, a duck, a goldfish-- even a trio of singing mice that might give Bill Gates ideas. Its second flaw is that it lacks the focused plot of its predecessor, which features the same pair of Hoggetts with fewer animals, one which kept the audience with both feet off the floor rooting for the piggy to transcend his breed and become a sheep dog.
The film is directed and co-written by George Miller who uses Australian director Chris Noonan's 1995 characters (created by a book written by Dick King-Smith), and once again combines real animals, animatronic doubles, and computer technology, while expanding the winning special effects.
At the commercial screening I attended on the fourth day of the film's tenure, the audience of mostly kids were uncannily quiet throughout, which is a good sign. Yet I watched two children, each about six years old, burst into tears near the beginning and thereafter counted ten family groups quickly and silently departing the theater. Why the agitation? It turns out that this sequel, despite its G rating, has a rather dark text, welcome enough by in adult movies for viewers who do not share a audience desire for celluloid elevator music. But why the need for grim images in a kids' romp? I suppose most fables have their murky side but that's often hidden in the subtext. "Babe," however, begins with the good Farmer Hoggett's falling into a well (which is somehow Babe's fault), shows him wrapped form head to toe in bandages, his family gathered around him as though he were on his deathbed. It segues into the big city, to which Babe has repaired with Mrs. Hoggett--who expects to make some money in a shepherding presentation. Before the porcine duo can even enter the shabby, walk-up hotel--all they can afford--Mrs. Hoggett is strip-searched for drugs behind a curtain after a hard-nosed narcotics-sniffing beagle has erroneously singled her out.
The movie is brimming with hostility from both animals and people. Virtually every human in the story is antagonistic. Hotel owners impolitely refuse to accept animals. One who finally does is unsympathetically eccentric, asking a barrage of questions and answering them all herself. Animal control officials brutally round up monkeys, ducks, and dogs, dragging them with sticks, enveloping them with nets, and throwing them into trucks. The pilot of the plane carrying Hoggett and friend into the city takes off without allowing the farmer to pack the duck. What for adults may pass as a funny scene of a quack-quack flying alongside the aircraft until he can no longer catch it may be interpreted by the small fry as its desperate attempt to fly to his adopted family which appears to have abandoned him. Most alarming of all, a bull terrier chasing the pig if only to exercise his territorial eminence is trapped by his chain and falls over a bridge into a body of water where he is helplessly suspended upside- down, thrashing about, head fully submerged. Director Miller could have gained sentimental points by tenderly showing one crippled dog whose owner had the sensitivity to hook him up to a pair of wheels rather than put him to sleep. Instead the poor little mutt is dragged by a van going 50 miles an hour, is unable to disentangle himself, and flips over helplessly.
The principal reason to see the film is the imaginative views which unfold of large, clean cities--presumably New York, L.A. and Sydney among them--visions that conjure up recollections of similarly ingenious images in Alex Proyas's "Dark City" and even Fritz Lang's "Metropolis." The voices of the animals are also on the money, especially the tender, female voice of the title character, whose vocabulary is formed by E.G. Daily. Roscoe Lee Browne is exceptionally warm and fuzzy, delivering the smooth, orotund tones of its narrator. (In a display of Hollywood chutzpah, Christine Cavanaugh, who did Babe's voice in the original film, demanded more money than she received the first time around, perhaps believing she could not be replaced. If I were not a union man, I would have offered my services for nothing.)
"Babe: Pig in the City" almost did not open at its scheduled November 25 premiere and in fact was screened for critics only two days in advance. The official excuse was that the editing was taking longer than expected. Actually, the completed movie went back to the cutting room because of thumbs-down reactions from preview audiences that got spooked from its inhumanity. What emerged could make you think that the editor went for a cappuccino break rather than do the necessary cutting.
Rated G. Running Time: 96 minutes. (C) 1998 Harvey Karten
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Baker Franke
Research Partnerships @ Code.org
Abstract: In this talk I’ll describe Code.org's burgeoning Research Partnership program with the goal of spurring the interest of one or two members of this audience to partner with us on a research project. Ultimately Code.org is not a research house, but we do capture data representing a decent percentage of the K-12 CS education audience in the US, and much of that data goes unexplored. I'll describe why Code.org is interested in research partnerships, the kinds of data we have, our lightweight research infrastructure, and a few examples of active partnerships that might be germane to this audience.


{% extends "base.html" %} {% block title %}Logout{% endblock %} {% block content %}
You have been successfully logged out. You can login again.


An R package for generating features (covariates) for a cohort using data in the Common Data Model.
Requires R (version 3.2.2 or higher). Installation on Windows requires RTools. FeatureExtraction require Java.
See the instructions here for configuring your R environment, including RTools and Java.
In R, use the following commands to download and install FeatureExtraction:
install.packages("drat")
drat::addRepo("OHDSI")
install.packages("FeatureExtraction")
The documentation website can be found at https://ohdsi.github.io/FeatureExtraction/. PDF versions of the vignettes and package manual are here:
These vignettes are also available in Korean:
Read here how you can contribute to this package.


Welcome to PyVVO’s Documentation!¶
PyVVO is an example volt-var optimization (VVO) application written in Python (hence the “Py”) that runs on the GridAPPS-D platform. The GridAPPS-D documentation can be found on Read the Docs.
While PyVVO is an “example” application, it is quite sophisticated, and contains a lot of novel work in the sphere of load modeling and VVO.


Form.io is a platform for JSON powered forms within Angular. Forms can be embedded as easy as the following code.
<formio src="https://examples.form.io/example"></formio>
Read Documentation


Olivia Colman reveals most difficult thing about playing Queen in The Crown
Olivia Colman has said the most difficult thing about portraying the Queen in The Crown was hiding her emotions.
The actress said that she “can’t hide anything”, and that filming scenes based on the 1966 Aberfan coal-tip disaster, in which 144 people died, 116 of them children, were particularly tough because she had to act closed-off.
Colman told the Radio Times magazine that it was “the hardest thing ever, to play someone much stronger emotionally than me”.
She said: “When we filmed the scenes with the tributes and the flowers and the toys, the director would say, ‘Pretend you’re just judging a flower competition’ – because if I thought about what it actually was, I couldn’t cope.
“I can’t do repression.”
The Oscar-winner, who picks up the role of the Queen from Claire Foy in the third season of the lavish Netflix drama, said that it is “cruel” that the Queen must not show her emotions in public.
She added: “You train an animal to do one thing, then expect them to do something else at a whim.
 It’s an impossible situation. I couldn’t do it.
“I hope she has a mountaintop or somewhere behind closed doors she can let it all out.”
Colman, 45, said that the scripts, written by Peter Morgan, had a major impact on the way she views the monarchy, and that she is now “very conflicted” as a left-wing monarchist.
Colman said she was doing an impression of Foy, who played a younger version of the Queen in the first two series, before she “just started to do what the script says, and I’ve fallen in love with the Queen”.
She added: “We’re used to people being a little unclassy and she’s the opposite of that. She’s extraordinary. I hadn’t spent much time thinking about it before, but now I love her.
“She’s changed my views on everything.”
The third series of the period drama stars Colman as the Queen, Helena Bonham Carter as Princess Margaret, Tobias Menzies as the Duke of Edinburgh, and Josh O’Connor as the Prince of Wales.
It will cover 1964-1977, set against the backdrop of the miners’ strikes, the country’s economic crisis, and national security threats, as well as the tenure of Harold Wilson as prime minister, the investiture of the Prince of Wales, and the Queen’s Silver Jubilee.
The Crown series 3 launches on Netflix on November 17.
Radio Times is available now.


Records identified through database
searching (n=289) —) PubMed=121, c Embase=95, 3 Web of Science=23, Additional records identified s _ Cochrane Library=20 through other sources P= Chinese Wanfang database=40 (n=0) = G " | | — Records after duplicates removed (n =255) 2 = Records excluded g (n=250) a Records screened Irrelevant studies=174 eco os Sy e Meetings abstracts=26 (n=255) Letter=50 LY Full-text articles assessed Full-text articles excluded, with for eligibility -——> reasons (n=5) (n=0) Ld) Studies included in qualitative synthesis (n=5) 3 oO s 3 Studies included in po quantitative synthesis (meta-analysis) (n=5)


Talking Name Picker
Type or paste in names, one per line. For names that are mispronounced, follow the name with a '|' and a phonetic spelling, e.g., Briccetti|brihchetti. Indicate the maximum number of times you want each person to be called, and push Start. Push Pick each time you want to pick a person.


Click Here to visit our Discord for the lastest updates and news. Click to subscribe for reserved slot and perks!


| DOSE: |
15 capsls |
oral |
Caffeine |
(pill / tablet) |
I used to be more of a caffeine addict than I could ever imagine now. The substance seems so benign. It's legal, it's been around almost as long as civilization, and it is associated with one of man's greatest obsessions: staying awake to get things done.
I can recall the days of high school. It all started about my sophomore year. I'd always been a coffee drinker here and there, but when my need to take control of my sleep became more important (somehow wanting to get all of my schoolwork done, though it rarely happened), I began to increase to something upwards of two pots a night. I'd usually drink it slowly (it was from a full filter of packed joe); times would happen though where I'd do it much too fast. I hated it in the same instance I was loving it. I was at the very least able to get most of my schoolwork done. The longer this went on though, it started getting worse.
By the time late 98 came around, I was addicted to Vivarin. It was an everyday thing. I didn't think it was that bad until one day I found myself in complete psychotic revelry at work.
 I wanted to scream and break things. I was slamming the video drawers shut, slamming doors.  The only benefit was probably that I was moving fast. I don't know how long I'd been awake, but the caffeine had taken control of my mind and turned me into some kind of raving lunatic. I angered my coworker because I was being such an asshole; she left the dept. for a while. I felt bad so I toned it down a bit.
Later that day I went home; I went right to my bedroom, sat down on the edge of my bed, and instantly passed out. I awoke a little later not feeling much better, realizing I was still wearing my contacts. My eyes were as unhappy with me as my body at that moment.
That experience caused me to cut myself off from Vivarin. By the end of that two year escapade, not to mention with help from severe depression, I'd lost a hundred pounds. From 285 to 175. I never took it again, it actually scared me to look at the stuff. My coffee intake has never been that bad again. If only there were a way to get off the addiction. But what does one expect when drinking the world's most legal, and lethal, drug since kindergarten?
I feel that caffeine is not dangerous in small quantities, and the benefits are okay. Anything is like that. The operative word is 'SMALL QUANTITIES.' When the cup took control, I was sorry.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


--- layout: archive permalink: /year-archive/ title: "Blogs" author_profile: true redirect_from: - /wordpress/blog-posts/ ---


30/3/2021 Documentation
T-Shirt Design
This is the last part of activity we were tasked to do for the 2 day EA-Hands don session. In short, we were given a plain white polyester T-shirt and we had to design it using our own creativity.
To start off, the Engineering Academy (EA) logo on the front of the T-shirt was standadized for everyone. So some of you might wonder how did I manage to print the logo on the shirt? Well, the method which I had used to print my shirt is known as dye sublimation.
First up, I had to use the heat press machine to heat press my shirt for 5 seconds to prevent any shrinkages. Next, I had to use the paper cutter to trim off the excess portion of the EA logo sublimation paper. After which, I position the logo such that it is 4 iches from the collar and 4.5 inches from the sides of the shirt. Finally, I use tape to secure the sublimation paper and heat press the shirt for 45 seconds.
As for my name below the EA logo, the process is similar. Firstly, I had to position my name directly in the centre of the EA logo. After which, I applied tape to the ends of the sublimation paper so as to secure it. last but not least, heat press for a good 45 seconds and my T-shirt printing is complete.
As for the design at the back of the T-shirt, I made use of the website known as canva.com to design it. After considering hard for a long time, I decided to go with word art as my design. Initially, I thought to myself that since I am in EA, why not make use of positive words to potray how an EA student behaves like. So this was how my design came about. After finished with the desiging, we had to save our design into SVG format and afterwards export it into a thumb drive / SD card.


This module outputs the individual Ad-Rotator, which randomly displays a group of HTML, images or Flash media when your browser is refreshed.
{module_adrotator,ID}
{module_adrotator,15264}


8 Tips for Starting a Career in
Data Journalism -- And Why You Should
(With GIFs!)
Jonah Newman | The Chicago Reporter
Twitter:
@jonahshai
Website:
chicagoreporter.com
Slides:
jonahnewman.com/talks
About Me
Northwestern University
Chronicle of Higher Education
Chicago Reporter
Don't do What I did
1. Join IRE. Go to NICAR. Get on the Listserv.
NICAR 2015 in Atlanta
Jobs!
2. Read the best (and worst) in data journalism.
And know the difference
3. FOIA Early & FOIA Often.
Know the FOIA
law
.
Fight back if you don't get what you ask for.
4. Be skeptical. Remember, data can lie.
Pitfall 1:
Distrust your data
Pitfall 2:
Maps often don't show you what you think they do
Pitfall 3: Correlation is not causation
Pitfall 4: Data require context
How to Lie With Education Data, Part 2
5. Don't be intimidated. Learn how to learn.
6. To learn a new skill, find a project.
7. Any story can be a data story.
...And it probably should be.
8. Use it for good, never for evil.
Examples:
Impact
Questions?
Email:
<EMAIL_ADDRESS>Phone:<PHONE_NUMBER>
Twitter:
@jonahshai


Totem V was created in Los Angeles, CA in the late hours of a hackathon.
Four developers, one designer, one shared insatiable thirst to push the boundaries of
mobile applications as we know it. The rest is history.
Andrew Aquino Founder, Entrepreneur, Full-Stack Developer, Startup Consultant
Kevin Mowers Co-Founder, Director of Company Culture, iOS Developer
Christian Noble Co-Founder, Business Solution Manager, iOS Developer
Steven Yang Co-Founder, Product Manager, iOS Developer
Elaine Pham Co-Founder, Director of Community Outreach, UI/UX Designer


|
UQTk: Uncertainty Quantification Toolkit 3.1.3
|
Markov Chain Monte Carlo base class. Implemented the basic and most general MCMC algorithms. More...
#include <mcmc.h>
Classes | |
| struct | chainstate |
| struct | outputInfo |
Public Member Functions | |
| MCMC (double(*logposterior)(Array1D< double > &, void *), void *postinfo) | |
| Constructor when given a pointer to a logPosterior function and a pointer to additional information (e.g. data) More... | |
| MCMC (LogPosteriorBase &L) | |
| Constructor when given a LogPosterior Base class object. More... | |
| MCMC () | |
| Dummy Constructor, used for TMCMC. More... | |
| void | setWriteFlag (int I) |
| Set the write flag function given an integer. More... | |
| void | setFcnAccept (void(*fcnAccept)(void *)) |
| Set the accept and reject functions. More... | |
| void | setFcnReject (void(*fcnReject)(void *)) |
| void | setChainDim (int chdim) |
| Set the dimensions of the chain given an integer. More... | |
| void | initChainPropCov (Array2D< double > &propcov) |
| Initialize proposal covariance matrix given as a 2d-array For aMCMC, this matrix is used only before adaptivity starts. More... | |
| void | initChainPropCovDiag (Array1D< double > &sig) |
| Initialize proposal covariance matrix given its 1d-array diagonal For aMCMC, this matrix is used only before adaptivity starts. More... | |
| void | setOutputInfo (string outtype, string file, int freq_file, int freq_screen) |
| Set output specification struct, type('txt' or 'bin'), filename, frequency of outputs to the file and to screen. More... | |
| void | namesPrepended () |
| Set the indicator to confirm that the names of parameters are prepended in the output file. More... | |
| void | setSeed (int seed) |
| Set random generation seed. More... | |
| void | setLower (double lower, int i) |
| Set lower bound at the index of i. More... | |
| void | setUpper (double upper, int i) |
| Set upper bound at the index of i. More... | |
| void | setDefaultDomain () |
| Set default unbounded domain. More... | |
| void | setPostInfo (void *postinfo) |
| Set the Posterior Info pointer. More... | |
| void | getChainPropCov (Array2D< double > &propcov) |
| Returns proposal covariance matrix. More... | |
| string | getFilename () |
| Get the name of the chain file. More... | |
| int | getWriteFlag () |
| Get the value of the write flag as an integer. More... | |
| void | getSamples (int burnin, int every, Array2D< double > &samples) |
| Get samples of the chain with burnin and thining. More... | |
| void | getSamples (Array2D< double > &samples) |
| Get all samples of the chain. More... | |
| void | getFcnAccept (void(*fcnAccept)(void *)) |
| Get the accept and reject functions given a pointer. More... | |
| void | getFcnReject (void(*fcnReject)(void *)) |
| string | getOutputType () |
| Get the output file type as a string. More... | |
| int | getFileFreq () |
| Get the frequency of output to file. More... | |
| int | getScreenFreq () |
| Get the frequency of output to the screen. More... | |
| bool | getNamesPrepended () |
| Get if the names are prepended. More... | |
| int | getSeed () |
| Get the seed used for random generation. More... | |
| double | getLower (int i) |
| Get the lower bounds based on an index i. More... | |
| double | getUpper (int i) |
| Get the upper bounds based on an index i. More... | |
| bool | getDimInit () |
| Get if the Chain Dimensions are initialized. More... | |
| void | getPostInfo (void *post) |
| Get post info pointer. More... | |
| bool | getPropCovInit () |
| Get if the Prop Cov has been initialized. More... | |
| bool | getOutputInit () |
| Get if the output info has been initialized. More... | |
| int | getLastWrite () |
| Get last write. More... | |
| bool | getFcnAcceptInit () |
| Get if the accept and reject functions are initialized. More... | |
| bool | getFcnRejectInit () |
| virtual int | getNSubSteps () |
| Get function for number of sub steps. More... | |
| int | getLowerFlag (int i) |
| Get function for the lower and upper Flag at index i. More... | |
| int | getUpperFlag (int i) |
| void | getAcceptRatio (double *accrat) |
| Get the chain's acceptance ratio. More... | |
| double | getAcceptRatio () |
| Get the chain's acceptance ratio as a double. More... | |
| int | GetChainDim () const |
| Get the MCMC chain dimensionality. More... | |
| void | resetChainState () |
| Reset the chain state. More... | |
| void | resetChainFilename (string filename) |
| Reset to a new chain file. More... | |
| void | parseBinChain (string filename, Array1D< chainstate > &readchain) |
| An auxiliary function to parse the binary file and produce an array of chain-states. More... | |
| void | writeFullChainTxt (string filename, Array1D< chainstate > fullchain) |
| Write an array of chain-states to a file. More... | |
| void | getFullChain (Array1D< chainstate > &readchain) |
| Get full chain as an array of chain-states. More... | |
| void | appendMAP () |
| Append MAP state to the end. More... | |
| double | getMode (Array1D< double > &MAPparams) |
| Get MAP parameters. More... | |
| int | getFullChainSize () |
| Get the full chain size. More... | |
| void | setCurrentStateStep (int i) |
| Function to set the step of the current state. More... | |
| void | getCurrentStateState (Array1D< double > &state) |
| Function to get the state of the current state. More... | |
| double | getCurrentStatePost () |
| Function to get the post of the current state. More... | |
| void | setCurrentStateState (Array1D< double > &newState) |
| Function to set the current state's state. More... | |
| void | setCurrentStatePost (double newPost) |
| Function to set the current state's post. More... | |
| void | setCurrentStateAlfa (double newAlfa) |
| Function to set the current state's alfa. More... | |
| double | getModeStatePost () |
| Function to get the mode state's post. More... | |
| void | getModeStateState (Array1D< double > &state) |
| Function to get the mode state's state. More... | |
| virtual void | runOptim (Array1D< double > &start) |
| The optimization routine. More... | |
| virtual void | runChain (int ncalls, Array1D< double > &chstart)=0 |
| The actual function that generates MCMC. More... | |
| virtual void | runChain (int ncalls)=0 |
| Start an MCMC chain with trivial initial condition. More... | |
| void | runAcceptFcn () |
| Function to run the accept function. More... | |
| void | runRejectFcn () |
| Function to run the reject function. More... | |
| bool | newModeFound () |
| Check to see if a new mode was found during last call to runChain. More... | |
| double | evalLogPosterior (Array1D< double > &m) |
| Function to evaluate the log-posterior. More... | |
| bool | inDomain (Array1D< double > &m) |
| Check if a point is in the domain. More... | |
| void | writeChainTxt (string filename) |
| Write the full chain as a text. More... | |
| void | writeChainBin (string filename) |
| Write the full chain as a binary file. More... | |
| void | setNewMode (bool value) |
| Function to set a new mode value. More... | |
Protected Member Functions | |
| void | setAcceptRatio (double d) |
| Set the acceptance ratio. More... | |
| void | addCurrentState () |
| Function to add the current chain state to the full chain. More... | |
| void | updateMode () |
| Function to update the Chain mode. More... | |
| void | setLastWrite (int i) |
| Set last write. More... | |
Protected Attributes | |
| dsfmt_t | RandomState |
Private Member Functions | |
| virtual double | probOldNew (Array1D< double > &a, Array1D< double > &b) |
Private Attributes | |
| int | WRITE_FLAG |
| int | FLAG |
| LogPosteriorBase * | L_ |
| struct MCMC::outputInfo | outputinfo_ |
| int | chainDim_ |
| double(* | logPosterior_ )(Array1D< double > &, void *) = NULL |
| void(* | fcnAccept_ )(void *) = NULL |
| void(* | fcnReject_ )(void *) = NULL |
| void * | postInfo_ = NULL |
| Array2D< double > | chcov |
| int | seed_ |
| chainstate | currState_ |
| chainstate | modeState_ |
| Array1D< chainstate > | fullChain_ |
| int | lastwrite_ |
| bool | namesPrepend = false |
| bool | newMode_ = false |
| double | accRatio_ = -1.0 |
| bool | chaindimInit_ = false |
| bool | propcovInit_ = false |
| bool | methodInit_ = false |
| bool | outputInit_ = false |
| bool | fcnAcceptFlag_ = false |
| bool | fcnRejectFlag_ = false |
| Array1D< double > | Lower_ |
| Lower bounds. More... | |
| Array1D< double > | Upper_ |
| Upper bounds. More... | |
| Array1D< int > | lower_flag_ |
| Lower bound existence flags. More... | |
| Array1D< int > | upper_flag_ |
| Upper bound existence flags. More... | |
Markov Chain Monte Carlo base class. Implemented the basic and most general MCMC algorithms.
| MCMC::MCMC | ( | double(*)(Array1D< double > &, void *) | logposterior, |
| void * | postinfo | ||
| ) |
Constructor when given a pointer to a logPosterior function and a pointer to additional information (e.g. data)
| MCMC::MCMC | ( | LogPosteriorBase & | L | ) |
Constructor when given a LogPosterior Base class object.
| MCMC::MCMC | ( | ) |
Dummy Constructor, used for TMCMC.
|
protected |
Function to add the current chain state to the full chain.
| void MCMC::appendMAP | ( | ) |
Append MAP state to the end.
| double MCMC::evalLogPosterior | ( | Array1D< double > & | m | ) |
Function to evaluate the log-posterior.
| double MCMC::getAcceptRatio | ( | ) |
Get the chain's acceptance ratio as a double.
| void MCMC::getAcceptRatio | ( | double * | accrat | ) |
Get the chain's acceptance ratio.
| int MCMC::GetChainDim | ( | ) | const |
Get the MCMC chain dimensionality.
| void MCMC::getChainPropCov | ( | Array2D< double > & | propcov | ) |
Returns proposal covariance matrix.
| double MCMC::getCurrentStatePost | ( | ) |
Function to get the post of the current state.
| void MCMC::getCurrentStateState | ( | Array1D< double > & | state | ) |
Function to get the state of the current state.
| bool MCMC::getDimInit | ( | ) |
Get if the Chain Dimensions are initialized.
| void MCMC::getFcnAccept | ( | void(*)(void *) | fcnAccept | ) |
Get the accept and reject functions given a pointer.
| bool MCMC::getFcnAcceptInit | ( | ) |
Get if the accept and reject functions are initialized.
| void MCMC::getFcnReject | ( | void(*)(void *) | fcnReject | ) |
| bool MCMC::getFcnRejectInit | ( | ) |
| int MCMC::getFileFreq | ( | ) |
Get the frequency of output to file.
| string MCMC::getFilename | ( | ) |
Get the name of the chain file.
| void MCMC::getFullChain | ( | Array1D< chainstate > & | readchain | ) |
Get full chain as an array of chain-states.
| int MCMC::getFullChainSize | ( | ) |
Get the full chain size.
| int MCMC::getLastWrite | ( | ) |
Get last write.
| double MCMC::getLower | ( | int | i | ) |
Get the lower bounds based on an index i.
| int MCMC::getLowerFlag | ( | int | i | ) |
Get function for the lower and upper Flag at index i.
| double MCMC::getMode | ( | Array1D< double > & | MAPparams | ) |
Get MAP parameters.
| double MCMC::getModeStatePost | ( | ) |
Function to get the mode state's post.
| void MCMC::getModeStateState | ( | Array1D< double > & | state | ) |
Function to get the mode state's state.
| bool MCMC::getNamesPrepended | ( | ) |
Get if the names are prepended.
|
inlinevirtual |
Get function for number of sub steps.
| bool MCMC::getOutputInit | ( | ) |
Get if the output info has been initialized.
| string MCMC::getOutputType | ( | ) |
Get the output file type as a string.
| void MCMC::getPostInfo | ( | void * | post | ) |
Get post info pointer.
| bool MCMC::getPropCovInit | ( | ) |
Get if the Prop Cov has been initialized.
| void MCMC::getSamples | ( | Array2D< double > & | samples | ) |
Get all samples of the chain.
| void MCMC::getSamples | ( | int | burnin, |
| int | every, | ||
| Array2D< double > & | samples | ||
| ) |
Get samples of the chain with burnin and thining.
| int MCMC::getScreenFreq | ( | ) |
Get the frequency of output to the screen.
| int MCMC::getSeed | ( | ) |
Get the seed used for random generation.
| double MCMC::getUpper | ( | int | i | ) |
Get the upper bounds based on an index i.
| int MCMC::getUpperFlag | ( | int | i | ) |
| int MCMC::getWriteFlag | ( | ) |
Get the value of the write flag as an integer.
| bool MCMC::inDomain | ( | Array1D< double > & | m | ) |
Check if a point is in the domain.
| void MCMC::initChainPropCov | ( | Array2D< double > & | propcov | ) |
Initialize proposal covariance matrix given as a 2d-array For aMCMC, this matrix is used only before adaptivity starts.
| void MCMC::initChainPropCovDiag | ( | Array1D< double > & | sig | ) |
Initialize proposal covariance matrix given its 1d-array diagonal For aMCMC, this matrix is used only before adaptivity starts.
| void MCMC::namesPrepended | ( | ) |
Set the indicator to confirm that the names of parameters are prepended in the output file.
| bool MCMC::newModeFound | ( | ) |
Check to see if a new mode was found during last call to runChain.
| void MCMC::parseBinChain | ( | string | filename, |
| Array1D< chainstate > & | readchain | ||
| ) |
An auxiliary function to parse the binary file and produce an array of chain-states.
|
inlineprivatevirtual |
| void MCMC::resetChainFilename | ( | string | filename | ) |
Reset to a new chain file.
| void MCMC::resetChainState | ( | ) |
Reset the chain state.
| void MCMC::runAcceptFcn | ( | ) |
Function to run the accept function.
|
pure virtual |
Start an MCMC chain with trivial initial condition.
|
pure virtual |
The actual function that generates MCMC.
|
virtual |
The optimization routine.
| void MCMC::runRejectFcn | ( | ) |
Function to run the reject function.
|
protected |
Set the acceptance ratio.
| void MCMC::setChainDim | ( | int | chdim | ) |
Set the dimensions of the chain given an integer.
| void MCMC::setCurrentStateAlfa | ( | double | newAlfa | ) |
Function to set the current state's alfa.
| void MCMC::setCurrentStatePost | ( | double | newPost | ) |
Function to set the current state's post.
| void MCMC::setCurrentStateState | ( | Array1D< double > & | newState | ) |
Function to set the current state's state.
| void MCMC::setCurrentStateStep | ( | int | i | ) |
Function to set the step of the current state.
| void MCMC::setDefaultDomain | ( | ) |
Set default unbounded domain.
| void MCMC::setFcnAccept | ( | void(*)(void *) | fcnAccept | ) |
Set the accept and reject functions.
| void MCMC::setFcnReject | ( | void(*)(void *) | fcnReject | ) |
|
protected |
Set last write.
| void MCMC::setLower | ( | double | lower, |
| int | i | ||
| ) |
Set lower bound at the index of i.
| void MCMC::setNewMode | ( | bool | value | ) |
Function to set a new mode value.
| void MCMC::setOutputInfo | ( | string | outtype, |
| string | file, | ||
| int | freq_file, | ||
| int | freq_screen | ||
| ) |
Set output specification struct, type('txt' or 'bin'), filename, frequency of outputs to the file and to screen.
| void MCMC::setPostInfo | ( | void * | postinfo | ) |
Set the Posterior Info pointer.
| void MCMC::setSeed | ( | int | seed | ) |
Set random generation seed.
| void MCMC::setUpper | ( | double | upper, |
| int | i | ||
| ) |
Set upper bound at the index of i.
| void MCMC::setWriteFlag | ( | int | I | ) |
Set the write flag function given an integer.
|
protected |
Function to update the Chain mode.
| void MCMC::writeChainBin | ( | string | filename | ) |
Write the full chain as a binary file.
| void MCMC::writeChainTxt | ( | string | filename | ) |
Write the full chain as a text.
| void MCMC::writeFullChainTxt | ( | string | filename, |
| Array1D< chainstate > | fullchain | ||
| ) |
Write an array of chain-states to a file.
|
private |
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private |
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private |
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private |
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private |
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private |
|
private |
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private |
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private |
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private |
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private |
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private |
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private |
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private |
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private |
Lower bounds.
|
private |
Lower bound existence flags.
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Upper bounds.
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Upper bound existence flags.
|
private |


Fractals
Your browser does not support the HTML5 canvas tag.
Snowflake
Sierpinski's Triangle
Peano
Binary Tree
Cantor Dust
Snowflake 2
Hilbert
Gosper
Fern
Animate?
Iterations:
Sides:
Degrees:
Length:
Output Fractal


30 July 1996
Disease Outbreak Reported
Cases of meningitis have been reported in the provinces of Moxico, Lunda Norte and Cuanza Norte. The reporting system is not sufficiently well established to permit an evaluation of the true extent of the outbreak but at least 26 cases have been registered in Lumege and Luena in the province of Moxico since the beginning of July. About ten cases per day with a very high case fatality rate (90%) have been reported in Cuanza Norte. A confirmed case has also been reported in Luanda and unconfirmed cases in the province of Huila, Lubango and Namibie. UNICEF together with Médecins sans Frontières (MSF) have administered 20 000 doses of vaccine in Lumege and surrounding areas and the campaign is continuing. The national supply of vaccine supplemented by donations from UNICEF and MSF amounts to nearly 40 000 doses but to meet the high risk of further spread the Ministry of Health is appealing for an additional 100 000 doses of vaccine, oily chloramphenicol to treat 5 000 cases and diagnostic kits.
During 1994, more than 3 300 cases were registered in the provinces of Cuene, Huila and Lunda Sud. During 1995, 1 007 cases were notified in 7 provinces.


Liverpool pair Mohamed Salah, Andrew Robertson ruled out of Crystal Palace game
Liverpool have been dealt a double blow after each of Andrew Robertson and Mohamed Salah were ruled out of Saturday's Premier League fixture with Crystal Palace.
by Darren PlantHaving suffered ankle injuries before the international break, the pair missed out on representing Scotland and Egypt respectively over the past week.
Jurgen Klopp would have hoped that the time on the sidelines would have been sufficient for the pair to be available for the trip to Selhurst Park.
However, multiple outlets have revealed that the left-back and winger will play no part of the game against the Eagles.
The duo will be keen to be available for the Champions League meeting with Napoli, which takes place four days later.
body check tags ::


{% extends "layout.html" %} {% import "bootstrap/wtf.html" as wtf %} {% import "_macros.html" as macros %} {% block title %}All Reports{% endblock %} {% block page_content %}


12
1 Yahweh also said to Moses,
2 "Tell this to the Israelite people. If a woman gives birth to a boy, she must be avoided for seven days, as she must be avoided when she is menstruating each month.
3 The baby boy must be circumcised eight days after he is born.
4 Then the woman must wait thirty-three days to be purified from her bleeding during childbirth. She must not touch anything that is sacred, that belongs to me only, or enter the area of the sacred tent, until that time is ended.
5 If a woman gives birth to a baby girl, she must be avoided for two weeks, as she must be avoided when she is menstruating each month. Then she must wait sixty-six days to be purified from her bleeding when the baby was born.
6 When that time for her to be purified is ended, that woman must bring to the priest at the entrance of the sacred tent a one year old lamb. The priest will burn it whole on the altar. The woman must also bring a dove or a young pigeon for the priest to sacrifice it, so that Yahweh will accept her again.
7 The priest will offer these animals to Yahweh in order that she may be made acceptable to him again. Then she will be purified from her flow of blood when the baby was born.
Those are the regulations for women who give birth to a baby boy or girl.
8 If a woman who gives birth to a child cannot afford a lamb, she must bring two doves or two young pigeons. One will be burned completely on the altar, and one will be an offering to enable her to become acceptable to God again. By doing that, the priest will cause her to be forgiven for any sins she has committed, and she no longer will need to be avoided."


Zooming CLS
Join The Class Using Code Below
HI Student, Greetings !!
{{ user.teachers.name }}
wants you to join his Class now.
copy the code now and paste it to the JOIN SECTION box.
code :
{{ code }}


--- layout: post title: HCT2006 date: 2006-05-10 00:00:00 categories: business digital-media interfaces-&-interaction ---
If you're into your Human-Centred Technology - and we most certainly are - then this event, which Future Platforms are sponsoring this year, might be of interest: "This year we hope to take a critical look at whether the human-centred design approach caters for both collaborative and individualized settings and how it enriches communication, cooperation, creativity and learning while interacting with digital technology."


--- layout: post title: XML Encoding with TEI ---
This project has encoded its files using the Text Encoding Initiative Consortium (TEI-C) guidelines for eXtensible Markup Language, or XML. Encoding the Vandegrifter follows in the footsteps of many other initiatives and projects which have used TEI not only to introduce previously-unknown texts, but also to evaluate familiar texts in new ways. For some examples, see the TEI projects website. To display these short stories most effectively on this site, our XML files have been transformed and adapted into HTML files, but the full XML encoding can be found just below this paragraph. If you're reading our XML, you may notice references to the 'stevensonography', which is a separate file documenting the lists of people, characters, places, and analytical terms used to encode these stories. The full 'stevensonography' is also available below, at the bottom of the list.


Multi-label learning strategies and others procedures to support multi- label classification in R. The package provides a set of multi-label procedures such as sampling methods, transformation strategies, threshold functions, pre-processing techniques and evaluation metrics. A complete overview of the matter can be seen in Zhang, M. and Zhou, Z. (2014) <doi:10.1109/TKDE.2013.39> and Gibaja, E. and Ventura, S. (2015) <doi:10.1145/2716262>.
| Version: | 0.1.4 |
| Depends: | R (≥ 3.0.0), mldr (≥ 0.4.0), parallel |
| Imports: | stats, utils |
| Suggests: | C50, e1071, FSelector, infotheo, kknn, knitr, randomForest, rJava (≥ 0.9), rmarkdown, rpart, RWeka (≥ 0.4), testthat, xgboost (≥ 0.6-4) |
| Published: | 2018-04-20 |
| Author: | Adriano Rivolli [aut, cre] |
| Maintainer: | Adriano Rivolli <rivolli at utfpr.edu.br> |
| BugReports: | https://github.com/rivolli/utiml |
| License: | GPL-2 | GPL-3 | file LICENSE [expanded from: GPL | file LICENSE] |
| URL: | https://github.com/rivolli/utiml |
| NeedsCompilation: | no |
| Materials: | README NEWS |
| CRAN checks: | utiml results |
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[§321-196] Rules. The department shall adopt rules in accordance with chapter 91 to carry out the purposes of this part. [L 1975, c 190, pt of §2]


Indian Railways (reporting mark IR) is a state-owned railway company, responsible for rail transport in India. It is owned and operated by the Government of India through the Ministry of Railways. It is fourth largest railway network in the world comprising 119,630 kilometres (74,330 mi) of total track and 92,081 km (57,216 mi) of running track over a route of 66,687 km (41,437 mi) with 7,216 stations at the end of 2015-16. In 2015-16, IR carried 8.107 billion passengers annually or more than 22 million passengers a day and 1.101 billion tons of freight annually.
Railways were first introduced to India in the year 1853 from Bombay to Thane. In 1951 the systems were nationalised as one unit, the Indian Railways, becoming one of the largest networks in the world. IR operates both long distance and suburban rail systems on a multi-gauge network of broad, metre and narrow gauges. It also owns locomotive and coach production facilities at several places in India, with assigned codes identifying their gauge, kind of power and type of operation. Its operations cover twenty six states and three union territories across India, and also has international connectivity to Bangladesh (with Bangladesh Railway) and Pakistan (with Pakistan Railways).


Blocking out your experiment.Back to Contents First, make sure you have:
(as of June 2020) You will learn:
In this tutorial I duplicate my trial pages very early. This is because I am recreating part of the demo page which has very different trial types. It is likely you will be only creating a single type of trial. You would therefore wish to make an experiment with only one trial page initially, and only duplicate it and replace key words after finishing the form validation tutorial (the third one). Don't worry too much about the debrief pages (unless you know exactly what you want). We will be adding a lot to these in the upcoming tutorials. For these code heavy tutorials, it is recommended to full screen the video and watch at 720p ResourcesThe changed files for this step can be found here. The changed files in these tutorials are in the same layout as the build folder. You can simpy:
Be aware that two changes aren't refelected in the files:
Proceed to learn how to add inputs to each page. |


BARTON FINK A film review by Dave Cowen Copyright 1996 Dave Cowen
Somebody's never read Joyce.
Every year, somebody posts the "Barton Fink makes absolutely no sense and never will" post. Believe it or not, while the Coen boys had a wonderful time throwing curve balls at the audience, most of the more absurd elements of Barton Fink _do_ fit together. Quite nicely, mostly something approximating a very clever symbolic joke. So, I feel compelled to post my standard spoiler warning:
DON'T READ FARTHER IF YOU HAVEN'T SEEN THE FILM BARTON FINK!
and trudge on with interpreting some of the more obscure elements of Barton Fink, including the wallpaper, the picture, orphans and dames.
One of the most obvious thematic elements in Barton Fink is the conflict between "high art" and "low art". Barton's a Jewish pseudointellectual, a New York playwright who likes to think that his uninspired, highfalutin work is actually "about and for the common man". Because he avoids themes about royalty or other themes commonly found in the more pretentious work of otherwise dull artists, one senses a sort of smugness in Barton, as if he feels he's doing some sort of great service to the common man by writing about him. In the plot of the film, however, he is forced to come to terms with the fact that he is a poseur: when faced with making the kind of "low art" that will truly appeal to the "common man" of Barton's story, a wrestling picture, Barton is stymied, and suffers writer's block. This conflict is what drives many of the surreal happenings that occur in the Hotel Earle.

Throughout Barton's stay at the Earle, the wallpaper oozes down the wall, dripping "goopus" as it goes. This is, for all intensive purposes, a symbolic joke.
The Coens, throughout the film, involve Barton and Charlie in what is typically some of the most common and pretentious symbolism found in "high" art: the fire/water dichotomy. The first time we catch wind of this (pun intended), Barton is entering the Hotel Earle. We see a shot of waves crashing against a large rock...and the water dissolving into the floor of the Hotel Earle, as though the brown carpeting were sand. Throughout the film, Barton turns for solace to the picture of the girl sitting by the water, as the sounds of crashing waves come up in the soundtrack. Barton is tormented, in his room, by a mosquito... depite the fact that Ben Geisler assures Barton that "there are no mosquitos in Los Angeles. Mosquitos breed in swamps. This is a desert!" Finally, Barton ends up at the shoreline at the end of film. No question about it, the symbol of water seems to be following Barton around.
I don't have to convince you about the link between Charlie Meadows and fire. As Charlie's temper heightens, so does the temperature. At the high point of his anger, flames literally erupt behind him, setting the hallway of the Earle ablaze. The man sweats -- it's HOT...water is purged from his body in the form of sweat.
What many don't catch is the reference to the pipes behind the walls of Barton's room. This is one of the most important threads in the film -- early on, when Charlie is talking about hearing the couple engaging in intercourse in the room next doorthat Barton hears earlier, Barton leaves the room. Charlie cringes in sadness, and says "Seem like I hear everything in this dump. Must be the pipes or something." When Barton comes back in, Charlie quickly hides his anger, his anger stemming from having to be subjected to the sounds of lovemaking being carried in the pipes.
Later, Charlie hears lovemaking again. Barton starts yelling about W.P. Mayhew when Audrey comes over to "help with his script" -- which would have had to wake up Charlie.in the next room. When Audrey and Barton roll onto the bed (with a hilarious reference to the Hayes code rule that in a lovemaking scene, a man had to have at least one of his feet on the floor), the camera pans over and enters the bathroom. The sounds of Barton and Audrey are echoed as the camera heads into the pipe...the sounds being carried over into the Charlie's room.
When cold _water_ is carried through pipes in _hot_ weather, condensation forms on pipes -- we all know that. If the pipe is directly behind wallpaper, the sweaty condensation gets through the wall into the wallpaper's glue, loosens the glue, and the wallpaper peels.
What a dump. The Coens manage to take some very highfalutin, pretentious symbolism, and turn it into a basic, common, everyday problem in the film.
A FALLEN ORPHAN
It doesn't take much symbolic interpretation to realize that the Hotel Earle is hell. Chet, the servant, comes up from the underworld to greet Barton. The first three letters out of the elevator operator's mouth happen to be sixes. "A day or a lifetime," reads the stationary. Take note that the pencil which Barton moves from the stationary has no lead. Not a good omen for a writer.
Charlie Meadows is the hotel's resident fallen angel. And I don't just use "fallen angel" in a sense of referring to the big horny red guy himself, Charlie is truly is a fallen angel in all senses. Charlie genuinely wants to help people, wants to keep people out of the hell that he's in, to keep them from the ways he feels. Note that Charlie trys to sell FIRE and casualty insurance.  Unfortunately, some people just don't listen... and in the end, the people who don't buy insurance tend to get burned.
Many of the early scenes of the film are spent with Charlie trying to help Barton. Despite being annoyed at Barton's noise complaint, Barton's fake sympathy ("I thought you might be...in distress.") gives Charlie the impression that Barton might be an OK guy, that Barton could help fill some of the loneliness in his life, provides him with some empathy. So, Charlie pines to be Barton's muse. "I could tell ya some stories!" he bellows, attempting desperately to be Barton's inspiration for his impending wrestling picture.
But the kind of empathy that Charlie desires never arrives. When Lipnick, the head of Capitol Pictures, asks Barton which it'll be, "Orphan, or Dame", Barton responds "Both, maybe"... but we all know that that's not the way the story will pan out.
Barton tends to ignore Charlie, instead ranting about modern theatre, interrupting Charlie at any point when Charlie trys to interject something important. It seems that nobody listens to Charlie.  The same housewives he talks about there are found murdered by the end of the film. Any sort of emotional contact is blocked by his weight ("that's my cross to bear"), despite the fact that he has an interesting, lively personality. When he hears the "lovebirds" down the hall, this brings out a crushing pain in him about what he'll never have.
In the end, Barton chooses the Dame. Instead of calling to Charlie when he needs help writing the script, he calls Audrey -- and Audrey comes by to gie "Bah-ton" that special sort of "undahstahndin'" which Charlie has never experienced.
 and the pus oozes out of his ear. This, for all intents and purposes, appears to be a sexual release for Charlie's pent-up aggressions. Very likely, the wallpaper glue also probably represents sexual fluids.
Finally, at the end of the film, after Barton and Charlie's confrontation, Charlie mentions the Finks and Uncle Maury, whose address Barton had given Charlie earlier in the film. Barton's frantic telephone call at the end of the film indicates that the worst has happened: the orphan, to pay back Barton for choosing the dame, has orphaned Barton.
If any figures in recent history have been seen as literal devils, creating a hell on earth, it is without doubt the Nazi regime. Charlie, before pulling the trigger, hails the fuhrer. His real name is "Mundt," an obviously German name. Even more evidence of the link between Nazi symbolism and the film comes with Charlie's presentation of the box that Barton carries with him for the end of the film. The wrapping paper looks remarkably like dried human flesh. This angel has fallen hard. Perhaps Barton's "common man" wasn't so common after all... or was he?
 DON'T BE SILLY.
"While co-writing the script for their 1990 gangster hit, the brutally beautiful _Miller's Crossing_, the found themselves overpowered by writer's block. To jolt themselves back into action, they wrote the first draft of what would later become BARTON FINK..."
The above is from the laserdisc jacket of Barton Fink. It's fairly common knowledge that the Coen's wrote Fink during a bout of writer's block... so it's fair game to point out the autobiographical elements. The Coens just happen to be a couple of Jewish scriptwriters whose films play to the art house crowds but feature more "common" characters. Miller's Crossing was a genre film, which ends up being more about Tom and Leo's fight for Verna than about gangsterism, a fruity movie that ended up playing to the critics and not to the common man. When Barton is writing "The Burlyman", one of the instructions he writes into the script is "A young hussy opens the door"... an instruction from the opening scenes of Miller's Crossing. I don't think that there's any question that the film Barton Fink is art imitating life.
Where the film shines in irony is in its final scene. All through the film, Barton stares into a representation of possibly the lowest form of art: a hotel painting. In the end, he finds himself a part of that picture: Barton's life imitating the lowest form of art. The Coens turn one of the most pretentious and self-serving forms of art, the autobiography, on its head by showing the exact opposite happen. Finally, as for Joyce, the final scenes of Barton Fink at the beach, link in beautifully with the final scenes of James Joyce's autobiographical Portrait of the Artist as a Young Man, which paints a very similar scenario. It's a very apt, circular, reference.
All of this is in my humble opinion, of course -- I wouldn't be pretentious enough to try and speak for whatever it is rattling around inside the Coen's collective heads. However, in response to the original comment, I would hope the above interpretations would be considered strong enough to dispel the notion that the symbolism in Barton Fink is "meaningless", when it's really a very intricately structured story.
Anyway, I've spouted off enough tonight. I'll shut up now.
<EMAIL_ADDRESS>(Eschatfische.) --------------------------------- http://www.fische.com
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- A library with modules to calculate interest, work with cashflows and time value, handle payments, keep accounting, and calculate and solve amortization tables (schedules).
- Calculator: A module to calculate amortization tables given some parameters as interest rate, principal, duration, etc.
- Table Module: A Schedule table object to make calculations. Works dynamically ordering calculations as a linked list with caches since records depended on previous record values. Can do operations on it as tables' addition and subtractions, table splits into many tables (for multiloan or complex tables), final payment adjustments, discount ious on time value, and roundings and adjustments.
- Solver: A solver working on the table module trying to imitate the GoalSeek module in Excel to change a value until getting another expected one as close as possible. Used to adjust interest rate to different method calculations, until getting zero in balance.
- Contract module: An abstraction to handle the Credit Contracts. Using a Contract-Version-Loan structure that contained all the information that the contract could have as: IOUs, Payments, Advance Payments, Restructures, Write-offs, Charges. Used as interchange format in business.
- Kardex: A system to generate an Account Statement based on the Contract Structure and applying it to get the correct balance per different scopes such as loan, date, iou, version.
- Using numpy_financial, dataclasses, pandas, jupyter.
- Developed from 2022-01-01 to
2022-12-31
Kardex (Loan Accounting System)
Credijusto & Covalto, Inc.
A system designed to make calculations on loans
Designer. Python Developer.
- Problem: Credijusto Loan Management system is a non-transactional system that register balances instead of transactions.
- Main goal is to create a data structure that allows getting the different balances for each loan in any point of time aggregating all the transactions up to that day.
- Connect to the existing systems, Loan Management System and CRM, to gather existing data and convert it to transactions.
- Using the data from those transactions calculate the regular interest, moratory interest, penalties, fees and balances in time using different algorithms of calculation depending on rules for products while maintaining accounting consistency, and using debits and credits.
- Develop connectors that allow us to fetch information from different sources and convert data to transactions
- Develop an accesible SQLAlchemy Python API to allow easy reporting.
- Developed from 2020-08-15 to
2022-12-31
- A system that builds a Github page with my CV, including a PDF.
- Using resume.json format as the basis for storing the CV data.
- Using jinja2 as template format.
- Using SASS with a stylesheet that formats the template for screen and print media.
- Developed from 2018-12-17
- https://github.com/luisfernandobarrera/resume
Experos (ERP)
Nextor Telecom
Custom ERP with Accounting Functionality
Backend Developer. Frontend Engineer. Project Owner and Manager.
- A micro-ERP with Invoicing, Purchases, Accounts Payable and Receivable capabilities to manage the company and automate processes, and eventually to merchandise it.
- Using Django-PostgreSQL, APIs and Knockout for developing mockups and allow frontend engineers to easily integrate it into a previously developed mocked up interface.
- Backend: Django, PostgreSQL, Django REST Framework APIs. M2Crypto, tablib, XML.
- Frontend: Knockout.js, Django.js. Bootstrap, React, Redux.
- Integrations with Mexican Electronic Invoicing, Electronic Accounting and various banks and payment systems
- Developed from 2015-03-01 to
2017-01-15


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Take Me To A Random Video Game Site Take Me To A Random Video Game Site


Spain, Slow Villa
Raleigh, North Carolina renovated house
Converted barn. British Columbia
Kew East House
House of 4 houses
Cloverdale Avenue Office
Soup Architects / 236-k-house
Ziger / Snead - Slate house
Torres LEED
Aketuri - Trakouse
Aketuri - Lake side villa
House Burton
The House on Ancaster Creek
The Creek House by Faulkner Architects
The Moenda House By Felipe Rodrigues
Landhaus by TKA
Azul composed by Osvaldo Golijov
Read MoreAlta chalet
New Patagonia Park
Office furniture practical design
Haus auf der Tsechengla
Farm barn style shutters
Solid wood bed
Solitude and effort on ice
Photo illustrations by IDRIS KHAN
Snowboarding on Debussy music
Ideal size of a window
Oppenheim Architecture - Bel Air Villa
Albanian 'saze' music
Article on NPR.
Laundry day
Sun dial
Slow it down - Amy Macdonald
A great fire place
Turin, Italy. A stone building abutting the home’s swimming pool has an outdoor fireplace. Andrea Wyner for The New York Times
Epic Peugeot team picture during the 2018 Dakar rally
Cyril Despres of France and copilot David Castera of France during the Dakar Rally. REUTERS/Andres Stapff
Coconut milk, turmeric, nutmeg, cinnamon - Magic!
A great calming drink found in nytimes. It is working. Tested. Recipe by Matilda Goad.
J'attendrai - Ibrahim Maalouf, Melody Gardot
Bad News(live) - Melody Gardot
The risks of 100% certainty
“The mistake is investing 100-percent certainty in a result and not holding a probabilistic view of scientific truth or risk and benefit. When people are making decisions for their own well-being, they need to hold that uncertainty in mind.” Catherine Kerr.
The same goes for investing 0-percent certainty in something. Chadwick Matlin
Dance in the world-series by NYTimes
Universe law by Emerson
“Once you make a decision, the universe conspires to make it happen.” — Ralph Waldo Emerson


My Name is Mahmoud Zeidan. I studied Civil Engineering at Yarmouk University, I Graduated in Sep 2019 and iam eager to learn software development because programming is the languge of the future, so i can learn new skill and change my career path.
My Top 10 Favorite Movies
- The Shawshank Redemption
- The Transporter
- fast and furious
- The Dark Knight
- The Godfather
- Forrest Gump
- Inception
- Interstellar
- Braveheart
- Die Hard


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