Substance: MCPP
Expierence: Second or third time
Setting: At home
Gender: Male
The amount I took could very well have been a few grams if I compare the strength of the trip I had with all the other piperazines I have tried. (BZP, TFMPP, MEOPP, PFPP)
22:20
Swallowed a pill containing mCPP with some water to chase it down. The thing gives me a really bitter taste while it didn't even touch my tongue. Just the way good E should be. I found a picture of a pill with the same logo on pill reports but the one I took was a clean white pill without the colored speckles.  I know because I've done them too.
23:00
Getting a little nausea. Starting to feel effects come on very gradually. Nothing enjoyable. Also a hot-cold feeling with chills. This stuff is weird and not in the slightest way recreational. My pupils are dilated. Ok, I know it's not going to get any better. The opposite is more true. I put my finger as far as I can but my puke-reflex doesn't seem to respond. Yet another useless, disturbing high. Almost as if this stuff was made for making people sick. I have absolutely no interest in doing anything except for maybe writing this. And my thought patterns keep getting weirder and weirder. It's like my brain isn't able to decide whether I am feeling cold or hot. Kind off like an extreme temperature of both at once.
23:25
Feeling more hot than cold now but both are still present. I'm still sick. Very confusing stuff.  There is no euphoria, just blah. The previous time I did this I felt little empathy and also relaxed after feeling completely sick. Maybe because I took 2 then or maybe there's just a small amount of mdma in those pink hearts.  This stuff has a way to disgust me from whatever my senses are picking up.
Television is the devil in this case. The more familiar it is, the more it freaks me out. Even the subtitles! To me, that's the worst about this drug. Almost the opposite of ecstacy. I really hate this feeling. I've got some minor jaw friction, teeth clenching.
23:40
I'm smiling but I don't feel happy. It makes me almost emotionless, numb. But it's weirder than that. My nausea's still going strong. Victoria's secret looks like it would interest a guy but I seem to show more interest in all the shiny things and flashy lights. But that could be just me. Lust is really weird now. I rather avoid it.   If you're like me and want to try every drug at least once in your lifetime I'll tell you to skip this one. Nobody deserves this feeling of sickness injected in their soul. Visually it's like a light dose of mdma. That's the only similarity however.
00:00
I feel my nausea becoming less bad. I still feel this unbalanced temperature. Not hot or cold yet both at the same time. Was I really going to sell this stuff so more people can have this god-awful trip? I think I might just know someone. I dislike looking at people's faces more than ever right now. My thoughts make weird jumps and water gives me cold chills. Time has slowed down.  I don't feel relaxed or more anxious than I usually do.
00:30
Well, these effects aren't getting worse. But my writing is - CPP? See pipi? I think I see a toilet that I'm going to flush these in.
01:10
I don't feel happy but I'm smiling? Funny things make me smile. How is funny and happy related? What's a 5-htp receptor agonist? Wait, I know a 5-htp receptor but what's an agonist? I'll look it up.
Hmm. It's not there. The closest is...
Agonize, Agony...
...Ooh, that's bad...
Yes, that's what this drug is doing alright. I hope those aren't related.
02:00 or something
I feel ok again. The effects are still present but the worst effects are gone now. So now I'm just bored. That's why I'm going to drink now. I pour out a glass of hard liquor. And do something I like. I watch this year's Norwegian finals of jesc. But first another glass.
06:00
I ended up drinking the whole bottle.
07:20
I go to sleep.
The next day I felt okay except for a headache and I felt kind off down when I started drinking again in the evening because I was getting drunk again for three days in a row.
Good Night
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.


Once upon a time I used Tumblr a lot in the eighth grade. I made some internet friends who were also in eighth grade and together we ripped off/copied Tumblr themes in a vicious cycle of principle-less design.
At some point, Tumblr stopped letting people upload their own fonts in the CSS portion of their theme. That meant that any decorative font usually ended up looking like this.
Or, a lot of times, this would turn into this.
Which of course just made everything look even sillier. Here's an example.
Does this annoy you? What about this? Or and ? ? [credit for that last one goes to thestruggle.co.vu]


Below is a list of several on-line mobile device emulators. Most of these emulators can be used to test how your mobile compliant website will look on different mobile devices. They allow the input of url's which then render your pages inside the emulated small screen device.
Are these emulators perfect? No, but they are a good way to get a basic idea of what page code from your website works and what doesn't. The main drawback when testing a MobileSiteOS™ installation is that many don't accurately mask the actual screen size or window size to JavaScript. Thus, our use of JavaScript to determine display size may be incorrect because it is getting the current page viewing size and not an emulated device size. You will have to set it manually in order to see the appropriate size for each emulated device. Reducing the browser window size to just the size of the emulator may work, but might also obscure other emulator interactions.


ALL ABOUT MY MOTHER (TODO SOBRE MI MADRE) (director/writer: Pedro Almodóvar; cinematographer: Affonso Beato; cast: Cecilia Roth (Manuela), Marisa Paredes (Huma Rojo), Candel Pena (Nina), Antonia San Juan (Agrado), Penelope Cruz (Sister Rosa), Rosa Maria Sarda (Rosa's mother), Fernando Fernan Gomez (Rosa's father), Toni Canto (Lola), Eloy Azorin (Esteban), 1999-Spain)
Reviewed by Dennis Schwartz
Cecilia Roth, the wonderful Argentinian-born actress, is the focal point of the film and it is fair to say that her outstanding performance tries to portray what the director wants to say about the nature of motherhood. She plays Manuela, a 38-year-old nurse coordinator in a transplant organ unit in a Madrid hospital. She is a single-parent with a son Esteban (Eloy Azorín), who wants to be a writer and is about to celebrate his 17th birthday. He is watching TV with her and the movie "All About Eve" is on, which encourages him to write in his pad, "All About My Mother."
The boy's favorite writer is Truman Capote. For his birthday present, Manuela takes him to the theater to see Tennessee Williams' "A Streetcar Named Desire." The enthusiastic youngster, always with a notebook near him, always ready to jot down things in his journal, such as his wish to know who his father is, is star-struck by the masterly performance of the aging actress playing Blanche Dubois, Huma (Marides). He waits for her in the rain by the stage door with his mother after the show to get her autograph, and when she gets in a cab he chases after her but gets fatally hit by a car. This is filmed from his eye-sight view of the accident, so what the audience sees is what he saw.
His mother is asked to donate his organs by the same doctors she works with, the ones who just completed a dry-run of what it is like for family members to be asked to be organ donors. In this film there is little difference between what is real and what is fake. After she agrees to donate his organs, she decides to fulfill her son's wish to find the boy's father and she goes back to Barcelona, where she came from 18 years ago. She has lost all contact with the father while in Madrid and will try to retrace her steps.
But, before she goes on the journey, she must see who received her son's heart and is relieved to see it is a decent fellow, as she watches him leave the hospital and overhears him from her hiding place gleefully talking about having a young man's heart him in.
This is the 13th Pedro Almodóvar film I have seen, one that many critics say shows the aging, enfant terrible director maturing, becoming kinder and gentler, showing a capacity for making a film with more of a conventional plot and being less interested in shocking his audience as he once loved to do. But the shock is still there, enough of it to keep it from becoming a mainstream film. The shock comes from the characters Manuela will meet on her journey back to where she hung around with prostitutes and transvestites. To visually show her path back and forth from Barcelona to Madrid, there is a stunningly photographed tunnel looking very much like a womb, with a train racing through it.
Though the film has a pungency to it, there are just too many scenes where the wit seems forced and doesn't flow in the natural rhythm of the story. The film is filled with many references and homages to other Hollywood films and to writers, something that is both good and bad. It is good because too many films are devoid of any intellectual influences. Bad because the references are overused here, making the director's gushy homages too syrupy for my taste buds.
In Barcelona, Manuela meets again her friend Agrado (Antonia San Juan- a popular nightclub performer, who plays this role in an amusingly unrestrained manner). He is a transvestite prostitute, working in an outdoor area known as the Field, where the customers are riding around in a circle to look the odd assortment of male and female prostitutes over, a very Fellini-like scene. Symbolically, it indicates that Manuela's life is going around in circles, she is back to where she started as a prostitute. Agrado was an actor with her in an amateur production of the Tennessee Williams's play; he was a man then but has since had breast implants and a complete make over to look like a woman. He is upset because his transvestite lover, who used to be called Esteban but now is Lola (Canto), has just run away from him. Lola also happens to be another actor in that amateur play 18 years ago that Agrado and Manuela were in and the father of Manuela's child. But he doesn't know that.
This is a story about many different things: its subplots could take you into areas such as organ donors, AIDS, coincidences, family relationships, family values, and the affects of pop culture on the public (take note of that hilarious diaper commercial, an actual one shown on Spanish TV); but, the film's main premises were about: praising actresses, praising motherhood, praising sexual ambiguity, and praising the kindness from strangers (tolerance of all people seems to be the strongest message emanating from the film).
The mixed feelings I got about the film come from my not being sure if this film is meant to be taken as a parody or a tragic soap opera. My perception of all the supporting characters was of them being problematic: the two transvestites; a pregnant nun with AIDS who counsels needy prostitutes; Huma, as an actress, who is in a hopeless lesbian relationship with another actress, the junky Nina (Pena); and, all the while, this is a story about women as actresses and as mothers and as sexually ambiguous figures. There were times I didn't know whether I was supposed to laugh at all this or cry.
This film is melodramatic in the tradition of the Douglas Sirk nuclear family romantic Rock Hudson and Dorothy Malone ones of the 1950s, but with Almodóvar, it becomes even a weepier one, one that is mostly outrageous, one whose family nature is more ambiguous and certainly not nuclear. It is a film that is paradoxical: men can be actresses also. It is one that has a character who takes the name Agrado, which means agreeable and an actress, Huma, who is influenced by Bette Davis in "All About Eve," whose chosen name means chain-smoker. Bette influenced her totally, including her smoking habit.
The deftness of the cinematography and the array of colors displayed are simply dazzling. This film could be enjoyed solely for its bright orange, red and yellow patterns, giving the eye a startling light show to feast on, as the camera is constantly moving from one thing of beauty to another. It is a film made by someone who has the self-confidence to know who he is (a beautiful gay man) and to realize that his film will be different things to different people: to those searching for their own identity, it could be seen how resilient the characters are who are adding body parts to change their sexual orientation. For the ones adjusting to the loss of the dearest one in their life, like Manuela, after having given away the deceased's body parts, it could be a way of accepting change. The characters in this film will find ways to adjust to their situation, these are not characters who will fall apart and have nervous breakdowns. It is worth noting, that there is no criticism by the director for any of his characters, no matter how they screw things up.
What Almodóvar wishes to express, is his adoration for all women. He dedicated the film to actresses who played actresses: Bette Davis, Gena Rowlands, and Romy Schneider. The problem with all this adulation is that all the flattery has a hollow ring to it, it is just too good to be true, and his characters are not completely believable because of this.
The film's strength lies in the emotions of the characters; their close-ups revealing an inner strength in them, that no matter what they've been through, they will stick together and not succumb to their overwhelming problems. Agrado, after being battered by a psychopath, gets dressed in her imitation pink Chanel dress and takes Manuela to meet the attractive Sister Rosa (Penélope Cruz) in the prostitutes' shelter. In return Agrado is consoled by the empathetic Manuela. A pregnant nun in an Almodóvar film shouldn't be that surprising to his fans, in fact what else should they expect! The father of Sister Rosa's child, by coincidence, is Lola, the same father of Manuela's child. The anguished Sister Rosa will come to live in the apartment that Manuela rents and be nursed by the woman who is both a tower of strength and a fragile grieving mother.
When the older and younger women form a warm relationship, Manuela is introduced to Rosa's so-called normal but not-knowing-how-to-love parents.  This is another of the director's themes, of how the ones who are supposed to be normal and try so hard to convey that impression, are really fakes, while the ones who are considered to be oddballs in society, could be the normal ones, who are at least living out their fantasies. Later on, Manuela will meet Rosa's father (Gomez), who might have Alzheimer's, or maybe he just doesn't seem to remember who his daughter is. The family dog is the one who remembers her. The hurt look on Rosa's face after her father leaves, gives us a picture of her thought process that is better than dialogue, it is one that is worth savoring.
There is one scene when Agrado announces that the performance of "Streetcar..." will be cancelled but for those who want to stay, she will tell her life story. Of course, this clears most of the audience out, with those few remaining being mostly the young and more daring ones, the same audience that has sustained the director over the years. She proceeds to tell how he got put together into a she and how much each part cost, in a comic bit that seemed, at least it did to me, that the director was trying to please his audience too much.Trying to convince everyone remaining that they could be who they want to be, all they have to do is pay the price for their dreams.
The actors were all splendid. I was particularly impressed by Marisa Paredes' subtle but invigorating performance. The aging actress had a certain air about her that invigorated every scene she was in, showing how vulnerable and engaging an actress she is. Cecilia Roth was the glue that held the film together. But when the spotlight was on Marisa, what the director was trying to say about actresses' had a clarity about it that didn't seem forced.
But still, what makes an Almodóvar film special, is his eye for visual effects. I haven't seen a more stunning visual film all year (it is comparable to Kubrick's "Eyes Wide Shut"). I was so dazzled by the visuals, that the film's metaphors, bizarre tale, and great actors, seem to take second place to the visual splendor of the film.
As good as this film is, one of the problems Almodóvar still has, is that he can't make his outrageous characters distinguishable from caricatures. Making them seem normal by comparing them to the normal parents of Cruz', or those normal theater patrons walking out of that childish Agrado discourse when they paid good money to see a play and not him lecture them about how he paid his dues to be the girl he is, is not really making them seem normal. This cloy act of his does not make Agrado any more compelling. What the director shows best is his unyielding love to all these strange characters, the social outcasts, those who are looked down by society.  His wish seems to be that society would also give them a chance to be loved.
One must give Almodóvar credit for getting his voice heard in the mainstream while keeping his artististic integrity intact. That is not an easy thing to do and the director has used the popular vehicle of Hollywood melodrama to add his own sense of culture and literary references to it, despite the differences I have with his approach to the characters and their development. The film's story line is ludicrous but the hurt the characters receive as perceived by them is real. Almodóvar retains in this work an intriguing call for the bizarre, that keeps the film from descending toward being a Hollywood one. But it also never reaches great artistic heights. There are no breakthroughs in character study. This is basically still a message film. A most amusing and diverting portrayal of the sexually ambiguous, but not a great film.
The critical success of this film makes for strange bedfellows, when the 'chic' Cannes crowd hooted in disappointment that the film wasn't chosen as the best one in the festival, but cheered when Almodóvar won for best director, they now might be considered as part of the usual Almodóvar fan base of weirdoes and independent-minded movie goers, a fan base that seems to be growing to accomodate a different type of enthusiast, one that is more establishment orientated.
REVIEWED ON 2/21/2000 GRADE: B+
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
<EMAIL_ADDRESS>© ALL RIGHTS RESERVED DENNIS SCHWARTZ
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rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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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.
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Configuring SSL/TLS for Encryption
You can enable SSL in a Drill cluster. SSL (Secure Sockets Layer), more recently called TLS, is a security mechanism that encrypts data passed between the Drill client and Drillbit (server). SSL also provides one-way authentication through which the Drill client verifies the identity of the Drillbit.
Authentication occurs during the SSL handshake when the Drillbit (server) presents its certificate to the client, and the client checks if the certificate exists in its truststore or if the certificate is signed by a trusted CA (Certificate Authority) that exists in its truststore.
The following diagram depicts the communication between the Drill client and the Drillbit (server):
The SASL feature in Drill provides authentication and an option to encrypt data, however the encryption feature is not available when using Plain authentication. If you need to use Plain authentication (certain BI tools only use Plain authentication), you can enable SSL to encrypt data. You can have both SASL and SSL enabled when using Plain authentication only. For any other scenario, using SSL and SASL encryption together is strongly discouraged.
The following diagram depicts the SSL communication paths between the Drill client and Drillbit (server), including the scenario where Plain authentication is used:
Note: The REST API supports HTTPS. SSL is not supported for communication between Drillbits.
The following sections provide information about how to use certificates in a Drill cluster, enabling and configuring SSL, connection parameters, and common SSL issues.
SSL Certificates in a Drill Cluster
The Drill server requires an SSL certificate. The certificate can be self-signed or signed by a CA (Certificate Authority).
Before you can enable SSL in a Drill cluster, you must either get a certificate or generate a certificate and then import the certificate into the Java keystore. You can do this using the Java keytool utility. See To Use keytool to Create a Server Certificate for instructions.
If you have a custom certificate, you can import it using the method described in this keytool document.
After you generate or import a server certificate, add the path (and password) to the keystore in the SSL configuration for Drill. See the SSL configuration options section below for information on how to update the SSL configuration.
Restart Drill after you modify the configuration options.
Enabling and Configuring SSL/TLS
Enable SSL in <DRILL_INSTALL_HOME>/conf/drill-override.conf
. You can use several configuration options to customize SSL.
You must restart the Drillbit process on each Drill node after you modify the configuration options.
The following sections provide information and instructions for enabling and configuring SSL/TLS:
Enabling SSL/TLS
When SSL is enabled, all Drill clients, such as JDBC and ODBC, must connect to Drill servers using SSL. Enable SSL in the Drill startup configuration file, <DRILL_HOME>/conf/drill-override.conf
.
To enable SSL for Drill, set the drill.exec.security.user.encryption.ssl.enabled
option in drill-override.conf
to "true"
.
Configuring SSL/TLS
You can customize SSL on a Drillbit through the SSL configuration options. You can set the options from the command-line (using Java system properties), in the drill-override.conf
file, or in the property file to which the Hadoop parameter hadoop.ssl.server.conf
points (recommended).
Note: Specifying values in drill-override.conf
can expose the security parameters to end users. Administrators should set these values in the Hadoop security file and restrict permissions on that file.
If a parameter is specified in multiple places, the value in the Hadoop configuration takes precedence over the Drill configuration, which takes precedence over the system property.
The Hadoop configuration is specified in the file pointed to by the hadoop.ssl.server.conf
parameter in the Hadoop core-site.xml
file. Typically, this parameter points to $HADOOP_CONF/ssl-server.xml
, which contains the property names to configure SSL. Both the core-site.xml
file and the ssl-server.xml
files must exist in Drill’s classpath. Drill’s SSL configuration picks up the Hadoop SSL configuration.
Note: Since the Drillbit implementation is based on JSSE, several standard parameters that apply to JSSE will also apply to the Drillbit; however, you typically do not need to configure JSSE parameters.
The following table lists the SSL configuration options with their descriptions and default values:
| Drill Property Name | Hadoop Property Name | System Property Name | Description | Allowed Values | Drill Default |
|---|---|---|---|---|---|
| drill.exec.security.user.encryption.ssl.enabled | Enable or disable TLS for Drill client - Drill Server communication. You must set this option in drill-override.conf. | true,false | FALSE | ||
| drill.exec.ssl.protocol | The version of the TLS protocol to use | TLS, TLSV1, TLSv1.1, TLSv1.2 | TLSv1.2 (recommended) | ||
| drill.exec.ssl.keyStoreType | ssl.server.keystore.type | javax.net.ssl.keyStoreType | Format of the keystore file | jks, jceks, pkcs12 | JKS |
| drill.exec.ssl.keyStorePath | ssl.server.keystore.location | javax.net.ssl.keyStore | Location of the Java keystore file containing the Drillbit’s own certificate and private key. On Windows, the specified pathname must use forward slashes, /, in place of backslashes. | ||
| drill.exec.ssl.keyStorePassword | ssl.server.keystore.password | javax.net.ssl.keyStorePassword | Password to access the private key from the keystore file. This password is used twice: To unlock the keystore file (store password), and to decrypt the private key stored in the keystore (key password) unless a key password is specified separately. | ||
| drill.exec.ssl.keyPassword | ssl.server.keystore.keypassword | Password to access the private key from the keystore file. May be different from the keystore password. | |||
| drill.exec.ssl.trustStoreType | ssl.server.truststore.type | javax.net.ssl.trustStoreType | Format of the truststore file | jks, jceks, pkcs12 | JKS |
| drill.exec.ssl.trustStorePath | ssl.server.truststore.location | javax.net.ssl.trustStore | Location of the Java keystore file containing the collection of CA certificates trusted by the Drill client. On Windows, the specified pathname must use forward slashes, /, in place of backslashes. Note: If the trustStorePath is not provided, Drill ignores the trustStorePassword parameter and gets the default Java truststore instead, which causes issues if the Java truststore has a non-default password. The Java APIs to load the default keystore assume the default password. The only way to use the default keystore with a non-default password is to specify both the path and the password to the keystore. To work around this issue, pass the default Java truststore to the trustStorePath parameter. | ||
| drill.exec.ssl.trustStorePassword | ssl.server.truststore.password | javax.net.ssl.trustStorePassword | Password to access the private key from the keystore file specified as the truststore. | ||
| drill.exec.ssl.provider | Changes the underlying implementation to the chosen value. | OPENSSL/JDK | default: JDK | ||
| drill.exec.ssl.useHadoopConfig | Use the setting in the hadoop configuration file. The hadoop configuration is specified in the file pointed to by the hadoop.ssl.server.conf parameter in the core-site.xml file. Typically, this parameter points to $HADOOP_CONF/ssl-server.xml which contains the property names to configure TLS. | true/false | default:true |
JDBC Connection Parameters
Use the SSL JDBC connection parameters and fully qualified host name to configure the jdbc connection string in SQLLine and connect to Drill.
The following table lists the parameters that you can include in the jdbc connection string using SQLLine.
Note: Examples are provided after the table. For additional instructions, see the Drill JDBC Driver documentation.
| Parameter | Value | Required |
|---|---|---|
| enableTLS | true/false | [Optional] If true, TLS is enabled. If not set or set to false, TLS is not enabled. |
| trustStoreType | string | [Optional] Default: JKS The trustStore type. Allowed values are : JKS PKCS12 If the useSystemTrustStore option is set to true (on Windows only), the allowed values are: Windows-MY Windows-ROOT Import the certificate into the “Trusted Root Certificate Authorities” and set trustStoreType=Windows-ROOT. Also import the certificate into “Trusted Root Certificate Authorities” or “Personal” and set trustStoreType=Windows-MY. |
| trustStorePath | string | [Optional] Path to the truststore. If not provided the default Java truststore will be used. If this is not provided the trustStorePassword parameter will be ignored. Note that the order for looking for the default trustStore then java-home/lib/security/jssecacerts |
| trustStorePassword | string | [Optional] Password to the truststore. |
| disableHostVerification | true/false | [Optional] If true, we will not verify that the host in the certificate is the host we are connecting to. False by default. (Hostname verification follows the specification in RFC2818) |
| disableCertificateVerification | true/false | [Optional] If true we will not validate the certificate against the truststore. False by default. |
| TLSProtocol | TLS, TLSV1, TLSv1.1, TLSv1.2 | [Optional] Default: TLSv1.2 (recommended) |
| TLSHandshakeTimeout | Time in milliseconds | [Optional] Default: 10 seconds In some cases, the TLS handshake may fail and leave the client hanging. This option sets the time for the client to timeout. |
| TLSProvider | JDK/OPENSSL | [Optional] Default: JDK Changes the underlying implementation to the chosen value. |
| useSystemTrustStore | true/false | [Optional, Windows only] Default: false If provided, the client will read certificates from the Windows truststore. In this case, trustStorePath and trustStorePassword, if specified, will be ignored. The user should set the default provider in $JRE_HOME/lib/security/java.security to SunMSCAPI. The trustStoreType should be set to either Windows-MY or Windows-ROOT. |
Examples
The following examples show you how to connect to Drill through SQLLine with the jdbc connection string when SSL is not enabled and when SSL is enabled with and without a truststore.
No SSL/TLS
./sqlline -u "jdbc:drill:schema=dfs.work;drillbit=localhost:31010;enableTLS=false"
SSL/TLS Enabled - No truststore
The default JSSE truststore will be tried with default password; the provided password will be ignored. If the default truststore password has been changed, this gives an error. To use the default truststore with a different password, pass the path to the default truststore with the password.
./sqlline -u "jdbc:drill:schema=dfs.work;drillbit=localhost:31010;enableTLS=true;trustStorePassword=drill123"
SSL/TLS enabled - With truststore
./sqlline -u "jdbc:drill:schema=dfs.work;drillbit=localhost:31010;enableTLS=true;trustStorePath=~/ssl/truststore.ks;trustStorePassword=drill123"
ODBC Connection Parameters
Use the SSL ODBC connection parameters to configure a connection to Drill through an ODBC tool.
The following table lists the ODBC connection parameters.
Note: The Drill ODBC driver does not support password protected PEM/CRT files or multiple CRT certificates in a single PEM/CRT file. For additional instructions, see the Drill ODBC Driver documentation.
| Name | Value | Required | Description |
|---|---|---|---|
| SSL | Clear (0) | No | This option specifies whether the cliet uses an SSL encrypted connection to communicate with Drill.Enabled(1):The client communicates with Drill using SSL.Disabled(0):SS Lis disabled.SSL is configured independently of authentication.When authentication and SSL are both enabled, the driver performs the specified authentication method over an SSL connection. |
| TLSProtocol | Empty, which defaults totlsv12. | No | This property specifies the TLS protocol version used.Accepted values are:tlsv1tlsv11tlsv12 |
| TrustedCerts | The cacerts.pem file in the \lib subfolder within the Driver’s installation directory. The exact file path varies depending on the version of the driver that is installed.For example, the path for the Windows driver is different from the path for the Mac OS driver. | No | The full path of the PEM file containing Trusted CA certificates, for verifying the server. If this option is not set, then the driver defaults to using the trusted CA certificates PEM file installed by the driver. |
| UseSystemTrustStore | Clear (0) | No | This option specifies whether to use a CA certificate from the system truststore, or from a specified PEM file.Enabled (1): The driver verifies the connection using a certificate in the system truststoreDisabled (0): The driver verifies the connection using a specified PEM file.Note: This option is only available on Windows. If using this option, import the certificate into the “Trusted Root Certificate Authorities” certificate store. |
| DisableCertificateVerification | 0 | No | This property specifies that the driver verifies the host certificate against the truststore. Accepted values are:0: The driver verifies the certificate against the truststore.1: The driver does not verify the certificate against the truststore. |
| DisableHostVerification | 0 | No | This property specifies if the driver verifies that the host in the certificate is the host being connected to. Accepted values are:0: The driver verifies the certificate against the host being connected to.1: The driver does not verify the certificate against the host. |
Avoiding Common SSL Issues
The following sections provide insight to some common error messages that you may encounter with SSL.
ERROR: No Cipher suites in common.
This is a general purpose error message that may have many reasons. The most common reason is that in order to use certain cipher suites, JSSE needs to use the private key stored in the Keystore. If this key is not accessible, JSSE filters out all cipher suites that need a private key. This effectively prunes out all available cipher suites so that no cipher suites match between the client and the server.
The private key from the keystore may be inaccessible for the following reasons:
- Missing Keystore file
- Invalid Keystore password
- Empty key password or a key password that is different from the keystore password
JSSE does not allow a key password that is null or an empty string even though it is possible to create a keystore with such a key password. Also, JSSE does not provide a system property to specify the key password. Drill provides a way to set the key password, but if you are using only system properties to configure JSSE, Drill will use the keystore password. If the keystore password is not the same as the key password, the key will again be inaccessible.
- Corrupt keystore
You can validate the keystore using keytool.
ERROR: SSL is enabled, but cannot be initialized due to the ‘Cannot recover key’ exception.
The key is protected with a password and the provided password is not correct.
ERROR: Client connection timeout.
A client connection can timeout because of networking issues or if there is a mismatch between the TLS/SSL configuration on the client and server.
Before trying to debug the TLS/SSL configuration, check if the server is reachable from the client.
If there is a mismatch between the TLS/SSL configuration, the TLS/SSL handshake between the client and server will fail. The server will silently drop the connection and the client will eventually time out. The handshake may fail due to many reasons, including:
1-The server is configured to enableTLS and the client is not (and vice versa).
a-If the client is not configured to use TLS and the server is, the error message will be similar to the following:
Error: Failure in connecting to Drill: org.apache.drill.exec.rpc.RpcException: HANDSHAKE_COMMUNICATION : Channel closed /<IP_ADDRESS>:49907 <--> hostname/<IP_ADDRESS>:31010. (state=,code=0)
java.sql.SQLNonTransientConnectionException: Failure in connecting to Drill: org.apache.drill.exec.rpc.RpcException: HANDSHAKE_COMMUNICATION : Channel closed /<IP_ADDRESS>:49907 <-->hostname/<IP_ADDRESS>:31010.
b-If the server is not configured to use TLS and the client tries to connect using TLS, the error message will be similar to the following:
Error: Failure in connecting to Drill: org.apache.drill.exec.rpc.NonTransientRpcException: Connecting to the server timed out. This is sometimes due to a mismatch in the SSL configuration between client and server. [ Exception: Timeout waiting for task.] (state=,code=0)
2-The server presents a certificate to the client containing a hostname that is not valid. When the client connects to a server, the hostname the client used to connect to the server must match the name of the host the certificate was assigned to. Certificates can contain wildcards for the hostname, so if you’re connecting to a Drill cluster via ZooKeeper, it would be best to have a certificate that contains wildcards that cover all the hosts on which Drill might be running. It is also important to ensure that the DNS and the hostnames of the machines in the cluster are set up consistently so that the Drillbits are registered with ZooKeeper using the same name as the name assigned in the certificate. The error message in this case is the same as the previous case:
Error: Failure in connecting to Drill: org.apache.drill.exec.rpc.NonTransientRpcException: Connecting to the server timed out. This is sometimes due to a mismatch in the SSL configuration between client and server. [ Exception: Timeout waiting for task.] (state=,code=0)
Hostname verification can be turned off if there is no way to change the host configuration or the certificate. This is generally not recommended.


Week 4 and the holidays have quickly gone by. Time for another blog post. This week I'll be talking about two simple data structures: arrays and hashes.
Arrays are an ordered container for objects or data. Arrays can hold many types of information such as integers, strings, or even other arrays. Each piece of information in an array is indexed in the container with a number, which allows an easy way to find data at certain positions in the array. You can easily add things to the end of an array, but it may be a little harder to add items to specific positions within an array without using built-in methods. Removing items poses similar problems.
An example array would be:
my_array = [“variable 1”, 2, variable3]
where each element in the square brackets is some sort of data. This array is 3 elements big. “variable 1” is in position 0 of the array.
Hashes are an unordered container that uses unique keys to match with values. This key that always points to the value assigned to it. So if you want to find a something specific in a hash, and you know the key, then you can easily search the hash for that key. Like arrays, they are not restricted in what they can store.
An example hash would be:
my_hash = { “key1” => value1, “key2 => “value2”}
where “key1” and “key2” are they unique keys and they are only linked to value1 and “value2” respectively.
There are different situations where you would use an array or a hash. Hashes function as simple databases, so it would be easy to use one if you want to store large sets of data that you can make keys for. Arrays are not efficient to traverse through so they aren’t the best for large sets of data. If you don’t know the index of a specific element you want, you may have to traverse through the entire array to find it.


You can expose Environment Variables from one Step, to make it available for every other Step performed after the Step during the build. An example might be that you want to generate a release note which you want to use in a message or deploy step. Exposing environment variables is really easy, you just have to use envman if you want to make it available for every other Step.
A very simple example might be:
envman add --key MY_RELEASE_NOTE --value "This is the release note"
You can call envman
in any Step, including a script step,
or even in your own script (stored in your repository) if you call it from a bitrise
build.
Envman can be used in a couple of ways.
You can specify the value as the --value
parameter (you can see this in the previous example),
pipe the value:
echo 'hi' | envman add --key MY_RELEASE_NOTE
or read the value from a file:
envman add --key MY_RELEASE_NOTE --valuefile ./some/file/path
You can read more about how envman
can
be used on it’s GitHub page.
!!! warning “Env Var value size limit”
Environment Variable values set through envman
are limited to 10KB by default.
This is done in order to prevent issues with common tools.
Different tools have different environment size constraints,
e.g. Bash
will start to fail on OS X once the environments set
exceed ~120KB (in total, not a single variable!).
For larger data you should use files or other solutions,
and use environment variables to point to the file / to the
ID or location of where the data is stored.
Once the environment variable is exposed you can use it like
any other environment variable. In bash
you can reference
the previous example environment as: $MY_RELEASE_NOTE
.
You can of course use these exposed environment variables in the inputs of other Steps.
For example the HockeyApp Deploy step has a notes
input,
you can reference the previous example variable by inserting $MY_RELEASE_NOTE
into the input,
like: The Release Note: $MY_RELEASE_NOTE
,
which will be resolved as The Release Note: This is the release note
(if you used
the first example to set the value of MY_RELEASE_NOTE
).
A simple example, exposing the release note and then using it in another Script step
,
and in a Slack step
:
format_version: 1.1.0
default_step_lib_source: https://github.com/bitrise-io/bitrise-steplib.git
workflows:
example:
steps:
- script:
inputs:
- content: |
#!/bin/bash
envman add --key MY_RELEASE_NOTE --value "This is the release note"
- script:
inputs:
- content: |
#!/bin/bash
echo "My Release Note: $MY_RELEASE_NOTE"
- slack:
inputs:
- channel: ...
- webhook_url: ...
- message: "Release Notes: $MY_RELEASE_NOTE"
Copy an environment variable to another key ⚓
If you want to expose the value of an environment variable to be accessible through another environment variable key, you can simply expose the value with a new key.
For example, if you want to copy the value of the BITRISE_BUILD_NUMBER
environment variable
and make it available under the environment variable key MY_BUILD_NUMBER
, you just have to
read the current value and expose it under the new key.
To modify the first example here, which exposed a fix value:
envman add --key MY_RELEASE_NOTE --value "This is the release note"
simply reference/read the value of the other environment variable in the envman add ...
command.
To expose the value of BITRISE_BUILD_NUMBER
under the key MY_BUILD_NUMBER
:
envman add --key MY_BUILD_NUMBER --value "${BITRISE_BUILD_NUMBER}"
After this, subsequent steps can get the value of BITRISE_BUILD_NUMBER
from the
MY_BUILD_NUMBER
environment variable.
Note: if you change the value of BITRISE_BUILD_NUMBER
after this, the
value of MY_BUILD_NUMBER
won’t be modified, that will still hold the original value!
Overwrite an Environment Variable if another one is set ⚓
E.g. if a custom environment variable is set through the Build Trigger API.
The best way to do this, to make sure that no matter what, you overwrite the other env var, is to use a Script step, as described above, and check whether the custom env var is set.
As an example, if you want to overwrite the PROJECT_SCHEME
environment variable,
if, let’s say, a API_PROJECT_SCHEME
env var is set, just drop in a Script
step (can be the very first one
in the workflow), with the content:
#!/bin/bash
set -ex
if [ ! -z "$API_PROJECT_SCHEME" ] ; then
envman add --key PROJECT_SCHEME --value "$API_PROJECT_SCHEME"
fi
This script will check whether the API_PROJECT_SCHEME
env var is defined,
and if it is, then its value will be assigned to the PROJECT_SCHEME
environment variable,
overwriting the original value of PROJECT_SCHEME
.
Alternative solution: use Workflow Env Vars ⚓
Alternatively you can set environment variables for Workflows too. The Env Vars you set for a workflow will overwrite the env var if defined as an App Env Var or Secret Env Var.
An example workflow which defined an environment variable, and then runs another workflow which can use those env vars:
workflows:
deploy-alpha:
envs:
- ENV_TYPE: alpha
after_run:
- _deploy
_deploy:
steps:
- script:
inputs:
- content: |
#!/bin/bash
echo "ENV_TYPE: $ENV_TYPE"
If you run the deploy-alpha
workflow, that will set the ENV_TYPE
env var to alpha
,
then it will run the _deploy
workflow, which can use that environment variable -
in this example it will simply print its value (the printed text will be: ENV_TYPE: alpha
).


Thank you for your order, you should receive a confirmation in your email inbox. Your confirmation number is AX48T2W1.


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java.lang.Object uk.ac.ox.comlab.diadem.oxpath.core.state.PAATState.Builder
public static final class PAATState.Builder
Standard Builder object for constructing PAATState
objects
| Constructor Summary | |
|---|---|
PAATState.Builder(OXPathContextNode iContext)
Signature for building new PAATState object based on minimal constructor; meant for first call when no AFP state, output is yet recorded |
|
PAATState.Builder(OXPathContextNode iContext,
Node iAFP,
Node iAFPE,
boolean iIsAFP,
int iPosition,
int iLast,
boolean iProtect)
Signature for building verbose new PAATState object |
|
PAATState.Builder(OXPathNodeList iContext)
Signature for building new PAATState object based on minimal constructor; meant for first call when no AFP state, output is yet recorded. |
|
PAATState.Builder(OXPathNodeList iContext,
Node iAFP,
Node iAFPE,
boolean iIsAFP,
int iPosition,
int iLast,
boolean iProtect,
int numHigher,
int currAction)
Signature for building verbose new PAATState object (we don't make defensive copies of the context set for performance reasons, so be aware) |
|
PAATState.Builder(PAATState state)
Signature for building new PAATState object copying state from existing object (we don't make defensive copies of input objects for performance reasons, so be aware) |
| Method Summary | |
|---|---|
PAATState |
build()
Returns new PAATState object parameterized by the builder; only means of producing PAATState objects outside the PAATState class |
PAATStateEvalIterative |
buildNode()
Returns new PAATStateEvalIterative object parameterized by the builder; only means of producing PAATStateEvalIterative objects outside the PAATState class |
PAATStateEvalSet |
buildSet()
Returns new PAATStateEvalSet object parameterized by the builder; only means of producing PAATStateEvalSet objects outside the PAATState class |
PAATState.Builder |
setActionFreePrefix(Node n)
Sets the action free prefix of current context |
PAATState.Builder |
setActionFreePrefixEnd(Node n)
Sets the end of the action free prefix of current context |
PAATState.Builder |
setContextNode(OXPathContextNode o)
Sets context at state |
PAATState.Builder |
setContextSet(OXPathNodeList o)
Sets context at state (we don't make a defensive copy for performance reasons, so be aware) |
PAATState.Builder |
setCurrentAction(int currAction)
Set the current action |
PAATState.Builder |
setDocumentProtect(boolean prot)
Sets the protection of the document in recursive calls of the eval() method |
PAATState.Builder |
setIsActionFreeNavigation(boolean b)
Sets if current navigation is action-free (i.e. |
PAATState.Builder |
setLast(int iLast)
Sets the last position of evaluated "parent" context within filter expression |
PAATState.Builder |
setNumKleeneStarIterations(int numHigher)
Set the number of Kleene Star Iterations for inner actions |
PAATState.Builder |
setPosition(int iPosition)
Sets current position of evaluated "parent" context within for filter for position function |
| Methods inherited from class java.lang.Object |
|---|
equals, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait |
| Constructor Detail |
|---|
public PAATState.Builder(OXPathContextNode iContext)
iContext
- contextpublic PAATState.Builder(OXPathNodeList iContext)
iContext
- contextpublic PAATState.Builder(OXPathContextNode iContext, Node iAFP, Node iAFPE, boolean iIsAFP, int iPosition, int iLast, boolean iProtect)
iContext
- contextiAFP
- action free prefix position in ASTiAFPE
- action free prefix end position in ASTiIsAFP
- determines if current navigation is by Action Free PrefixiPosition
- position in parent contextiLast
- last position in parent contextiProtect
- determines if the document containing context
is protected or notpublic PAATState.Builder(OXPathNodeList iContext, Node iAFP, Node iAFPE, boolean iIsAFP, int iPosition, int iLast, boolean iProtect, int numHigher, int currAction)
iContext
- contextiAFP
- action free prefix position in ASTiAFPE
- action free prefix end position in ASTiIsAFP
- determines if current navigation is by Action Free PrefixiPosition
- position in parent contextiLast
- last position in parent contextiProtect
- determines if the document containing context
is protected or notnumHigher
- number of Kleene star iterations to perform by inner actions (only applicable to final inner action inside each Kleene star)currAction
- the id of the current actionpublic PAATState.Builder(PAATState state)
state
- state whose content is copied| Method Detail |
|---|
public PAATState.Builder setDocumentProtect(boolean prot)
eval()
method
prot
- true
to protect the page, false
to remove protection
prot
public PAATState.Builder setContextNode(OXPathContextNode o)
o
- context node
public PAATState.Builder setContextSet(OXPathNodeList o)
o
- context set
public PAATState.Builder setActionFreePrefix(Node n)
n
- the action free prefix of current context
public PAATState.Builder setActionFreePrefixEnd(Node n)
n
- the end of the action free prefix of current context
public PAATState.Builder setIsActionFreeNavigation(boolean b)
b
- if current navigation is action-free (i.e. retracing)
public PAATState.Builder setPosition(int iPosition)
iPosition
- current position of evaluated "parent" context within for filter for position function
public PAATState.Builder setLast(int iLast)
iLast
- last position of evaluated "parent" context within filter expression
public PAATState.Builder setNumKleeneStarIterations(int numHigher)
numHigher
- num of of Kleene Star iterations
public PAATState.Builder setCurrentAction(int currAction)
currAction
- the id of the current action
public PAATState build()
PAATState
object parameterized by the builder; only means of producing PAATState
objects outside the PAATState
class
PAATState
object parameterized by the builderpublic PAATStateEvalIterative buildNode()
PAATStateEvalIterative
object parameterized by the builder; only means of producing PAATStateEvalIterative
objects outside the PAATState
class
PAATStateEvalIterative
object parameterized by the builderpublic PAATStateEvalSet buildSet()
PAATStateEvalSet
object parameterized by the builder; only means of producing PAATStateEvalSet
objects outside the PAATState
class
PAATStateEvalSet
object parameterized by the builder
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First, you have relative positioning. Relative positions the element where it would be normally, and then moves it around based on that position. position:relative; left:10px;
would position your element 10 pixals to the right of where it would normally show up. Wait, what? Modifying left
moves your div to the right? Basically, what left:10px;
is saying is to add 10 pixals to the left edge's position of your div, which ends up moving it right. Similarly, top:10px
is going to shift your div 10 pixals down.
Absolute positioning tells your css exactly where to put your element in relation to its closest parent that is also absolutely (or relativly) positioned. If there isn't one it will position itself in relation to the page itself. Basically what this means is that you use top, bottom, left and right to choose exactly where the element goes, and how much space it takes up. If the element is inside another one you choose where it goes inside that element; for example, if you absolutely position a navigation bar, and its buttons you'd pick exactly where on the page to put the bar, and then exactly where inside the bar to put its buttons. The buttons would be positioned relative to the nav bar's position.
Finally, you can use fixed positioning, which positions things relative to the browser window. This is similar to absolute positioning since you choose exactly where the element goes, but instead of putting it relative to the page itself you put it relative to the browser window. What that means is that the element sticks in the same place no matter how much you scroll the window vertically or horizontally.


23 September.--Jonathan is better after a bad night. I am so glad that he has plenty of work to do, for that keeps his mind off the terrible things, and oh, I am rejoiced that he is not now weighed down with the responsibility of his new position. I knew he would be true to himself, and now how proud I am to see my Jonathan rising to the height of his advancement and keeping pace in all ways with the duties that come upon him. He will be away all day till late, for he said he could not lunch at home. My household work is done, so I shall take his foreign journal, and lock myself up in my room and read it.
24 September.--I hadn't the heart to write last night, that terrible record of Jonathan's upset me so. Poor dear! How he must have suffered, whether it be true or only imagination. I wonder if there is any truth in it at all. Did he get his brain fever, and then write all those terrible things, or had he some cause for it all? I suppose I shall never know, for I dare not open the subject to him. And yet that man we saw yesterday! He seemed quite certain of him, poor fellow! I suppose it was the funeral upset him and sent his mind back on some train of thought.
He believes it all himself. I remember how on our wedding day he said "Unless some solemn duty come upon me to go back to the bitter hours, asleep or awake, mad or sane…" There seems to be through it all some thread of continuity. That fearful Count was coming to London. If it should be, and he came to London, with its teeming millions… There may be a solemn duty, and if it come we must not shrink from it. I shall be prepared. I shall get my typewriter this very hour and begin transcribing. Then we shall be ready for other eyes if required. And if it be wanted, then, perhaps, if I am ready, poor Jonathan may not be upset, for I can speak for him and never let him be troubled or worried with it at all. If ever Jonathan quite gets over the nervousness he may want to tell me of it all, and I can ask him questions and find out things, and see how I may comfort him.
LETTER, VAN HELSING TO MRS. HARKER
24 September
(Confidence)
"Dear Madam,
"I pray you to pardon my writing, in that I am so far friend as that I sent to you sad news of Miss Lucy Westenra's death. By the kindness of Lord Godalming, I am empowered to read her letters and papers, for I am deeply concerned about certain matters vitally important. In them I find some letters from you, which show how great friends you were and how you love her. Oh, Madam Mina, by that love, I implore you, help me. It is for others' good that I ask, to redress great wrong, and to lift much and terrible troubles, that may be more great than you can know. May it be that I see you? You can trust me. I am friend of Dr. John Seward and of Lord Godalming (that was Arthur of Miss Lucy). I must keep it private for the present from all. I should come to Exeter to see you at once if you tell me I am privilege to come, and where and when. I implore your pardon, Madam. I have read your letters to poor Lucy, and know how good you are and how your husband suffer. So I pray you, if it may be, enlighten him not, least it may harm. Again your pardon, and forgive me.
"VAN HELSING"
TELEGRAM, MRS. HARKER TO VAN HELSING
25 September.--Come today by quarter past ten train if you can catch it. Can see you any time you call.
"WILHELMINA HARKER"
MINA HARKER'S JOURNAL
25 September.--I cannot help feeling terribly excited as the time draws near for the visit of Dr. Van Helsing, for somehow I expect that it will throw some light upon Jonathan's sad experience, and as he attended poor dear Lucy in her last illness, he can tell me all about her. That is the reason of his coming. It is concerning Lucy and her sleep-walking, and not about Jonathan. Then I shall never know the real truth now!  That awful journal gets hold of my imagination and tinges everything with something of its own colour. Of course it is about Lucy. That habit came back to the poor dear, and that awful night on the cliff must have made her ill. I had almost forgotten in my own affairs how ill she was afterwards. She must have told him of her sleep-walking adventure on the cliff, and that I knew all about it, and now he wants me to tell him what I know, so that he may understand. I hope I did right in not saying anything of it to Mrs. Westenra. I should never forgive myself if any act of mine, were it even a negative one, brought harm on poor dear Lucy. I hope too, Dr. Van Helsing will not blame me. I have had so much trouble and anxiety of late that I feel I cannot bear more just at present.
I suppose a cry does us all good at times, clears the air as other rain does. Perhaps it was reading the journal yesterday that upset me, and then Jonathan went away this morning to stay away from me a whole day and night, the first time we have been parted since our marriage. I do hope the dear fellow will take care of himself, and that nothing will occur to upset him. It is two o'clock, and the doctor will be here soon now. I shall say nothing of Jonathan's journal unless he asks me. I am so glad I have typewritten out my own journal, so that, in case he asks about Lucy, I can hand it to him. It will save much questioning.
Later.--He has come and gone.  I feel like one in a dream. Can it be all possible, or even a part of it? If I had not read Jonathan's journal first, I should never have accepted even a possibility. Poor, poor, dear Jonathan! How he must have suffered. Please the good God, all this may not upset him again. I shall try to save him from it. But it may be even a consolation and a help to him, terrible though it be and awful in its consequences, to know for certain that his eyes and ears and brain did not deceive him, and that it is all true. It may be that it is the doubt which haunts him, that when the doubt is removed, no matter which, waking or dreaming, may prove the truth, he will be more satisfied and better able to bear the shock. Dr. Van Helsing must be a good man as well as a clever one if he is Arthur's friend and Dr. Seward's, and if they brought him all the way from Holland to look after Lucy. I feel from having seen him that he is good and kind and of a noble nature. When he comes tomorrow I shall ask him about Jonathan. And then, please God, all this sorrow and anxiety may lead to a good end. I used to think I would like to practice interviewing. Jonathan's friend on "The Exeter News" told him that memory is everything in such work, that you must be able to put down exactly almost every word spoken, even if you had to refine some of it afterwards. Here was a rare interview. I shall try to record it verbatim.
It was half-past two o'clock when the knock came. I took my courage a deux mains and waited. In a few minutes Mary opened the door, and announced "Dr. Van Helsing".
I rose and bowed, and he came towards me, a man of medium weight, strongly built, with his shoulders set back over a broad, deep chest and a neck well balanced on the trunk as the head is on the neck. The poise of the head strikes me at once as indicative of thought and power. The head is noble, well-sized, broad, and large behind the ears.  The forehead is broad and fine, rising at first almost straight and then sloping back above two bumps or ridges wide apart, such a forehead that the reddish hair cannot possibly tumble over it, but falls naturally back and to the sides. Big, dark blue eyes are set widely apart, and are quick and tender or stern with the man's moods. He said to me,
"Mrs. Harker, is it not?" I bowed assent.
"That was Miss Mina Murray?" Again I assented.
"It is Mina Murray that I came to see that was friend of that poor dear child Lucy Westenra. Madam Mina, it is on account of the dead that I come."
"Sir," I said, "you could have no better claim on me than that you were a friend and helper of Lucy Westenra." And I held out my hand. He took it and said tenderly,
"Oh, Madam Mina, I know that the friend of that poor little girl must be good, but I had yet to learn…" He finished his speech with a courtly bow. I asked him what it was that he wanted to see me about, so he at once began.
"I have read your letters to Miss Lucy. Forgive me, but I had to begin to inquire somewhere, and there was none to ask. I know that you were with her at Whitby. She sometimes kept a diary, you need not look surprised, Madam Mina. It was begun after you had left, and was an imitation of you, and in that diary she traces by inference certain things to a sleep-walking in which she puts down that you saved her. In great perplexity then I come to you, and ask you out of your so much kindness to tell me all of it that you can remember."
"I can tell you, I think, Dr. Van Helsing, all about it."
"Ah, then you have good memory for facts, for details? It is not always so with young ladies."
"No, doctor, but I wrote it all down at the time. I can show it to you if you like."
"Oh, Madam Mina, I well be grateful. You will do me much favour."
I could not resist the temptation of mystifying him a bit, I suppose it is some taste of the original apple that remains still in our mouths, so I handed him the shorthand diary. He took it with a grateful bow, and said, "May I read it?"
"If you wish," I answered as demurely as I could. He opened it, and for an instant his face fell. Then he stood up and bowed.
"Oh, you so clever woman!" he said. "I knew long that Mr. Jonathan was a man of much thankfulness, but see, his wife have all the good things. And will you not so much honour me and so help me as to read it for me? Alas! I know not the shorthand."
By this time my little joke was over, and I was almost ashamed. So I took the typewritten copy from my work basket and handed it to him.
"Forgive me," I said. "I could not help it, but I had been thinking that it was of dear Lucy that you wished to ask, and so that you might not have time to wait, not on my account, but because I know your time must be precious, I have written it out on the typewriter for you."
He took it and his eyes glistened. "You are so good," he said. "And may I read it now? I may want to ask you some things when I have read."
"By all means," I said, "read it over whilst I order lunch, and then you can ask me questions whilst we eat."
He bowed and settled himself in a chair with his back to the light, and became so absorbed in the papers, whilst I went to see after lunch chiefly in order that he might not be disturbed. When I came back, I found him walking hurriedly up and down the room, his face all ablaze with excitement. He rushed up to me and took me by both hands.
"Oh, Madam Mina," he said, "how can I say what I owe to you? This paper is as sunshine. It opens the gate to me. I am dazed, I am dazzled, with so much light, and yet clouds roll in behind the light every time. But that you do not, cannot comprehend.  Madame," he said this very solemnly, "if ever Abraham Van Helsing can do anything for you or yours, I trust you will let me know. It will be pleasure and delight if I may serve you as a friend, as a friend, but all I have ever learned, all I can ever do, shall be for you and those you love. There are darknesses in life, and there are lights. You are one of the lights. You will have a happy life and a good life, and your husband will be blessed in you."
"But, doctor, you praise me too much, and you do not know me."
"Not know you, I, who am old, and who have studied all my life men and women, I who have made my specialty the brain and all that belongs to him and all that follow from him! And I have read your diary that you have so goodly written for me, and which breathes out truth in every line.  Oh, Madam Mina, good women tell all their lives, and by day and by hour and by minute, such things that angels can read. And we men who wish to know have in us something of angels' eyes. Your husband is noble nature, and you are noble too, for you trust, and trust cannot be where there is mean nature. And your husband, tell me of him. Is he quite well? Is all that fever gone, and is he strong and hearty?"
I saw here an opening to ask him about Jonathan, so I said, "He was almost recovered, but he has been greatly upset by Mr. Hawkins death."
He interrupted, "Oh, yes. I know. I know. I have read your last two letters."
I went on, "I suppose this upset him, for when we were in town on Thursday last he had a sort of shock."
"A shock, and after brain fever so soon! That is not good. What kind of shock was it?"
"He thought he saw some one who recalled something terrible, something which led to his brain fever." And here the whole thing seemed to overwhelm me in a rush. The pity for Jonathan, the horror which he experienced, the whole fearful mystery of his diary, and the fear that has been brooding over me ever since, all came in a tumult. I suppose I was hysterical, for I threw myself on my knees and held up my hands to him, and implored him to make my husband well again. He took my hands and raised me up, and made me sit on the sofa, and sat by me. He held my hand in his, and said to me with, oh, such infinite sweetness,
"My life is a barren and lonely one, and so full of work that I have not had much time for friendships, but since I have been summoned to here by my friend John Seward I have known so many good people and seen such nobility that I feel more than ever, and it has grown with my advancing years, the loneliness of my life. Believe me, then, that I come here full of respect for you, and you have given me hope, hope, not in what I am seeking of, but that there are good women still left to make life happy, good women, whose lives and whose truths may make good lesson for the children that are to be. I am glad, glad, that I may here be of some use to you. For if your husband suffer, he suffer within the range of my study and experience. I promise you that I will gladly do all for him that I can, all to make his life strong and manly, and your life a happy one. Now you must eat. You are overwrought and perhaps over-anxious. Husband Jonathan would not like to see you so pale, and what he like not where he love, is not to his good. Therefore for his sake you must eat and smile. You have told me about Lucy, and so now we shall not speak of it, lest it distress. I shall stay in Exeter tonight, for I want to think much over what you have told me, and when I have thought I will ask you questions, if I may. And then too, you will tell me of husband Jonathan's trouble so far as you can, but not yet.
After lunch, when we went back to the drawing room, he said to me, "And now tell me all about him."
When it came to speaking to this great learned man, I began to fear that he would think me a weak fool, and Jonathan a madman, that journal is all so strange, and I hesitated to go on.  I have been since yesterday in a sort of fever of doubt. You must be kind to me, and not think me foolish that I have even half believed some very strange things."
He reassured me by his manner as well as his words when he said, "Oh, my dear, if you only know how strange is the matter regarding which I am here, it is you who would laugh. I have learned not to think little of any one's belief, no matter how strange it may be. I have tried to keep an open mind, and it is not the ordinary things of life that could close it, but the strange things, the extraordinary things, the things that make one doubt if they be mad or sane."
"Thank you, thank you a thousand times! You have taken a weight off my mind. If you will let me, I shall give you a paper to read. It is long, but I have typewritten it out. It will tell you my trouble and Jonathan's. It is the copy of his journal when abroad, and all that happened. I dare not say anything of it. You will read for yourself and judge. And then when I see you, perhaps, you will be very kind and tell me what you think."
"I promise," he said as I gave him the papers. "I shall in the morning, as soon as I can, come to see you and your husband, if I may."
"Jonathan will be here at half-past eleven, and you must come to lunch with us and see him then. You could catch the quick 3:34 train, which will leave you at Paddington before eight." He was surprised at my knowledge of the trains offhand, but he does not know that I have made up all the trains to and from Exeter, so that I may help Jonathan in case he is in a hurry.
So he took the papers with him and went away, and I sit here thinking, thinking I don't know what.
LETTER (by hand), VAN HELSING TO MRS. HARKER
25 September, 6 o'clock
"Dear Madam Mina,
"I have read your husband's so wonderful diary. You may sleep without doubt. Strange and terrible as it is, it is true! I will pledge my life on it. It may be worse for others, but for him and you there is no dread. He is a noble fellow, and let me tell you from experience of men, that one who would do as he did in going down that wall and to that room, aye, and going a second time, is not one to be injured in permanence by a shock. His brain and his heart are all right, this I swear, before I have even seen him, so be at rest. I shall have much to ask him of other things. I am blessed that today I come to see you, for I have learn all at once so much that again I am dazzled, dazzled more than ever, and I must think.
"Yours the most faithful,
"Abraham Van Helsing."
LETTER, MRS. HARKER TO VAN HELSING
25 September, 6:30 P.M.
"My dear Dr. Van Helsing,
"A thousand thanks for your kind letter, which has taken a great weight off my mind. And yet, if it be true, what terrible things there are in the world, and what an awful thing if that man, that monster, be really in London! I fear to think. I have this moment, whilst writing, had a wire from Jonathan, saying that he leaves by the 6:25 tonight from Launceston and will be here at 10:18, so that I shall have no fear tonight. Will you, therefore, instead of lunching with us, please come to breakfast at eight o'clock, if this be not too early for you? You can get away, if you are in a hurry, by the 10:30 train, which will bring you to Paddington by 2:35. Do not answer this, as I shall take it that, if I do not hear, you will come to breakfast.
"Believe me,
"Your faithful and grateful friend,
"Mina Harker."
JONATHAN HARKER'S JOURNAL
26 September.--I thought never to write in this diary again, but the time has come. When I got home last night Mina had supper ready, and when we had supped she told me of Van Helsing's visit, and of her having given him the two diaries copied out, and of how anxious she has been about me. She showed me in the doctor's letter that all I wrote down was true. It seems to have made a new man of me. It was the doubt as to the reality of the whole thing that knocked me over. I felt impotent, and in the dark, and distrustful. But, now that I know, I am not afraid, even of the Count. He has succeeded after all, then, in his design in getting to London, and it was he I saw. He has got younger, and how? Van Helsing is the man to unmask him and hunt him out, if he is anything like what Mina says. We sat late, and talked it over. Mina is dressing, and I shall call at the hotel in a few minutes and bring him over.
He was, I think, surprised to see me. When I came into the room where he was, and introduced myself, he took me by the shoulder, and turned my face round to the light, and said, after a sharp scrutiny,
"But Madam Mina told me you were ill, that you had had a shock."
It was so funny to hear my wife called 'Madam Mina' by this kindly, strong-faced old man. I smiled, and said, "I was ill, I have had a shock, but you have cured me already."
"And how?"
"By your letter to Mina last night. I was in doubt, and then everything took a hue of unreality, and I did not know what to trust, even the evidence of my own senses. Not knowing what to trust, I did not know what to do, and so had only to keep on working in what had hitherto been the groove of my life. The groove ceased to avail me, and I mistrusted myself. Doctor, you don't know what it is to doubt everything, even yourself. No, you don't, you couldn't with eyebrows like yours."
He seemed pleased, and laughed as he said, "So!  I learn more here with each hour.
I would listen to him go on praising Mina for a day, so I simply nodded and stood silent.
"She is one of God's women, fashioned by His own hand to show us men and other women that there is a heaven where we can enter, and that its light can be here on earth. So true, so sweet, so noble, so little an egoist, and that, let me tell you, is much in this age, so sceptical and selfish. And you, sir… I have read all the letters to poor Miss Lucy, and some of them speak of you, so I know you since some days from the knowing of others, but I have seen your true self since last night. You will give me your hand, will you not? And let us be friends for all our lives."
We shook hands, and he was so earnest and so kind that it made me quite choky.
"And now," he said, "may I ask you for some more help? I have a great task to do, and at the beginning it is to know. You can help me here. Can you tell me what went before your going to Transylvania? Later on I may ask more help, and of a different kind, but at first this will do."
"Look here, Sir," I said, "does what you have to do concern the Count?"
"It does," he said solemnly.
"Then I am with you heart and soul. As you go by the 10:30 train, you will not have time to read them, but I shall get the bundle of papers. You can take them with you and read them in the train."
After breakfast I saw him to the station. When we were parting he said, "Perhaps you will come to town if I send for you, and take Madam Mina too."
"We shall both come when you will," I said.
I had got him the morning papers and the London papers of the previous night, and while we were talking at the carriage window, waiting for the train to start, he was turning them over. His eyes suddenly seemed to catch something in one of them, "The Westminster Gazette", I knew it by the colour, and he grew quite white. He read something intently, groaning to himself, "Mein Gott! Mein Gott! So soon! So soon!" I do not think he remembered me at the moment. Just then the whistle blew, and the train moved off. This recalled him to himself, and he leaned out of the window and waved his hand, calling out, "Love to Madam Mina. I shall write so soon as ever I can."
DR. SEWARD'S DIARY
26 September.--Truly there is no such thing as finality. Not a week since I said "Finis," and yet here I am starting fresh again, or rather going on with the record. Until this afternoon I had no cause to think of what is done. Renfield had become, to all intents, as sane as he ever was. He was already well ahead with his fly business, and he had just started in the spider line also, so he had not been of any trouble to me. I had a letter from Arthur, written on Sunday, and from it I gather that he is bearing up wonderfully well. Quincey Morris is with him, and that is much of a help, for he himself is a bubbling well of good spirits. Quincey wrote me a line too, and from him I hear that Arthur is beginning to recover something of his old buoyancy, so as to them all my mind is at rest. As for myself, I was settling down to my work with the enthusiasm which I used to have for it, so that I might fairly have said that the wound which poor Lucy left on me was becoming cicatrised.
Everything is, however, now reopened, and what is to be the end God only knows. I have an idea that Van Helsing thinks he knows, too, but he will only let out enough at a time to whet curiosity. He went to Exeter yesterday, and stayed there all night. Today he came back, and almost bounded into the room at about half-past five o'clock, and thrust last night's "Westminster Gazette" into my hand.
"What do you think of that?" he asked as he stood back and folded his arms.
I looked over the paper, for I really did not know what he meant, but he took it from me and pointed out a paragraph about children being decoyed away at Hampstead. It did not convey much to me, until I reached a passage where it described small puncture wounds on their throats. An idea struck me, and I looked up.
"Well?" he said.
"It is like poor Lucy's."
"And what do you make of it?"
"Simply that there is some cause in common. Whatever it was that injured her has injured them." I did not quite understand his answer.
"That is true indirectly, but not directly."
"How do you mean, Professor?" I asked. I was a little inclined to take his seriousness lightly, for, after all, four days of rest and freedom from burning, harrowing, anxiety does help to restore one's spirits, but when I saw his face, it sobered me. Never, even in the midst of our despair about poor Lucy, had he looked more stern.
"Tell me!" I said. "I can hazard no opinion. I do not know what to think, and I have no data on which to found a conjecture."
"Do you mean to tell me, friend John, that you have no suspicion as to what poor Lucy died of, not after all the hints given, not only by events, but by me?"
"Of nervous prostration following a great loss or waste of blood."
"And how was the blood lost or wasted?" I shook my head.
He stepped over and sat down beside me, and went on, "You are a clever man, friend John.  You do not let your eyes see nor your ears hear, and that which is outside your daily life is not of account to you. Do you not think that there are things which you cannot understand, and yet which are, that some people see things that others cannot? But there are things old and new which must not be contemplated by men's eyes, because they know, or think they know, some things which other men have told them. Ah, it is the fault of our science that it wants to explain all, and if it explain not, then it says there is nothing to explain. But yet we see around us every day the growth of new beliefs, which think themselves new, and which are yet but the old, which pretend to be young, like the fine ladies at the opera. I suppose now you do not believe in corporeal transference. No? Nor in materialization. No? Nor in astral bodies. No? Nor in the reading of thought. No? Nor in hypnotism…"
"Yes," I said. "Charcot has proved that pretty well."
He smiled as he went on, "Then you are satisfied as to it. Yes? And of course then you understand how it act, and can follow the mind of the great Charcot, alas that he is no more, into the very soul of the patient that he influence. No? Then, friend John, am I to take it that you simply accept fact, and are satisfied to let from premise to conclusion be a blank? No? Then tell me, for I am a student of the brain, how you accept hypnotism and reject the thought reading. Let me tell you, my friend, that there are things done today in electrical science which would have been deemed unholy by the very man who discovered electricity, who would themselves not so long before been burned as wizards. There are always mysteries in life. Why was it that Methuselah lived nine hundred years, and 'Old Parr' one hundred and sixty-nine, and yet that poor Lucy, with four men's blood in her poor veins, could not live even one day? For, had she live one more day, we could save her. Do you know all the mystery of life and death? Do you know the altogether of comparative anatomy and can say wherefore the qualities of brutes are in some men, and not in others? Can you tell me why, when other spiders die small and soon, that one great spider lived for centuries in the tower of the old Spanish church and grew and grew, till, on descending, he could drink the oil of all the church lamps?
"Good God, Professor!" I said, starting up. "Do you mean to tell me that Lucy was bitten by such a bat, and that such a thing is here in London in the nineteenth century?"
He waved his hand for silence, and went on, "Can you tell me why the tortoise lives more long than generations of men, why the elephant goes on and on till he have sees dynasties, and why the parrot never die only of bite of cat of dog or other complaint? Can you tell me why men believe in all ages and places that there are men and women who cannot die?  Can you tell me how the Indian fakir can make himself to die and have been buried, and his grave sealed and corn sowed on it, and the corn reaped and be cut and sown and reaped and cut again, and then men come and take away the unbroken seal and that there lie the Indian fakir, not dead, but that rise up and walk amongst them as before?"
Here I interrupted him. I was getting bewildered. He so crowded on my mind his list of nature's eccentricities and possible impossibilities that my imagination was getting fired. I had a dim idea that he was teaching me some lesson, as long ago he used to do in his study at Amsterdam. But he used them to tell me the thing, so that I could have the object of thought in mind all the time. But now I was without his help, yet I wanted to follow him, so I said,
"Professor, let me be your pet student again. Tell me the thesis, so that I may apply your knowledge as you go on. At present I am going in my mind from point to point as a madman, and not a sane one, follows an idea. I feel like a novice lumbering through a bog in a midst, jumping from one tussock to another in the mere blind effort to move on without knowing where I am going."
"That is a good image," he said. "Well, I shall tell you. My thesis is this, I want you to believe."
"To believe what?"
"To believe in things that you cannot. Let me illustrate. I heard once of an American who so defined faith, 'that faculty which enables us to believe things which we know to be untrue.' For one, I follow that man. He meant that we shall have an open mind, and not let a little bit of truth check the rush of the big truth, like a small rock does a railway truck. We get the small truth first. Good! We keep him, and we value him, but all the same we must not let him think himself all the truth in the universe."
"Then you want me not to let some previous conviction inure the receptivity of my mind with regard to some strange matter. Do I read your lesson aright?"
"Ah, you are my favourite pupil still. It is worth to teach you. Now that you are willing to understand, you have taken the first step to understand. You think then that those so small holes in the children's throats were made by the same that made the holes in Miss Lucy?"
"I suppose so."
He stood up and said solemnly, "Then you are wrong. Oh, would it were so! But alas! No. It is worse, far, far worse."
"In God's name, Professor Van Helsing, what do you mean?" I cried.
He threw himself with a despairing gesture into a chair, and placed his elbows on the table, covering his face with his hands as he spoke.
"They were made by Miss Lucy!"


bash
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The Fox and the Grapes
A Fox one day spied a beautiful bunch of ripe grapes hanging from a vine trained along the branches of a tree. The grapes seemed ready to burst with juice, and the Fox’s mouth watered as he gazed longingly at them. The bunch hung from a high branch, and the Fox had to jump for it. The first time he jumped he missed it by a long way. So he walked off a short distance and took a running leap at it, only to fall short once more....
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Drakshasava
Drakshasava (Sanskrit: द्राक्षासव) is a traditional Ayurvedic tonic made from grapes. Drakshasava is a weak wine because the grape juice is usually only partially fermented. It is also sometimes prepared by using raisin concentrate. The tonic is claimed to be beneficial for maladies such as lethargy, weakness and heat exhaustion. Drakshasava is believed to address health imbalances arising from an excess of the Vata-Vayu Dosha and is said to be useful in curing cardiac disorders and hemorrhoids in the Ayurvedic system....
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Code Demo
Bash #!/bin/bash ###### CONFIG ACCEPTED_HOSTS="/root/.hag_accepted.conf" BE_VERBOSE=false if [ "$UID" -ne 0 ] then echo "Superuser rights required" exit 2 fi genApacheConf(){ echo -e "# Host ${HOME_DIR}$1/$2:" } JSON [ { "title": "apples", "count": [12000, 20000], "description": {"text": "...", "sensitive": false} }, { "title": "oranges", "count": [17500, null], "description": {"text": "...", "sensitive": false} } ] Rust fn main() { let greetings = ["Hello", "Hola", "Bonjour", "Ciao", "こんにちは", "안녕하세요", "Cześć", "Olá", "Здравствуйте", "Chào bạn", "您好", "Hallo", "Hej", "Ahoj", "سلام","สวัสดี"]; for (num, greeting) in greetings....


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Remote controller mobile app for Open Song Copyright (c) 2016 BScrk/Luca Benevolo http://opensongremote.com


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| Fig 1 |
Assessment of the probability of flooding damage and residen ... |
| Fig 2 |
Survey instrument logic for separating instrumental value fr ... |
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Value profiles in percent of locations chosen. Value profile ... |
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Who made this project?
Hi! We're KirkBerkley and RndmInternetMan! We're the same people who made Urf Tunes.
Why was this project made?
Urf Runes was made for the Riot Games API Challenge 2017.
So, what is Urf Runes?
Typically, when a League of Legends player queues up for a game, their first thought is about what role they want to play, then which champion they want to play, and then which runes to take on that champion.
When Riot re-did runes in Preseason 8, the runes they created were more about influencing a playstyle, rather than just being stat boosts. This means that it is now possible to approach Champion Select by first considering how you want to play and picking the runes you want to play, and picking your champion and role afterwards. We call this the Urftastic Runes-First (URF) approach.
How does Urf Runes help with this Runes-First approach?
We've collected data from thousands of League of Legends games and, from that data, determined which runes go well together, and which champions go well with those pairs of runes. First, select a rune that matches the playstyle you want to use in your game. You'll then be shown a set of runes that are frequently paired with that rune. From that pair of runes, you can build the rest of your rune page. Selecting a secondary rune shows a set of champions that are frequently played with that pair of runes, if you need recommendations.
How was it determined which pairs of runes go well together and which champions go well with those pairs of runes?
For all of the games we looked at, we counted each time every pair of runes won a game and which champion that pair of runes was used with. We only counted wins to ensure the rune and champion combinations we show are ones that have proven results (ie. we're not trolling you). We remove any pairs of runes from the same rune tree, to emphasize rune synergies that may be less obvious and more interesting. Finally, we reduce the rankings of combinations with extremely popular secondary runes or champions. This is to reduce the bias of popular runes and champions and to help ensure that our combinations are because they go well together, not just because each part is individually popular.
Why do you only give a pair of runes and not a full rune page?
Runes Reforged is intended to be a dynamic rune system, with changes you can make on a per-game basis, depending on your lane matchup and other factors. We wanted to preserve that flexibility, while giving a starting point for a playstyle-based rune page.
If you were to continue working on this project, what would you like to put more time into?
The biggest thing would be to improve the selection of the primary rune/secondary rune/champion combinations. As we mentioned in the last question, we've put some effort into trying to show meaningful combinations of runes and champions, but there's a lot more work that could be done there. We also think it would be useful if there was some way we could explain why the pairs of runes work well together.
Urf Runes isn't endorsed by Riot Games and doesn't reflect the views or opinions of Riot Games or anyone officially involved in producing or managing League of Legends. League of Legends and Riot Games are trademarks or registered trademarks of Riot Games, Inc. League of Legends © Riot Games, Inc.


This is a custom template for starting projects. This template uses webpack to pack all the scripts and resources together.


Late Prodigy singer Flint's belongings sell for nearly $450,000
LONDON (Reuters) - Clothes, furniture and music awards belonging to Keith Flint, the late frontman of the Prodigy, have sold for nearly $450,000 at auction, eight months after the 49-year-old singer was found dead at his home.
From body jewelry to shoes, some 170 lots were offered “to assist with the settlement of the estate’s liabilities”, according to Cambridge auctioneer Cheffins. It said the Thursday evening sale had raised just under 350,000 pounds ($448,245) “surpassing all expectations”.
“The night saw strong bidding on all of the lots and we are delighted to have achieved such a total on behalf of the estate,” Cheffins said on Twitter.
Three MTV Music Awards Flint received in the late 1990s sold for 16,000 pounds while an oak and steel bed he is said to have helped design went for 8,500 pounds. Other auction items included art and discs.
A figurehead of Britain’s 1990s rave movement, the “Firestarter” and “Breathe” singer, who often sported eye makeup and colorful hairstyles, died in March.
An inquest in May found he had died as a result of hanging and drugs in his system but there was not enough evidence to determine Flint committed suicide.


To prepare a set of Erlang source code files for use in McErlang
(i.e., to map function calls and translate receive statements) and
compile the resulting modules into object code the
mcerl_compile script is used2.
If a particular module should not be subjected to McErlang
code transformations one can add the compiler directive
anywhere in the source code of the module.
The Macro McErlang is defined if a file is compiled
using the McErlang compiler.
A trivial example:
Note that the @McErlang@ macro will be defined if
a file is compiled using McErlang, even if no transformations
are done because the file contains a @-language(erlang).@
directive.
The mcerl_compile script accepts the following parameters:
-
Specifies that the corresponding files should be compiled.
Multiple @-sources@
specification are allowed.
If a directory is specified, all the Erlang files in that directory
are selected for compilation.
Options are of two kinds, and only apply to a single
@-source@
specification:
- @-recursive@ specifies that
all subdirectories
of the source specifications should be searched, recursively,
for Erlang source files as well.
- @-include_dirs directory1 ... directoryN@
specifies that the specified directories are searched for include files
by the preprocessor.
-
Used to add library directories containing
alternative implementations of standard
Erlang modules. The order in which libraries are added is relevant
for searching for files. That is, directory1 is searched
before directory directory2.
The directory ``$MCERLANG/lib/erlang/src''
is the default location to search for libraries.
-
Specifies the directory where the resulting
.beam files are written (and where for debugging purposes .core files
containing HiPE Core Erlang code are written as well).
The default is to store .beam files in a directory ``ebin'', which shall be created before compilation.
-
Used to provide an alternative transformation configuration file
(see Section 2.1 above).
-
Used to provide more verbose output. If no argument
is specified true is assumed. The default is false.
-
Controls whether unknown functions are considered to have
(receive) side effects, for the purpose of the static analysis
(this is safe default option). The default is true.
-
An experimental option that causes actions that cause communications
to be considered side effects as well. Functions that are normally
declared as potentially causing communications
include erlang:link/1,
erlang:monitor/2, exit/2.
The default is false.
An example make file which compiles all the Erlang source files in the
current directory, and stores the beam files in ``../ebin'',
and which refers to include files in ``include'', is provided
below:
2010-07-05


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Placing icons credit without using Bootstrap to Rex Kirby.Thanks!- Keeya Wang-Jones


The terms "push" and "pop" are associated with which data structure?
"Push" and "pop" are special terminology associated with one of these data structures.


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JS UI & DOM 2016
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Hello guys
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This works
Cuki
Well, ofcourse! Regards
Pesho
Is anybody out
there
?
Kon


Walking Linkage Optimization
The OptWalker class is a front end for optimizing
the dimensions of a walking linkage.
It has been use primarily for Jansen, but had been used for Klann
in the past, and could be used for others.
It is research grade code, and I tended to just poke
parameters into the optimizer using the debugger, rather than
write proper I/O.
The main parameters of interest are in WalkerMetric a :
- _contactThresh
- Amount above lowest point of cycle to be considered above the ground.
Within this distance of the lowest point of the walking cycle, the foot
is considered to be close enough to be touching the ground.
- _dutyCycleWeight
- Multiplier for how important the active walking part of the cycle is.
Larger numbers tend to place a greater percentage of the cycle with the foot
"on the ground".
- _lenWeight
- Multiplier for how important the length of the active part of the walking cycle is.
- _reachWeight
- Multiplier for how important it is that the closest point on the walking cycle is far away from the center of the linkage.
i.e. How far out is the minimum reach of the foot.
- _stepHeightWeight
- Weight for how important it is that the foot step high above the ground
when in its return cycle. (The height of each step)
- _stepMetric._heightWeight
- Weight for how important the flatness of the active part of the step is.
A lower number (like 0.2) allows more curvature/oscillation in step height while the foot is in contact with the ground.
A higher number (like 2) tries to make the walking phase of the orbit flatter.
- _trackWeight
- Weight for how important it is that the walking (on ground) phase of
the orbit be shaped like a tank track.
We try to make the bottom part of the step curve up at the edges
like a tank track on a pulley, and the bottom part of the tread be flat.
While running, there are a few local variables that I often change
in main to control the run :
- best
- Set this to a low number to force new output for a maxima.
Sometimes when we get degenerate high metrics, it will stop saving
possible optimizations until this parameter relaxes to a more reasonable value.
Resetting this to a small number forces optimization output to start again.
- reset
- Set this to true to re-start the whole search from the
seed linkage configuration
Aaron Birenboim
Last modified: Thu May 16 17:04:35 MDT 2013