filmcritic.com presents a review from staff member Max Messier. You can find the review with full credits at http://www.filmcritic.com/misc/emporium.nsf/2a460f93626cd4678625624c007f2b46/4e5761f99b0e4936882568e400075e8f?OpenDocument
BETTER LIVING THROUGH CIRCUITRY A film review by Max Messier Copyright 2000 filmcritic.com
Everywhere you turn these days, the techo-rave revolution is erupting. Feature articles in major magazines focusing on sound artists such as Moby, Crystal Method, and Goldie. Countless commercials fueled by throbbing electronic beats. My grandmother discussing the finer points of Fatboy Slim's mixing techniques with me. Art-house films keeping the plot moving with the soothing noise of Underworld and Bedrock. My ghetto superstar brother Crackbaby constructing beats at raves in Northern California every weekend. And a total of three new films coming out in the short span of two months dissecting this underground culture that's rising the eyes and ears of the masses.
For one to understand this musical phenomenon, the new documentary Better Living Through Circuitry is a solid foundation for converting the facelessness of its subculture to a human level of understanding. The documentary focuses upon many aspects of the scene – the participants, the promoters, the DJs, and the techno-artists/producers. The film provides insightful, candid interviews that clearly translate the determination and the passion of these individuals. And I was equally impressed by the collection of artists included in the production: Crystal Method, Moby, DJ Spooky, Carl Cox, Electric Skychurch, Wolfgang Flur of Kraftwek, Frankie Bones, Meat Beat Manifesto, Juno Reactor, BT, Scanner, Atomic Babies, Roni Size, Superstar DJ Keoki, Lords of Acid, System 7, Death in Vegas.
A notable strength of the film was the directness and honesty the people involved in the rave culture afforded the filmmakers. Everyone – the candy-ravers, the promoters, the DJs, the techno artists – shared with the audience small pieces of the personal trials, tragedies, and successes that brought them into this environment. DJ Spooky and Frankie Bones talk of their spiritual connection with deceased fathers by playing and spinning the record collection they left behind. The candy-ravers discuss traveling over eight hours for one rave to dance until dawn. The promoters devoted the music and ignoring the greed of the record labels that want to hire them to help expand their dance catalogs. The film also touches upon the negative aspects of the culture -- the danger of the drugs and the government crackdown on rave gatherings.  And on the flip side: The DJs who find that the music acts as a drug stronger than any chemical additives coursing through the brain.
The rave culture is constantly compared to the punk movement of the late ‘70s and early ‘80s, with studio-quality music being produced by computer geeks in their bedrooms and garages. The Internet and computer technology advances in recent years have also enhanced the ability of unknown techno artists to spread their message and beats to the entire world. It is equally ironic that the film was shot in digital video and then constructed in someone's bedroom with video editing software and a Macintosh computer. Pure DIY – do it yourself.
The main message of the film is that within the rave culture a constant shift of music styles empowers the individuals within to guide and help to create a unique culture as it evolves.
Director: Jon Reiss Featuring: Jason Bentley, Frankie Bones, Carl Cox, Ken Jordan, Keoki, Scott Kirkland, Moby, Natalie Portman, Roxanne, Roni Size, DJ Spooky Producers: Brian McNelis and Stuart Swezey
Four and half out of five stars
http://www.amokbooks.com/circuitry/index.html -- Christopher Null -<EMAIL_ADDRESS>- http://www.filmcritic.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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WONDERLAND (USA Films) Starring: Shirley Henderson, Gina McKee, Molly Parker, Ian Hart, John Simm, Stuart Townsend, Kika Markham, Jack Shepherd. Screenplay: Laurence Coriat. Producers: Michele Camarda and Andrew Eaton. Director: Michael Winterbottom. MPAA Rating: R (profanity, adult themes) Running Time: 108 minutes. Reviewed by Scott Renshaw.
Director Michael Winterbottom (JUDE, WELCOME TO SARAJEVO) goes the Ken Loach route in this rough-edged, naturalistic dysfunctional family drama. The story deals witht he members of a London clan coping with various interpersonal dilemmas. Nadia (Gina McKee) searches for love in personal ads, finding men she's more likely to run from than run to; her sister Debbie (Shirley Henderson) copes with single motherhood and an irresponsible ex-husband (Ian Hart); sister Molly (Molly Parker) faces impending motherhood not realizing her husband Eddie (John Simm) is having a personal crisis. Meanwhile, their parents (Jack Shepard and Kika Markham) deal with an ever-more acrimonious marriage of their own.
Episodic stories like this one almost invariably depend on the strength of the acting and the consistency of the stories. On the first count, WONDERLAND is spot on, featuring great ensemble work. The stories, however, are much more hit and miss. In fact, not one of the sisters' lives proves particularly gripping compared to the peripheral episodes: Debbie's son Jack (Peter Marfleet) wandering alone through an amusement park; father Bill enjoying an isolated moment of joy dancing with a neighbor; Eddie rehearsing how he'll tell Molly he's quit his job. It's also frustrating how Michael Nyman's blasting score occasionally drowns out the low-key intensity of the narrative. Jack Shepard's work as the sadsack father could be enough to recommend it, but this slice of South London life is pretty sporadic in its moments of emotional force.
On the Renshaw scale of 0 to 10 London times: 6.
Visit Scott Renshaw's Screening Room http://www.inconnect.com/~renshaw/ *** Subscribe to receive new reviews directly by email! See the Screening Room for details, or reply to this message with subject "Subscribe".
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


final
Since final classes cannot be inherited, marking a method as final may be unnecessary and confusing.


primitives.creation
Classes
Degree
DiscreteNumeric
DiscreteNumericWithLabel
Exponential
ExponentialWithLabel
FuzzyPlot
Gaussian
GaussianWithLabel
Interval
IntervalWithLabel
Logistic
LogisticWithLabel
PiecewiseLinear
PiecewiseLinearWithLabel
Resolution
SetLabel
Trapezoidal
TrapezoidalWithLabel


--- layout: null section-type: contact title: Contact --- ## Contact Do not hesitate to drop me an email at<EMAIL_ADDRESS>or ping me on IRC, I'm hopetech on freenode, generally on #dri-devel.
<EMAIL_ADDRESS>hopetech


My career at Napier University
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A Connecticut Yankee In King Arthur’s Court
by Mark Twain
Chapter 38: “Sir Launcelot and Knights to the Rescue”
Additional Information
- Year Published: 1890
- Language: English
- Country of Origin: United States of America
- Source: Twain, M. (1890). A Connecticut Yankee In King Arthur’s Court. New York, NY: Charles L. Webster and Co.
-
Readability:
- Flesch–Kincaid Level: 9.0
- Word Count: 898
- Genre: Satire
- ✎ Cite This
Downloads
Nearing four in the afternoon. The scene was just outside the walls of London.  The multitude was prodigious and far-reaching; and yet we fifteen poor devils hadn’t a friend in it. There was something painful in that thought, look at it how you might.  We were being made a holiday spectacle. They had built a sort of grand stand for the nobility and gentry, and these were there in full force, with their ladies. We recognized a good many of them.
The crowd got a brief and unexpected dash of diversion out of the king. The moment we were freed of our bonds he sprang up, in his fantastic rags, with face bruised out of all recognition, and proclaimed himself Arthur, King of Britain, and denounced the awful penalties of treason upon every soul there present if hair of his sacred head were touched. It startled and surprised him to hear them break into a vast roar of laughter. It wounded his dignity, and he locked himself up in silence. Then, although the crowd begged him to go on, and tried to provoke him to it by catcalls, jeers, and shouts of:
“Let him speak! The king! The king! his humble subjects hunger and thirst for words of wisdom out of the mouth of their master his Serene and Sacred Raggedness!”
But it went for nothing. He put on all his majesty and sat under this rain of contempt and insult unmoved. He certainly was great in his way. Absently, I had taken off my white bandage and wound it about my right arm. When the crowd noticed this, they began upon me. They said:
“Doubtless this sailor-man is his minister—observe his costly badge of office!”
I let them go on until they got tired, and then I said:
“Yes, I am his minister, The Boss; and to-morrow you will hear that from Camelot which—”
I got no further. They drowned me out with joyous derision. But presently there was silence; for the sheriffs of London, in their official robes, with their subordinates, began to make a stir which indicated that business was about to begin. In the hush which followed, our crime was recited, the death warrant read, then everybody uncovered while a priest uttered a prayer.
Then a slave was blindfolded; the hangman unslung his rope. There lay the smooth road below us, we upon one side of it, the banked multitude wailing its other side—a good clear road, and kept free by the police—how good it would be to see my five hundred horsemen come tearing down it! But no, it was out of the possibilities. I followed its receding thread out into the distance—not a horseman on it, or sign of one.
There was a jerk, and the slave hung dangling; dangling and hideously squirming, for his limbs were not tied.
A second rope was unslung, in a moment another slave was dangling.
In a minute a third slave was struggling in the air. It was dreadful. I turned away my head a moment, and when I turned back I missed the king! They were blindfolding him! I was paralyzed; I couldn’t move, I was choking, my tongue was petrified. They finished blindfolding him, they led him under the rope. I couldn’t shake off that clinging impotence. But when I saw them put the noose around his neck, then everything let go in me and I made a spring to the rescue—and as I made it I shot one more glance abroad—by George! here they came, a-tilting!—five hundred mailed and belted knights on bicycles!
The grandest sight that ever was seen. Lord, how the plumes streamed, how the sun flamed and flashed from the endless procession of webby wheels!
I waved my right arm as Launcelot swept in—he recognized my rag —I tore away noose and bandage, and shouted:
“On your knees, every rascal of you, and salute the king!
I always use that high style when I’m climaxing an effect. Well, it was noble to see Launcelot and the boys swarm up onto that scaffold and heave sheriffs and such overboard. And it was fine to see that astonished multitude go down on their knees and beg their lives of the king they had just been deriding and insulting. And as he stood apart there, receiving this homage in rags, I thought to myself, well, really there is something peculiarly grand about the gait and bearing of a king, after all.
I was immensely satisfied. Take the whole situation all around, it was one of the gaudiest effects I ever instigated.
And presently up comes Clarence, his own self! and winks, and says, very modernly:
“Good deal of a surprise, wasn’t it? I knew you’d like it. I’ve had the boys practicing this long time, privately; and just hungry for a chance to show off.”


| « Prev 4.3 Building Targets | Table of Contents | Next » 4.3.2 Construction Variables |
An Environment includes:
All build targets must be registered within an Environment
.
If the user does not specify a name for the environment, a name will be
automatically generated based on the Environment's internal ID, for example
"e.1".
The Environment's build root is a directory with the same name as the
Environment, created within the top-level Rscons build directory.
By default it holds all intermediate files generated by Rscons that are needed
to produce a user-specified build target.
For example, for the Rsconscript
:
env "myproj" do |env| env.Program("myprog.exe", glob("src/**/*.c")) end
Rscons will place an object file and dependency file corresponding to each C source file under the Environment's build root. Assuming a top-level build directory of "build", the Environment's build root would be "build/myproj". This keeps the intermediate generated build artifacts separate from the source files. Source and target paths passed to a Builder (e.g. Program) can begin with "^/" to indicate that Rscons should expand those paths to be relative to the Environment's build root. If a source or target path passed to a Builder begins with "^^/", it is expanded to be relative to the Rscons top-level build directory (but outside the Environment's build root).
| « Prev 4.3 Building Targets | Table of Contents | Next » 4.3.2 Construction Variables |


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Logo is more than a programming language. It is a learning environment where children explore mathematical ideas and create projects of their own design. Logo, the first programming language explicitly designed for children, was invented by Seymour Papert, Wallace Feurzeig, Daniel Bobrow, and Cynthia Solomon in 1966 at Bolt, Beranek and Newman, Inc. (BBN). Logo’s design drew upon two theoretical frameworks: Jean Piaget’s constructivism and Marvin Minsky’s artificial intelligence research at MIT. One of Logo’s foundational ideas was that children should have a powerful programming environment. Early Lisp served as a model with its symbolic computation, recursive functions, operations on linked lists, and dynamic scoping of variables. Logo became a symbol for change in elementary mathematics education and in the nature of school itself. The search for harnessing the computer’s potential to provide new ways of teaching and learning became a central focus and guiding principle in Logo language development. It encompassed a widening scope that included natural language, music, graphics, animation, story telling, turtle geometry, robots, and other physical devices.


Features
PHP Smart Robot Chat - (AI System) is a very smart addons for your website , it's super easy to install
in your website , all you need just add this javascript api code in your website script src="your-generated-url"
the system will generate this code for you after installation complete :)
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I'm kind, and is also understanding what the visitors need and also answer them by this live chat,
, you can see this chat history between the customer and the the robot (Jarvis) to contact this customer or
just improve the robot commands for better future replies :)
- Bing Api Integration
- Javascript Api For Widget
- Just Copy And page the generated widget code and get all features
- Initial „welcome” message after guest logs in
- Widget Themes And Setting
- Clean, Modern Look
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- Works with any PHP 5 & MySQL website
- Can add commands
- you can disable or enable the chat
- you can change the alignment
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- Conversations history
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Codeigniter v2.2
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PLEASE IF YOU HAVE ANY QUESTIONS DON'T HESITATE TO MESSAGE ME: php.power.arts@gmail.com


Import clinical information for a patient
import_clinical(clinicalData = NA, patientID = NA, extract_column)
| clinicalData | data frame containing the clinical information for a patient. This needs to include a column `SampleName` containing unique names for all the RNA-Seq samples available in the cohort; a `PID` column for patient ID and a `Time` column that should reflect the time of sample collection. |
|---|---|
| patientID | a character vector specifying the patient id for which clinical data should be imported. |
| extract_column | vector specifying the column to be extracted. Currently only numeric variables with values between 0 and 1 are allowed to be consistent with plotting together with clonality and VAF estimates. |
The function returns a data fram where only `SampleName`, `PID`, `Time` and the variable of interest `extract_column` are kept as well as new variables `VAF`, `mutation_key` and `mutation_det` are added. In this way, clinical information, like tumour purity, is stored in the same way as the variants created with `import_any()` and can be easily combined and plotted together. At the moment, the structure expects `extract_column` to be in the 0-1 range to be consistent with te fact that usually the Variant Allele Frequency (VAF) for a variant is plotted over time.
clinicalData <- data.frame(SampleName = c("D1.Screen.Rel","D1.Cyc1.Rel", "D1.Cyc2.Rel","D1.Cyc3.Rel"), PID = "D1", Time = c("Screen", "Cyc1","Cyc2","Cyc3"), Outcome = "Rel", AgeDiagnosis = 65, Sex = "F", Blast = c(80,5,7,40)/100) import_blast <- import_clinical(clinicalData = clinicalData, extract_column = "Blast", patientID = "D1")


Main settings
Monitoring
GPIO settings
Server IP
Port
simple mode
Plug used for powering the Pi
Automatic SwitchOff
Not implemented at the moment.
Not implemented at the moment.


LLVM: lli tool
NAME
lli
SYNOPSIS
lli [options] [filename] [args ...]
DESCRIPTION
lli directly executes programs in LLVM format.
It takes a program in LLVM
bytecode format and executes it using a just-in-time
compiler, if one is available for the current architecture, or an interpreter.
lli takes all of the same code generator options as the
llc tool, but they are only applicable when
the just-in-time compiler is being used.
If filename is not specified, then lli reads the LLVM bytecode for
the program from standard input.
The optional "args" specified on the command line are passed to the
program as arguments.
OPTIONS
- -array-checks
Enable array bound checks. If an LLVM program attempts to access an
element of an array which is not within the size of that array,
lli will print an error message and call abort(3).
This is presently only applicable to the interpreter.
- -help
Print a summary of command line options.
- -stats
Print statistics from the code-generation passes. This is only meaningful
for the just-in-time compiler, at present.
- -time-passes
Record the amount of time needed for each code-generation pass and print
it to standard error.
- -march=<arch>
Use the specified non-default architecture when selecting a code generator
for the just-in-time compiler. This may result in a crash if you pick an
architecture which is not compatible with the hardware you are running
lli on.
- -quiet, -q
Do not print any output about the return values of functions.
This is presently only applicable to the interpreter.
- -force-interpreter={false,true}
If set to true, use the interpreter even if a just-in-time compiler is
available for this architecture. Defaults to false.
- -trace
Print an LLVM-instruction-level dynamic execution trace. This is
presently only applicable to the interpreter.
- -f=<name>
Call the function named <name> to start the program.
Note: The function is assumed to have the C signature int
<name> (int, char **, char **).
If you try to use this option to call a function of incompatible type,
undefined behavior may result. Defaults to "main".
EXIT STATUS
If lli fails to load the program, it will exit with an exit code of 1.
Otherwise, it will return the exit code of the program it executes.
SEE ALSO
llc
Maintained by the LLVM Team.


UnitMan.cs - simple API for UOM Conversion
Concept
Simplicity of API
UnitMan is simplest (I hope) possible API for UOM conversion. It consists of single C# class. The code may looks as below.
var UM = new UnitMan();
...
XmlDocument xUoms = new XmlDocument();
xUoms.Load("MyUOMDefinitions.xml");
UM.Load("xUoms");
...
double psi = UM.Convert(pressure_Kgcm2, "kg1cm-2", "lb1in-2");`
Automatic calculation of conversion coefficients
You no need to define all the conversion coefficients. UnitMan can calculate that automatically. In the example above you no need to define what is pressure. You no need to define how much pounds per square inch in one kilogram per square meter. You just need to define how much inches in one meter and how much pounds in one kilogramm. The conversion coefficient for pressure will be calculated automatically
UOM Signatures
UnitMan API does not define any classes, records or object for UOM representation. UOMs are completely described by it's text UOM signature.
UOM Definition files
UnitMan loads UOM definitions from XML documents. Root node of the document must have some mandatory attributes.
<UnitSystem Version="2.0" ISO639Code = "ENA" Description = "Some readable description" UOMRegEx = "[A-Z,a-z]">
- Version - format version. Must be 2.0
- ISO639Code - language code which defines the UI culture of user. Single application may operate for users of different UI cultures and more than one definition file could be loaded by host application
- Description - brief description of subject to which the system of meaurement could be used. Or something similar to that. For example, "nuclear phisics", "astronomy", "construction", etc.
- UOMRegEx - the regex which defines letters, which can be used for UOM label, excluding digits. The latin letters are usually enough, until you don't use greek letters or oother national alphabets.
Master UOMS and UOM Domains
Free Flexible UOM Converter
FF Converter is just a code example for UnitMan API. Nevertheless, it is fully functional application and it could be handy in practice. If you need for simple and flexible UOM converter then download it here and install. Define your own unit system using sample XML UOM definition files as templates. Add any UOMs in any languages and drop to trash UOM definitions that looks useless for you.


I was an honor student all throughout high school, and even made Dean's several times in college. I would someday love to try ibogaine, mushrooms, or lsd less for euphoria and more for personal transcendence. I have always been a fan of pills; I think they're amazing. After reading Daniel Pinchbeck's Book, '2012: The Return of Quetzalcoatl' my ideas about consciousness have changed from a quantum physics view to a view that it trying to tie all these things together. It's possible to take a tablet and feel completely different emotions and sensations than the dull tedium of daily life? I'm in. Please note, this is something I partake in rarely, I have a great life and I do not ever drive under the influence of any substances.
T=0
Early in the day, at about 9:30, I had a half pint of clear Bacardi (just under 8 shots) with organic juice. This was before I had taken any pills. I am prescribed Wellbutrin, but I did NOT take my dose this morning due to interactions with alcohol causing seizures and blackouts. I also had a 'Function' brand soft drink called 'Vacation,' their coconut/island flavor containing 5-htp, L-theanine, Magnesium, and Zinc. I also took a multivitamin.
T+2:00
I chose to take 1mg of Clonazepam to heighten the experience.
T+2:30
I'm feeling pretty silly but a bit too mellow. I decide to take 3mg of Ativan (Lorazepam) and 1200mg of Provigil (Modafinil) because I had read on some forums that this may cause euphoria at such a high dosage.
T+2:50:
Definitely a little light headed as I walk to the bathroom, but no dizziness or discomfort. It's a floaty, cloudy, confident feeling.
T+3:00:
My head is fuzzy, but so far no unpleasant affects whatsoever. I'm totally comfortable just hanging out on the couch and watching some daytime TV. This is most likely a reflection of the benzos and alcohol, although I can feel the Bacardi had less of an influence than before: fine by me, I like the pills.
T+4:30
I'm currently focusing very hard on this report, tweaking details in case some of our readers may be seeing this and in need of more explanation. I'm currently spell and grammar checking, almost obsessively. That isn't how I wanted this to go. I blame the Provigil (Modafinil) that causes inspiration to work. Modafinil (Provigil) seems to motivate me more at this level than at the 200mg dose. My Blood Alcohol Reading is 0.10. I decide to take a shower.
T+5:00
Out of the shower and styling my hair, putting on makeup. I'm feeling a little more pleasantness with a no real clumsiness, but a small lack of coordination felt. This combo is not some thing I would try while at the family reunion.
T+5:30
I feel quite mellow, calm, and content. My brain seems to have developed a short-term memory difficulty in such that I've been wandering around in my room looking for a set of jewelry I had wanted to wear... and then forgot, so I walked out of my room half naked, and now am sitting on my couch. I live alone, no worries. I checked my blood alcohol level and it's down to .07, since that BAL reading is considered sober enough to drive a NASA spacecraft (teehee) I'm pretty sure most of the rest of the report, I expect, will be due mostly to Ativan (Lorazepam), Klonopin (Clonazepam), and Provigil (Modafinil).
At this point I had decided to visit a local jewelers store and walk around the park. It was cold but I was feeling good. When I got back home, boyfriend had found this trip report saved on my computer, so there was a little fight, but I still probably feel more optimistic about the mild argument, I was honest with him and he eventually wasn't mad anymore
T+ 5.50
Still calm after the fight, but feeling pretty down because of the argument, through no fault of the substances. We ended up going to the grocery store, where I was sick. After coming home, Iíll I wanted to do was to lie down. Iím still feeling a bit slow and floppy from the benzos, and have not experienced and euphoria due to the large Modafinil dose.
At this point, I believe the recreational effects have ended.
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.


The Tin Woodman of Oz
by L. Frank Baum
Chapter 24: “The Curtain Falls”
Additional Information
- Year Published: 1918
- Language: English
- Country of Origin: United States of America
- Source: Baum, L. F. (1918). The Tin Woodman of Oz. J. R. Neill (Ed.).
-
Readability:
- Flesch–Kincaid Level: 7.0
- Word Count: 616
- Genre: Fantasy
- Keywords: 20th century literature, american literature, books of oz, children's literature, fantasy, l. frank baum
- ✎ Cite This
Downloads
Well, the rest of the story is quickly told, for the return Journey of our adventurers was without any important incident. The Scarecrow was so afraid of meeting the Hip-po-gy-raf, and having his straw eaten again, that he urged his comrades to select another route to the Emerald City, and they willingly consented, so that the Invisible Country was wholly avoided.
Of course, when they reached the Emerald City their first duty was to visit Ozma’s palace, where they were royally entertained. The Tin Soldier and Woot the Wanderer were welcomed as warmly as any strangers might be who had been the traveling companions of Ozma’s dear old friends, the Scarecrow and the Tin Woodman. At the banquet table that evening they related the manner in which they had discovered Nimmie Amee, and told how they had found her happily married to Chopfyt, whose relationship to Nick Chopper and Captain Fyter was so bewildering that they asked Ozma’s advice what to do about it.
“You need not consider Chopfyt at all,” replied the beautiful girl Ruler of Oz. “If Nimmie Amee is content with that misfit man for a husband, we have not even just cause to blame Ku-Klip for gluing him together.”
“I think it was a very good idea,” added little Dorothy, “for if Ku-Klip hadn’t used up your castoff parts, they would have been wasted. It’s wicked to be wasteful, isn’t it?”
“Well, anyhow,” said Woot the Wanderer, “Chopfyt, being kept a prisoner by his wife, is too far away from anyone to bother either of you tin men in any way. If you hadn’t gone where he is and discovered him, you would never have worried about him.”
“What do you care, anyhow,” Betsy Bobbin asked the Tin Woodman, “so long as Nimmie Amee is satisfied?”
“And just to think,” remarked Tiny Trot, “that any girl would rather live with a mixture like Chopfyt, on far-away Mount Munch, than to be the Empress of the Winkies!”
“It is her own choice,” said the Tin Woodman contentedly; “and, after all, I’m not sure the Winkies would care to have an Empress.”
It puzzled Ozma, for a time, to decide what to do with the Tin Soldier. If he went with the Tin Woodman to the Emperor’s castle, she felt that the two tin men might not be able to live together in harmony, and moreover the Emperor would not be so distinguished if he had a double constantly beside him. So she asked Captain Fyter if he was willing to serve her as a soldier, and he promptly declared that nothing would please him more. After he had been in her service for some time, Ozma sent him into the Gillikin Country, with instructions to keep order among the wild people who inhabit some parts of that country of Oz. As for Woot, being a Wanderer by profession, he was allowed to wander wherever he desired, and Ozma promised to keep watch over his future journeys and to protect the boy as well as she was able, in case he ever got into more trouble.
All this having been happily arranged, the Tin Woodman returned to his tin castle, and his chosen comrade, the Scarecrow, accompanied him on the way. The two friends were sure to pass many pleasant hours together in talking over their recent adventures, for as they neither ate nor slept they found their greatest amusement in conversation.


Sort
This demo illustrates the GridControl's data sorting functionality. By default, you can sort records in the grid by one column at a time. A column’s current sort order is indicated by a sort glyph, displayed on the right side of the column header.
To sort data by a column, tap a column header. When you tap the column header for the second time, the sort order is changed. Tap it again to clear the column’s sort settings.
Another way to apply or clear the sorting of a column is to use the context menu invoked when you touch and hold the column.
Related APIs:


Pizza, dish of Italian origin consisting of a flattened disk of bread dough topped with some combination of olive oil, oregano, tomato, olives, mozzarella or other cheese, and many other ingredients, baked quickly—usually, in a commercial setting, using a wood-fired oven heated to a very high temperature—and served hot ...
Chicken Masala is an authentic Punjabi dish, chicken is simply made in the unique amritsari gravy and flavored with fresh cream, butter and fresh tomatoes. Also known as chicken makhani or murgh, this dish is a very famous recipe in the Indian restaurants. The unique colour of the gravy comes from the tomato puree. The delicious dish can be made easily at home as it does not require too many ingredients or Indian spices.
The exact origin of the hamburger may never be known with any certainty. Most historians believe that it was invented by a cook who placed a Hamburg steak between two slices of bread in a small town in Texas, and others credit the founder of White Castle for developing the "Hamburger Sandwich."


The Hustler (1961)
Grade: 92
Like so many classic black and white films from the early 1960s, "The Hustler" is a tense, brooding drama whose only humor is ironic in nature. "The Hustler" is an outstanding film that explores the relationships between talent and success, love and desperation, and greed and evil.
Eddie Felson (Paul Newman) is a pool hustler, traveling from city to city with fellow con Myron McCormick. Certain that he is the best pool player around, Felson challenges Minnesota Fats (Jackie Gleason, in his best film role) and loses. Newman nurses his wounded pride with the help of alcoholic cripple Piper Laurie, and is forced to team up with creepy, manipulative gambler George C. Scott in order to mount a comeback. Murray Hamilton, best remembered as the Mayor in "Jaws", plays a Southern aristocrat whose confidence is as over-extended as Newman's.
Based on the Walter Tevis novel, "The Hustler" was nominated for a mountain of Academy Awards: Best Picture, Best Director (Robert Rossen), Best Actor (Newman), Best Actress (Laurie), Best Supporting Actor (Gleason, Scott), and Best Adapted Screenplay (Sidney Carroll). The film won Oscars for Best B & W Cinematography (Eugen Shuftan) and for its sets.
The strength of "The Hustler" comes from the script, which gives the characters both depth and great lines. The story is filled with tension, deriving not only from Felson's fortunes at pool, but also from his shifting relationships with Laurie, Scott and McCormick. Newman and especially Laurie are sympathetic characters, and it is always uncertain whether Newman's skill at pool can overcome his personal demons.
<EMAIL_ADDRESS>http://members.tripod.com/~Brian_Koller/movies.html
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


- String
- Integer
- Boolean
- Double
- Arrays
- Date
- ObjectID
- ...
MongoDB is a free and open-source cross-platform document-oriented database program. It belongs to a non-relational database (NoSql).
| SQL | Table based | defined schema | query language |
| NoSQL | Document, key-value, graph-based... | flexible schema | object-oriented APIs |
| SQL: | NoSQL: | ||||||||
|---|---|---|---|---|---|---|---|---|---|
|
{ |
| Advantages | Disadvantages |
|---|---|
| object oriented | not support transactions |
| use JSON-like documents | not support join operation |
| have flexible/dynamic schemas | high memory usage |
| high speed |
db.movieDetails.find()
{ "_id" : ObjectId("5ce6650b1fcbd699dbf48225"), "title" : "A Million Ways to Die in
the West", "year" : 2014, "rated" : "R", "runtime" : 116, "countries" : [ "USA" ],
"genres" : [ "Comedy", "Western" ], "director" : "Seth MacFarlane", "writers" :
...}


Using NTL Relational: Households
This tutorial is based on the Persons to FamilyRelations tutorial. You may want to visit that one first, if you have not already done so.
In some cases it is necessary to transform elements based on rather complex patterns. NTL supports such patterns, where you can specify patterns using LINQ through the language extension NTL Relational.
In the scenario of Persons and FamilyRelations, suppose you want to find households. A household may be represented by a person of at leats 18 years plus his spouse, if any. To find these households, we match males and females and check whether they are spouses. Note that this is a very inefficient solution, but in practice, it happens from time to time that one needs to create matches and this is only a tutorial.
To implement this with NTL Relations, add the following code:
public class Households : TransformationRule<Ps.Person, Ps.Person, Households>
{
public override void RegisterDependencies()
{
var possibleMoms = Rule<Person2Female>().ToComputationSource(
allowNull: true,
filter: c => c.Input.Age >= 18);
var possibleDads = Rule<Person2Male>().ToComputationSource(
allowNull: true,
filter: c => c.Input.Age >= 18);
WithPattern(from mom in possibleMoms
from dad in possibleDads
where mom.Input.Spouse == dad.Input
select Tuple.Create(mom.Input, dad.Input));
}
}
The advantage here is that we can call Person2Person for another model element in Households and the LINQ statement recognizes this as well considers it for the further matching.
However, NTL Relations does not employ any query optimization technique, such as understanding that any Female model element can be part of at most one pair. What NTL does is really match all combinations of the specified sets (all computations of Person2Female where the age of the input Person object is at least 18, or null, and the Male elements respectively) and tries to match them.


Note: Although race is regarded as a social construct by scientists from a wide variety of backgrounds [7.10.123], we acknowledge the very real racialized oppression that many groups experience in the United States. The use of race as a variable in this data is borne out of the necessity of shedding light on this oppression. In some cases police report the race of the person they stop, and in some cases it is also self-reported, which can lead to some uncertainty.
in-context


--- layout: api title: "v3.1.1 JavaScript Library: L.mapbox.accessToken" categories: api version: v3.1.1 permalink: /api/v3.1.1/l-mapbox-accesstoken/ ---
The API access token to be used by Mapbox.js. You must set this value as described in API access tokens.


BLUE SKY A film review by Joan Ellis Copyright 1995 Nebbadoon Syndicate
BLUE SKY has an uninspired script enlivened by two extraordinary actors. Tommy Lee Jones plays U.S. Army nuclear engineer Hank Marshall, a man whose flinty, capable exterior melts every time he looks at his wife Carly (Jessica Lange). He radiates love and passion through his eyes and a smile, and we wait hopefully for the smile, knowing he may, and probably should, head for the door at any moment. Carly is a handful.
 Her volatility is perfect counterpoint to Jones' moving, subtle performance. Don't skip this one.
Hank's insistence that the military make an honest, moral response to a nuclear accident earns him a transfer from paradisal Hawaii to the grim nowhere of a military base in Alabama. Assigned to a filthy house, Carly takes one look at "this litter box" and flies into a rage that is rooted in the deeper inner fury at being erased, controlled and confined by the U.S. Army. "It's the same as Washington and Germany and all the other places, only we're ten years older."
Anyone who ever experienced the tyranny of the Army, a corporation, a hospital or academia, 1950s style, will recoil. Director Tony Richardson captures the excruciating feel of the awful competition that is fostered by an institution with total power over its own. Forty years ago, institutionalized erasure was pervasive. Carly's despair in 1954, Tailhook today. Score zero on progress for the patriarchy.
Richardson uses the early scenes to evoke the awful contrast between the Hawaiian nirvana and a post at the end of the world. Striding naked and waist deep in the gentle surf against a brilliant blue sky, Carly waves her floating scarf in sensual joy and invitation to the helicopter that hovers above her. Aboard and looking down proudly and adoringly is husband Hank. He revels in her love of the grand gesture.
A Roman candle one moment, a pile of ashes the next, Carly disintegrates in Alabama.  Hank's efforts at damage control fail, and he has a nearly fatal flaw: he simply can't resist his wife beyond a sentence or two of reprimand.
When Hank is hospitalized and drugged by the Army to ensure his silence, Carly devises a grand gesture that will bring the Army to its knees. It is ridiculous and entirely fitting. Subplots abound, and all of them showcase the abundant talent of the two leads, who get fine support from Powers Boothe and Carrie Snodgress as the commanding officer and his Stepford wife. Tommy Lee Jones and Jessica Lange lift the movie beyond its script and deliver a beautifully acted comment on the staying power of troubled love.
Film Critic: JOAN ELLIS Word Count: 486 Studio: Orion Pictures Rating: PG-13 1h41m
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


We exchange infrastructure!
- empower mission-critical web services
- syndicate revolutionary web-readiness
- productize seamless supply-chains
- incubate efficient web services
- enable e-business e-tailers
- extend next-generation communities
- target 24/365 vortals
- maximize innovative infrastructures
- synergize dynamic relationships
- exploit front-end schemas
- transition bleeding-edge action-items
- strategize 24/7 models
- enable magnetic e-services


{% extends "withoutnav_template.html" %} {% from "components/table.html" import mapping_table, row, text_field, edit_field, field with context %} {% from "components/sub-navigation.html" import sub_navigation %} {% block per_page_title %} Security {% endblock %} {% block maincolumn_content %}
GOV.UK Notify is built for the needs of government services. It has processes in place to:
On Notify, data is encrypted:
Any user data you upload is only held for 7 days.
The Cabinet Office acts as data processor for Notify. Your organisation is the data controller.
Notify complies with data protection law. To make sure it stays compliant, there are regular legal reviews of the service’s:
Other technical security controls on Notify include:
Some messages include sensitive information like security codes or password reset links.
If you’re sending a message with sensitive information, you can choose to hide those details on the Notify dashboard once the message has been sent. This means that only the message recipient will be able to see that information.
You can set different user permissions in Notify. This lets you control who in your team has access to certain parts of the service.
To sign in to Notify, you’ll need to enter:
If receiving text messages at work is a problem for your team, contact us about using an email link instead.
Our approach to information risk management follows National Cyber Security Centre (NCSC) guidance. It assesses:
This approach also applies to the service providers Notify uses to send messages.
Things we do to manage risks on Notify include:
Notify has been assessed and approved by the Cabinet Office Senior Information Risk Officer (SIRO). The SIRO checks this approval once a year.
Notify also has approval from the Office of the Government’s SIRO to host data within the EEA.
Any information in Notify is classified as ‘OFFICIAL’ under the Government Security Classifications Policy.
All system administration staff working on Notify are cleared to Security Check (SC) level by United Kingdom Security Vetting.
{% endblock %}


◆ __init__()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.__init__ |
( |
|
self, |
|
|
|
model_part, |
|
|
|
settings |
|
) |
| |
Incompressible Variational-Multi-Scale Navier Stokes formulation.
This RansFormulation solves VELOCITY, and PRESSURE with Variational-Multi-Scale (VMS) formulated
incompressible Navier-Stokes equation.
This supports both steady and transient problems, transient with bossak time integration scheme.
It uses wall functions at walls, therefore SLIP flag must be True on all walls (in both conditions and nodes)
Args:
model_part (Kratos.ModelPart): ModelPart to be used in the formulation.
settings (Kratos.Parameters): Settings to be used in the formulation.
◆ AddDofs()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.AddDofs |
( |
|
self | ) |
|
◆ AddVariables()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.AddVariables |
( |
|
self | ) |
|
◆ ElementHasNodalProperties()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.ElementHasNodalProperties |
( |
|
self | ) |
|
◆ FinalizeSolutionStep()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.FinalizeSolutionStep |
( |
|
self | ) |
|
◆ GetMinimumBufferSize()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.GetMinimumBufferSize |
( |
|
self | ) |
|
◆ GetStrategy()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.GetStrategy |
( |
|
self | ) |
|
◆ Initialize()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.Initialize |
( |
|
self | ) |
|
◆ InitializeSolutionStep()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.InitializeSolutionStep |
( |
|
self | ) |
|
◆ PrepareModelPart()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.PrepareModelPart |
( |
|
self | ) |
|
◆ SetConstants()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.SetConstants |
( |
|
self, |
|
|
|
settings |
|
) |
| |
◆ SetTimeSchemeSettings()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.SetTimeSchemeSettings |
( |
|
self, |
|
|
|
settings |
|
) |
| |
◆ SetWallFunctionSettings()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.SetWallFunctionSettings |
( |
|
self, |
|
|
|
settings |
|
) |
| |
◆ SolveCouplingStep()
| def monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.SolveCouplingStep |
( |
|
self | ) |
|
◆ condition_name
| monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.condition_name |
◆ echo_level
| monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.echo_level |
◆ flow_solver_formulation
| monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.flow_solver_formulation |
◆ is_steady_simulation
| monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.is_steady_simulation |
◆ min_buffer_size
| monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.min_buffer_size |
settings string in json format
◆ monolithic_model_part
| monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.monolithic_model_part |
◆ solver
| monolithic_velocity_pressure_rans_formulation.MonolithicVelocityPressureRansFormulation.solver |
The documentation for this class was generated from the following file:


Copyright 2012-2017 Hauser Olsson GmbH.
Licensed under the Apache License, Version 2.0 (the "License");
you may not use this file except in compliance with the License.
You may obtain a copy of the License at
http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.
This provides common test code for tests included in CrNiCKL drivers. Currently, drivers are available for JDBC (crnickl-jdbc) and MongoDB (crnickl-mongodb). Note that CrNiCKL itself (crnickl) cannot be tested without using a driver.
Some tests have been upgraded to the latest version of dependencies.
The software is available from the Maven central
repository. To use version x.y.z
, insert the following dependency into your
pom.xml
file:
<dependency>
<groupId>ch.agent</groupId>
<artifactId>crnickl-test</artifactId>
<version>x.y.z</version>
<scope>test</scope>
</dependency>
The recommended way is to use git for accessing the source and maven for building. The procedure is easy, as maven takes care of locating and downloading dependencies:
$ git clone https://github.com/jpvetterli/crnickl-test.git
$ cd crnickl-test
$ mvn install
The source is available on GitHub.
More information on CrNiCKL is available at the project web site.
Updated: 2017-10-06/jpv


The Dev Journey of a Wandering Anemone
Te Haerenga Kaihanga o he Hūmenga
About
Wandering Anemone
Blog
Projects
About
Wandering Anemone
Blog
Sprint 1 Technical - The Story of Te Houtaewa
Sprint 2 Technical - Display:inline vs display:inline-block
Sprint 1 Cultural - Values & Strengths
Sprint 2 Cultural - Learning plan
Projects
Contact
Site Map


%% Inbound
sequenceDiagram
participant Programs
participant ListMerge
participant Orchestration
participant AMS
participant App
activate Orchestration
activate App
loop as many pages as necessary
App->>Orchestration: data (JSON)
Orchestration->>AMS: Get fields, config, etc.
activate AMS
AMS-->>Orchestration: config
deactivate AMS
Orchestration->>ListMerge: Add to temp table
activate ListMerge
ListMerge-->>Orchestration: OK
deactivate ListMerge
Orchestration-->>App: OK
end
deactivate App
Orchestration->>ListMerge: Import temp table
deactivate Orchestration
activate ListMerge
ListMerge--xPrograms:AppCloud Evt Msg (ETV, advance)
deactivate ListMerge
activate Programs
Programs->>Programs: Import ETVs
Programs->>Programs: Advance Workflow if requested
deactivate Programs


ÁVision Build Log Project: C:\Keil\Heather\Lab 6 - Minke and McConico and Treece\Lab13.uvproj Project File Date: 05/02/2018 Output:


none
inline
inline-block
block
table
table-cell
table-row
flex
inline-flex
| Screen Size | Class |
|---|---|
| Hidden on all | .d-none |
| Hidden only on xs | .d-none .d-sm-block |
| Hidden only on sm | .d-sm-none .d-md-block |
| Hidden only on md | .d-md-none .d-lg-block |
| Hidden only on lg | .d-lg-none .d-xl-block |
| Hidden only on xl | .d-xl-none |
| Visible on all | .d-block |
| Visible only on xs | .d-block .d-sm-none |
| Visible only on sm | .d-none .d-sm-block .d-md-none |
| Visible only on md | .d-none .d-md-block .d-lg-none |
| Visible only on lg | .d-none .d-lg-block .d-xl-none |
| Visible only on xl | .d-none .d-xl-block |
Assign responsive-friendly margin
or padding
values to an element or a subset of its sides with shorthand classes. Includes support for individual properties, all properties, and vertical and horizontal properties. Classes are built from a default Sass map ranging from .25rem
to 3rem.
Notation
Spacing utilities that apply to all breakpoints, from xs
to xl
, have no breakpoint abbreviation in them. This is because those classes are applied from min-width: 0 and up, and thus are not bound by a media query. The remaining breakpoints, however, do include a breakpoint abbreviation.
The classes are named using the format {property}{sides}-{size}
for xs and {property}{sides}-{breakpoint}-{size}
for sm, md, lg,
and xl.
Where property is one of:
m
- for classes that setmargin
p
- for classes that setpadding
Where sides is one of:
t
- for classes that setmargin-top
orpadding-top
b
- for classes that setmargin-bottom
orpadding-bottom
l
- for classes that setmargin-left
orpadding-left
r
- for classes that setmargin-right
orpadding-right
x
- for classes that set both*-left
and*-right
y
- for classes that set both*-top
and*-bottom
- blank - for classes that set a
margin
orpadding
on all 4 sides of the element
Where size is one of:
0
- for classes that eliminate themargin
orpadding
by setting it to0
1
- (by default) for classes that set themargin
orpadding
to$spacer * .25
2
- (by default) for classes that set themargin
orpadding
to$spacer * .5
3
- (by default) for classes that set themargin
orpadding
to$spacer
4
- (by default) for classes that set themargin
orpadding
to$spacer * 1.5
5
- (by default) for classes that set themargin
orpadding
to$spacer * 3
auto
- for classes that set themargin
to auto
(You can add more sizes by adding entries to the $spacers
Sass map variable.)
Text Alignment
Ambitioni dedisse scripsisse iudicaretur. Cras mattis iudicium purus sit amet fermentum. Donec sed odio operae, eu vulputate felis rhoncus. Praeterea iter est quasdam res quas ex communi. At nos hinc posthac, sitientis piros Afros. Petierunt uti sibi concilium totius Galliae in diem certam indicere. Cras mattis iudicium purus sit amet fermentum.

Ambitioni dedisse scripsisse iudicaretur. Cras mattis iudicium purus sit amet fe....

For left, right, and center alignment, responsive classes are available that use the same viewport width breakpoints as the grid system.
Left aligned text on all viewport sizes.
Center aligned text on all viewport sizes.
Right aligned text on all viewport sizes.
Left aligned text on viewports sized SM (small) or wider.
Left aligned text on viewports sized MD (medium) or wider.
Left aligned text on viewports sized LG (large) or wider.
Left aligned text on viewports sized XL (extra-large) or wider.

Left aligned text on all viewport sizes.

Center aligned text on all viewport sizes.

Right aligned text on all viewport sizes.

Left aligned text on viewports sized SM (small) or wider.

Left aligned text on viewports sized MD (medium) or wider.

Left aligned text on viewports sized LG (large) or wider.

Left aligned text on viewports sized XL (extra-large) or wider.

Text wrapping and overflow
Prevent text from wrapping with a .text-nowrap
class.

This text should overflow the parent.

For longer content, you can add a .text-truncate
class to truncate the text with an ellipsis. Requires display: inline-block
or display: block.

Praeterea iter est quasdam res quas ex communi.

Praeterea iter est quasdam res quas ex communi.

.text-primary
.text-secondary
.text-success
.text-danger
.text-warning
.text-info
.text-light
.text-dark
.text-body
.text-muted
.text-white
.text-black-50
.text-white-50
Apply display
utilities to create a flexbox container and transform direct children elements into flex items. Flex containers and items are able to be modified further with additional flex properties.
Responsive variations also exist for .d-flex
and .d-inline-flex
.
.d-flex
.d-inline-flex
.d-sm-flex
.d-sm-inline-flex
.d-md-flex
.d-md-inline-flex
.d-lg-flex
.d-lg-inline-flex
.d-xl-flex
.d-xl-inline-flex
Set the direction of flex items in a flex container with direction utilities. In most cases you can omit the horizontal class here as the browser default is row
. However, you may encounter situations where you needed to explicitly set this value (like responsive layouts).
Use .flex-row
to set a horizontal direction (the browser default), or .flex-row-reverse
to start the horizontal direction from the opposite side.
Use .flex-column
to set a vertical direction, or .flex-column-reverse
to start the vertical direction from the opposite side.
Responsive variations also exist for flex-direction
.
.flex-row
.flex-row-reverse
.flex-column
.flex-column-reverse
.flex-sm-row
.flex-sm-row-reverse
.flex-sm-column
.flex-sm-column-reverse
.flex-md-row
.flex-md-row-reverse
.flex-md-column
.flex-md-column-reverse
.flex-lg-row
.flex-lg-row-reverse
.flex-lg-column
.flex-lg-column-reverse
.flex-xl-row
.flex-xl-row-reverse
.flex-xl-column
.flex-xl-column-reverse
Use justify-content
utilities on flexbox containers to change the alignment of flex items on the main axis (the x-axis to start, y-axis if flex-direction: column
). Choose from start
(browser default), end
, center
, between
, or around
.
Responsive variations also exist for justify-content
.
.justify-content-start
.justify-content-end
.justify-content-center
.justify-content-between
.justify-content-around
.justify-content-sm-start
.justify-content-sm-end
.justify-content-sm-center
.justify-content-sm-between
.justify-content-sm-around
.justify-content-md-start
.justify-content-md-end
.justify-content-md-center
.justify-content-md-between
.justify-content-md-around
.justify-content-lg-start
.justify-content-lg-end
.justify-content-lg-center
.justify-content-lg-between
.justify-content-lg-around
.justify-content-xl-start
.justify-content-xl-end
.justify-content-xl-center
.justify-content-xl-between
.justify-content-xl-around
Use align-items
utilities on flexbox containers to change the alignment of flex items on the cross axis (the y-axis to start, x-axis if flex-direction: column
). Choose from start
, end
, center
, baseline
, or stretch
(browser default).
Responsive variations also exist for align-items
.
.align-items-start
.align-items-end
.align-items-center
.align-items-baseline
.align-items-stretch
.align-items-sm-start
.align-items-sm-end
.align-items-sm-center
.align-items-sm-baseline
.align-items-sm-stretch
.align-items-md-start
.align-items-md-end
.align-items-md-center
.align-items-md-baseline
.align-items-md-stretch
.align-items-lg-start
.align-items-lg-end
.align-items-lg-center
.align-items-lg-baseline
.align-items-lg-stretch
.align-items-xl-start
.align-items-xl-end
.align-items-xl-center
.align-items-xl-baseline
.align-items-xl-stretch
Use align-self
utilities on flexbox items to individually change their alignment on the cross axis (the y-axis to start, x-axis if flex-direction: column
). Choose from the same options as align-items
: start
, end
, center
, baseline
, or stretch
(browser default).
Responsive variations also exist for align-self
.
.align-self-start
.align-self-end
.align-self-center
.align-self-baseline
.align-self-stretch
.align-self-sm-start
.align-self-sm-end
.align-self-sm-center
.align-self-sm-baseline
.align-self-sm-stretch
.align-self-md-start
.align-self-md-end
.align-self-md-center
.align-self-md-baseline
.align-self-md-stretch
.align-self-lg-start
.align-self-lg-end
.align-self-lg-center
.align-self-lg-baseline
.align-self-lg-stretch
.align-self-xl-start
.align-self-xl-end
.align-self-xl-center
.align-self-xl-baseline
.align-self-xl-stretch
Use the .flex-fill
class on a series of sibling elements to force them into equal widths while taking up all available horizontal space. Especially useful for equal-width, or justified, navigation.
Responsive variations also exist for flex-fill
.
.flex-fill
.flex-sm-fill
.flex-md-fill
.flex-lg-fill
.flex-xl-fill
Use .flex-grow-*
utilities to toggle a flex item’s ability to grow to fill available space. In the example below, the .flex-grow-1
elements uses all available space it can, while allowing the remaining two flex items their necessary space.
Use .flex-shrink-*
utilities to toggle a flex item’s ability to shrink if necessary. In the example below, the second flex item with .flex-shrink-1
is forced to wrap it’s contents to a new line, “shrinking” to allow more space for the previous flex item with .w-100
.
Responsive variations also exist for flex-grow
and flex-shrink
.
.flex-{grow|shrink}-0
.flex-{grow|shrink}-1
.flex-sm-{grow|shrink}-0
.flex-sm-{grow|shrink}-1
.flex-md-{grow|shrink}-0
.flex-md-{grow|shrink}-1
.flex-lg-{grow|shrink}-0
.flex-lg-{grow|shrink}-1
.flex-xl-{grow|shrink}-0
.flex-xl-{grow|shrink}-1
Flexbox can do some pretty awesome things when you mix flex alignments with auto margins. Shown below are three examples of controlling flex items via auto margins: default (no auto margin), pushing two items to the right (.mr-auto
), and pushing two items to the left (.ml-auto
).
Unfortunately, IE10 and IE11 do not properly support auto margins on flex items whose parent has a non-default justify-content
value. See this StackOverflow answer for more details.
Vertically move one flex item to the top or bottom of a container by mixing align-items
, flex-direction: column
, and margin-top: auto
or margin-bottom: auto
.
Change how flex items wrap in a flex container. Choose from no wrapping at all (the browser default) with .flex-nowrap
, wrapping with .flex-wrap
, or reverse wrapping with .flex-wrap-reverse
.
Responsive variations also exist for flex-wrap
.
.flex-nowrap
.flex-wrap
.flex-wrap-reverse
.flex-sm-nowrap
.flex-sm-wrap
.flex-sm-wrap-reverse
.flex-md-nowrap
.flex-md-wrap
.flex-md-wrap-reverse
.flex-lg-nowrap
.flex-lg-wrap
.flex-lg-wrap-reverse
.flex-xl-nowrap
.flex-xl-wrap
.flex-xl-wrap-reverse
Change the visual order of specific flex items with a handful of order
utilities. We only provide options for making an item first or last, as well as a reset to use the DOM order. As order
takes any integer value (e.g., 5
), add custom CSS for any additional values needed.
Responsive variations also exist for order
.
.order-0
.order-1
.order-2
.order-3
.order-4
.order-5
.order-6
.order-7
.order-8
.order-9
.order-10
.order-11
.order-12
.order-sm-0
.order-sm-1
.order-sm-2
.order-sm-3
.order-sm-4
.order-sm-5
.order-sm-6
.order-sm-7
.order-sm-8
.order-sm-9
.order-sm-10
.order-sm-11
.order-sm-12
.order-md-0
.order-md-1
.order-md-2
.order-md-3
.order-md-4
.order-md-5
.order-md-6
.order-md-7
.order-md-8
.order-md-9
.order-md-10
.order-md-11
.order-md-12
.order-lg-0
.order-lg-1
.order-lg-2
.order-lg-3
.order-lg-4
.order-lg-5
.order-lg-6
.order-lg-7
.order-lg-8
.order-lg-9
.order-lg-10
.order-lg-11
.order-lg-12
.order-xl-0
.order-xl-1
.order-xl-2
.order-xl-3
.order-xl-4
.order-xl-5
.order-xl-6
.order-xl-7
.order-xl-8
.order-xl-9
.order-xl-10
.order-xl-11
.order-xl-12
Use align-content
utilities on flexbox containers to align flex items together on the cross axis. Choose from start
(browser default), end
, center
, between
, around
, or stretch
. To demonstrate these utilities, we’ve enforced flex-wrap: wrap
and increased the number of flex items.
Heads up! This property has no effect on single rows of flex items.
Responsive variations also exist for align-content
.
.align-content-start
.align-content-end
.align-content-center
.align-content-around
.align-content-stretch
.align-content-sm-start
.align-content-sm-end
.align-content-sm-center
.align-content-sm-around
.align-content-sm-stretch
.align-content-md-start
.align-content-md-end
.align-content-md-center
.align-content-md-around
.align-content-md-stretch
.align-content-lg-start
.align-content-lg-end
.align-content-lg-center
.align-content-lg-around
.align-content-lg-stretch
.align-content-xl-start
.align-content-xl-end
.align-content-xl-center
.align-content-xl-around
.align-content-xl-stretch


Cuzco: Pre-Hike Acclimation
During a winter holiday break in my graduate architecture studies, my parents treated my family to a once in a lifetime 3-day,
25-mile hike along a portion of one of the surviving Inca roads to the mountain city of Macchu Picchu.Even though the Peruvian government
strictly regulates tourism along the mountainous hike to both ensure the safety of visitors,
as well as, to provide a much needed source of income for the native Quechua people, a period of acclimation to the high elevations
is vital for successfully completing the trek. Only 12 hours removed from sea level in New Orleans, the simple act of walking a
block down the street was enough to cause lightheadedness and shortness of breath. Most travellers spend a few days in Cuzco beforehand.
The former Inca capital is a somewhat chaotic city of 350,000 which sits over 2 miles above sea level. When the Spanish conquistadors
took control of the former Inca capital, the city was organized in typical Spanish style with a large administration building which
fronts an equally large Plaza Mayor, from which the rest of the city radiated outward. Textile shops and restaurants were fairly
plentiful for tourists, and the day before we began our journey, we visited the Christmas Eve outdoor market, where native Quechua
fill the Plaza Mayor to sell wares of all kinds.
Day 1: The Trek Begins
On the first day of our journey, a bus transported us from Cuzco to Ollantaytambo, an Incan city located at a lower, seemingly
more arid elevation. We did not spend more than a few minutes in the city before meeting our guide, Ernesto, having our passports
stamped by a government official, and heading out. Having become accustomed to the 2 mile altitude of Cuzco, the first day's walk
was not very strenuous, even with the addition of the 40 lb. backpack containing my water and personal belongings. The sight of
the surrounding mountains was both beautiful and unobstructed, and the day was warmer and more pleasant than the last few spent in
Cuzco. After several hours of hiking, we stopped to eat and camp on a fairly flat portion of a mountain, which had a brilliant
view of the sun dipping behind some neighboring peaks. Dinner was featured Peruvian staples like quinoa and a number of potatoes,
and afterward, we met the rest of the assistant guide and the rest of the crew, who were transport and set-up the tents and cooking
gear while we travelled at a more leisurely pace. Soon after, rain began falling rather hard, and with having hiked several miles
that day, it was not a difficult decisions to retreat to our tents.
Day 2: Rain and Dead Woman's Pass
By morning, the ground was still wet, but the clouds had retreated for another breathtaking view, albeit with considerably
different shadows this time. After breakfast, we started our climb towards the highest elevation point of the trip, Dead Woman's
Pass, which rises to almost 14,000 feet feet above sea level. The path rose steadily higher with fewer and fewer breaks between
the impressively hewn stone steps as the climb went on. Initially, it was impossible not to wonder at the impressive mountain
peaks dotted with groups of llamas and alpacas and interspersed with the occasional modern and Incan structure. Within a couple
hours, the climb became more intense, and the rain returned, so pauses became relegated to catching one's breath from the seemingly
enless staircase. However, it only became more wonderous whenever one of our crew would race by us clad in shorts and sandals
lugging packs twice their size with ease. By midday, we reached the windy pass and paused long enough for a picture. Afterward,
we began the descent, stopping briefly for lunch, during which, the slowed to a steady drizzle which continued throughout the day.
By night time, we were cold, wet, and exhausted, so activities were limited to dinner and sleep.
Day 3: Rain Again
When we awoke, the rain had not abated overnight, as it had the previous day. Before lunch, we alternated between ascending
and descending, with Incan ruins becoming both larger and more prevalent along the way. We stopped and explored each outpost, with
Wiñaywayna, the largerst and most impressive perched atop the last great peak before we began the long descent down towards Macchu
Picchu. I was incredibly dismayed at this point because heavy clouds completely obstructed what I was certain was a gorgeous view.
As we climbed down, the rain maintained, but the temperature rose significantly. At camp, there was more than just tents, as a
surprisingly sizeable lodge stocked with somewhat unimpressive Peruvian beer had been constructed for hikers to celebrate their
collective accomplishment. One could only celebrate so much though, as over 20 miles in the Andes and the following day's 4 a.m.
wake-up time limited getting too wild.
Day 4: Macchu Picchu
Initial grogginess from the early wake-up time abated surprisingly quickly as the realization of our goal was in sight. After a
quick breakfast, we said goodbye and thanked our entire crew, save Ernesto, and began the final trek in the dark. After only a couple
brief hours, we reached a closed gate and told to wait for a while. By this time, the rain had stopped, and the sun began to rise,
but the clouds had not cleared for our entrance through the Gate of the Sun, which is reported to be majestic when passed through as
the sun rises over the mountains and city. By this time, I had pretty much given up hope for the sun to make another appearance, when
as we began the final descent with the city in view, the entire sky cleared to reveal what is undoubtedly one of the greatest views
anyhwere on this planet. The city which had at one time provided anonymity and refuge for several hundred people from Spanish conquest,
was carved directly from the steep face of a mountain and provided almost unobstructed vantagepoints for the river valley at its base
and the surrounding mountains for miles around. Although a handful of the stone blocks had begun to shake loose from their original
positions, the vast majority remained so tightly fit together as to prevent something the thickness of a credit card entry between them.
After a few hours of peacefully experiencing the majesty of the city, the hordes of visitors who took the train were admitted, received
our passport exist stamps, and said our goodbyes to Macchu Picchu, undoubtedly the eighth wonder of the world.


{% load i18n %} {% block shipping-info %}
{% trans "If different from the first and last names above" %}
Loading...


{% extends 'account/base.html' %} {% load i18n %} {% load bootstrap3 %} {% block head_title %}{% trans "Suggest a Tag" %}{% endblock %} {% block title %}{% trans "Suggest a Tag" %}{% endblock title %} {% block main_content %} {% trans "Tag Suggestion Form" %} {% csrf_token %} {{form.as_table}} Please note: tag suggestion would not occure right away, we will keep you updated after review, thank you for your suggestion! Submit Tag Suggestion {% trans "Back to Map" %}
Please note: tag suggestion would not occure right away, we will keep you updated after review, thank you for your suggestion!
Are you sure to submit this tag?


Agenda
- WhoAmI
- ASCII and ISO-8859
- Unicode
- Unicode encodings
- Security implications 101
- Real world examples
- Summary + QA
ASCII
- American Standard Code for Information Interchange
- Established in 1963
- 7-Bit character set
- Only 128 characters
- 0000000 – 1111111
- A: (65)₁₀ = (41)₁₆ = (1000001)₂
- a: (97)₁₀ = (61)₁₆ = (1100001)₂
ISO-8859-?
- ASCII compatible 👍
- 8-Bit character set
- 256 characters
- 00000000 – 11111111
- 8859-2: (Central Europe)
Unicode
- Since 1991
- MultiByte character set
- Fully ASCII and ISO-8859 compatible 👍
- Different encodings (UTF-8, UTF-16, UTF-32, EBCDIC, …)
Unicode
- U+0000 – U+10FFFF
- U+0000 – U+007F: ASCII
- U+0080 – U+00FF: ISO
- U+0000 – U+FFFF (BMP: Basic Multilingual Plane) = 65536 characters
- U+010000 – U+10FFFF (Astral Planes) = Over a million
Security Implications - Length of UTF8 String
size_t length = measure(str1) + measure(str2) + 1;
char *concat = malloc(sizeof(char) * length);
if(concat == NULL) { // error }
snprintf(concat, length, "%s%s", str1, str2);
int measure(char *string) {
// allocate enough memory to hold the wide string
size_t needed = mbstowcs(NULL, string, 0) + 1;
wchar_t *wcstring = malloc(needed * sizeof *wcstring);
if (!wcstring) return -1;
// change encodings
if (mbstowcs(wcstring, string, needed) == (size_t)-1) return -2;
// measure width
int width = wcswidth(wcstring, needed);
free(wcstring);
return width;
}
Security Implications - JavaScript Compare
Security Implications - JavaScript Compare
Security Implications - JavaScript Compare
Security Implications - JavaScript RegEx
Security Implications - JavaScript RegEx
Security Implications - JavaScript RegEx
Security Implications - MySQL vs. UTF-8
Security Implications - MySQL vs. UTF-8
Security Implications - MySQL vs. UTF-8
Security Implications - MySQL vs. UTF-8
Abusing Unicode to attack a victim
Anything suspicious?
Anything suspicious?
IDN Domains
IDN Domains and Mailing
IDN Domains – Find good ones
IDN $$$
Left or right?
Left or right?

Crashing every iOS and OS X device
- Even Facebook implemented filter withtin Messenger
Frontend 💔 Backend
Frontend 💔 Backend
Spotify account hijacking
Spotify account hijacking
1. User: ᴮᴵᴳᴮᴵᴿᴰ triggers forgot password
1. Forgot password:
>>> canonical_username(u'\u1d2e\u1d35\u1d33\u1d2e\u1d35\u1d3f\u1d30')
u'BIGBIRD'
2. Click on password reset Link in Mail:
>>> canonical_username(canonical_username(u'\u1d2e\u1d35\u1d33\u1d2e\u1d35\u1d3f\u1d30'))
u'bigbird'
Phabricator Bypass
Phabricator Bypass
Phabricator Bypass
PILE OF POO
Summary
For developer:
- Verify that methods, functions, frameworks can handle Unicode
- Input validation should also handle Unicode characters
- Verify that all system and interconnection can handle Unicode
For Hunters:
- Go and inject 💩
- Automate it / Implement it in tools
Acknowledgment
- Mathias Bynens @mathias
- @FakeUnicode
Thanks for your time :)


Verb
Object
Target
Limit to
most recent
Loading, can take a few seconds if you have a lot of activities...


[1] Feature-rich easy on both the style and performance that charges nighty not AS good external speaker very low volume when closed.
[2] Feature-rich easy on both the tv or anywhere in our home cannot hear my smartphone the decision although a moto Rival i like your belt.


Logo
Home
Myself
School
Login>
User Login
Username
Email
Password
Personal information
NAME
ZHONGJIAXIN
PHONE
18280327015
EMAIL
<EMAIL_ADDRESS>BIRTHDAY
1995-08-25
ADDRESS
Chengdu shuangliu


07.Write a function that returns the index of the first element in array that is bigger than its neighbors, or -1, if there’s no such element.
-Use the function from the previous exercise.
Reload the page to generate another result.


Full Stack Software Developer with 10+ years of experience in designing and developing web and mobile applications using Javascript, Typescript, Angular, Ionic Framework, React and React Native, Node, Express, Feathers, Mongo, MySQL and PostgreSQL.
Did Customer Service, Sales and Technical Support for 5+ yrs.
Positive mental attitude, self motivation, pro-activity and non-stop education. All of them are about me.


|
| string | DidIntlNumber [get, set] |
| | DID number Format. More...
|
| |
| string | DidHash [get, set] |
| | DID unique ID. More...
|
| |
| string | CliCountryCode [get, set] |
| | CLI country code if available, ISO 3166-1 alpha-2 country code (eg “FR” for France). More...
|
| |
| string | CliNumberType [get, set] |
| | CLI number type if available. More...
|
| |
| int | Callid [get, set] |
| | Unique call id. More...
|
| |
| string | CliPres [get, set] |
| | CLI presentation (possible values are defined in ThecallrApi.Enums.CliPresentations class). More...
|
| |
| string | CliNumber [get, set] |
| | CLI number if available. More...
|
| |
| string | CliName [get, set] |
| | CLI name if available. More...
|
| |
| DateTime | Start [get, set] |
| | Call start date and time. More...
|
| |
| DateTime | Answer [get, set] |
| | Call answer date and time. More...
|
| |
| DateTime | Hangup [get, set] |
| | Call hangup date and time. More...
|
| |
| string | Hangupsource [get, set] |
| | Hangup source (possible values are defined in ThecallrApi.Enums.CdrHangupSources class). More...
|
| |
| string | Hangupcause [get, set] |
| | ISDN cause code. More...
|
| |
| int | Duration [get, set] |
| | Call total duration in seconds. More...
|
| |
| int | DurationAnswered [get, set] |
| | Call answered duration in seconds. More...
|
| |
| int | DurationBilled [get, set] |
| | Call billed duration in seconds. More...
|
| |
| string | BillingCustomerCostLabel [get, set] |
| | Billing destination name. More...
|
| |
| decimal | BillingCustomerDebitEur [get, set] |
| | Call debit in EUR cents. More...
|
| |
| decimal | BillingCustomerCreditEur [get, set] |
| | Call credit in EUR cents Format.  More...
|
| |
This class represents an Inbound Call Detail Records.


import time
from random import randrange as rr
from functools import wraps
[docs]def run_trials(func, trials=3):
"""Runs a set of trials given a function and trial number.
The `func` in question is expected to use the test_speed decorator
to do the actual profiling."""
for num in range(trials):
print('Running trial #{}'.format(num))
func(num)
print('------------------------\n')
[docs]def run_sorting_trials(
sorting_func, magnitudes=[10, 100, 1000], test_output=True):
"""Runs a bunch of trials of various magnitudes with a given
func, using randomly generated numbers.
Returns a dict of results for later inspection.
Tailored specifically for sorting functions, by
generating randomly mixed sequences of numbers."""
results = {
'function': sorting_func.func_name if hasattr(
sorting_func, 'func_name') else 'builtin'
}
for magnitude in magnitudes:
start = time.time()
items = [rr(0, 999) for _ in range(magnitude)]
sorted_res = sorting_func(items)
end = time.time()
results[magnitude] = {'time': end - start}
if test_output:
results[magnitude]['correct'] = sorted(items) == sorted_res
return results
[docs]def test_speed(func, *args, **kwargs):
"""Decorator that wraps a function and provides a timer
+ results output for execution profiling."""
@wraps(func)
def _inner(*args, **kwargs):
divider = '~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'
print(divider)
print('starting... {}'.format(func))
start = time.time()
res = func(*args, **kwargs)
end = time.time()
print('function took {}s'.format(end - start))
print(divider)
return res
return _inner


Enhances the 'R' Optimization Infrastructure ('ROI') package with a connection to the 'neos' server. 'ROI' optimization problems can be directly be sent to the 'neos' server and solution obtained in the typical 'ROI' style.
| Version: | 0.3-0 |
| Imports: | stats, methods, utils, ROI (≥ 0.3-0), xmlrpc2, xml2 |
| Suggests: | slam |
| Published: | 2018-06-19 |
| Author: | Ronald Hochreiter [aut], Florian Schwendinger [aut, cre] |
| Maintainer: | Florian Schwendinger <FlorianSchwendinger at gmx.at> |
| License: | GPL-3 |
| URL: | http://R-Forge.R-project.org/projects/roi |
| NeedsCompilation: | no |
| CRAN checks: | ROI.plugin.neos results |
| Reference manual: | ROI.plugin.neos.pdf |
| Vignettes: |
ROI Plug-in NEOS |
| Package source: | ROI.plugin.neos_0.3-0.tar.gz |
| Windows binaries: | r-devel: ROI.plugin.neos_0.3-0.zip, r-release: ROI.plugin.neos_0.3-0.zip, r-oldrel: ROI.plugin.neos_0.3-0.zip |
| OS X binaries: | r-release: ROI.plugin.neos_0.3-0.tgz, r-oldrel: ROI.plugin.neos_0.3-0.tgz |
Please use the canonical form https://CRAN.R-project.org/package=ROI.plugin.neos to link to this page.


Note: You are viewing the Sails.js v0.9.0 documentation. If you're looking for information on v0.8.x, please visit here.
Assets refer to anything (js, css, html, images, etc) that needs to be accessible to the outside world.
The assets
folder is where all of your assets will go, and will be served as static assets.
If you have experience with Express, it is equivalent to the public
folder (the same as in Sails 0.8.x).
However, Sails does do a few extra things to help you out: - Automatic LESS compilation - Automatic JST compilation - Optional automatic asset injection, minification, and concatenation
In order to take advantage of asset injection, minification, and concatenation you must put your assets in folder under
assets/linker
. Any asset you put in linker
will be automatically injected based on special flags in your views.
<!--SCRIPTS-->
All .js files in assets/linker/js will be included here
In production mode, they will all be concatenated and minified
<!--SCRIPTS END-->
<!--STYLES-->
All .css files in assets/linker/styles (including automatically compile ones from LESS) will be included here
In production mode, they will all be concatenated and minified
<!--STYLES END-->
<!--TEMPLATES-->
All *.html files will be compiled as JST templates and included here.
<!--TEMPLATES END-->
Jade templates are also supported
// SCRIPTS
// SCRIPTS END
// STYLES
// STYLES END
// TEMPLATES
// TEMPLATES END
If you did not create an application with the --linker
option, you will need to create the following file structure
and also add the special flags metioned above into the desired views:
assets/
linker/
js/
styles/
templates/
Since the order of styles and scripts is important, you can change the order of injection by opening your
Gruntfile.js
file. You will see three arrays at the top of the file where you can use Grunt-style
wildcard/glob/splat expressions to order your assets.
Here is an example:
module.exports = function (grunt) {
'use strict';
...
var jsFilesToInject = [
// Need this order for these libraries to work correctly
'linker/js/vendor/jquery.js',
'linker/js/vendor/underscore.js',
'linker/js/vendor/backbone.js',
// Inject all of js assests after
'linker/**/*.js'
];
...
}


These select a primary modulation source for modulating the volume of each {_amplifier}. These sources are the {_envelope envelopes}, but there is also a "fixed" setting that provides a constant 1 {_unit} value, which is useful when the {_patch} uses Amplifier B to adjust the mix between the A and B {_oscillator oscillators}.
These are contained in the {Amplifier_mod_cluster Amplifier mod clusters} within the {Amplifier_section}.
These are contained in the VOLUME section of the right panel, under the following parameter numbers:
| mod 1 | mod 2 | |
| {sw-46.png height=48} | {sw-48.png height=48} |
They appear in the display as Amp Mod1/2 Select.
These are accessed via the following {_NRPN NRPNs}:
| mod 1 | mod 2 | ||
| A | 1,70 | 1,72 | |
| B | 2,70 | 2,72 |
| MIDI | display | ||
| 0 | envelope 1A | (mod 1 default) | |
| 1 | envelope 2A | ||
| 2 | envelope 1B | (mod 2 default) | |
| 3 | envelope 2B | ||
| 4 | fixed |


Constraint Validation DOM Methods
The checkValidity() Method
OK
Constraint Validation DOM Properties
Validity Properties


cbm_pop_alg_mdvrp¶
-
class
CBMPopAlgorithmMDVRP
(params, ns_)[source]¶ Bases:
cbm_pop_lib.cbm_pop_algorithm.CBMPopAlgorithm
-
action
(mdvrp, o, p1)[source]¶ Implementation of specific action calls for this problem (classic MDVRP with precedence constraints).
Parameters: - mdvrp (MDVRP) – MDVRP problem instance
- o (int) – operator to apply
- p1 (Chromosome) – a solution to modify
Returns: modified solution
Return type:
-
init_agent_states
()[source]¶ States:
s1 – crossover operator has been applieds2 – diversification operator has been applieds3 – intensification operator two_opts4 – intensification operator two_swaps5 – intensification operator one_moves6 – all intensification operators have been applied without modifying the solution
-


--- title: About Butler linkTitle: About menu: main: weight: 10 --- {{< blocks/cover title="About Butler" image_anchor="bottom" height="min" >}}
A set of utilities making it easier to develop well integreated solutions with Qlik Sense.
{{< /blocks/cover >}} {{% blocks/section %}}
Butler was born out of a need to solve a set of specific challenges around using Qlik Sense together with other software tools.
Initially Butler offered a REST API for sending [Slack](https://slack.com) messages from the Sense load script,
but over the years more features have been added and Butler today offers a diverse set of features.
Some features are offered via a REST API (trigger app reloads, send Slack messages, send MQTT pubsub messages etc),
while others hook into the Sense logging framework to get notifications when tasks fail, users log on/off or any
other log events occur.
The logging framework integration is pretty interesting: It makes it easier to get notifications from Sense *as they happen*,
rather than minutes or hours later (as might be the case when relying on polling APIs or reloading the Operations Monitor app).


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TABLE OF INTERACTIONS WITH
ABIRATERONE
from the French ANSM drug interactions document, September 2016, p. 2
ABIRATERONE RxNorm: 1100072 ATC: L02BX03 |
ANTICONVULSANT ENZYMATIC INDUCERS CLASS CODE: N03A-001 |
Notable decrease of the plasma concentrations of the abiraterone, with risk of lower effectiveness |
Not recommended |
ABIRATERONE RxNorm: 1100072 ATC: L02BX03 |
FLECAINIDE RxNorm: 4441 ATC: C01BC04 |
Risk of increase of the undesirable effects of the flecainide, due to decrease of its hepatic metabolism by the abiraterone. |
Precaution for use Clinical monitoring. If needed, adjustment of the dosage of the flecainide during the treatment with the abiraterone |
ABIRATERONE RxNorm: 1100072 ATC: L02BX03 |
METOPROLOL RxNorm: 6918 ATC: C07AB02 C07FB02 C07CB02 C07BB02 |
With the patient having heart failure, risk of increase of the undesirable effects of the metoprolol, due to decrease of its hepatic metabolism by the abiraterone. |
Precaution for use Clinical monitoring. If needed, adjustment of the dosage of the metopolol during the treatment with the abiraterone |
ABIRATERONE RxNorm: 1100072 ATC: L02BX03 |
PROPAFENONE RxNorm: 8754 ATC: C01BC03 |
Risk of increase of the undesirable effects of the propafenone, due to decrease of its hepatic metabolism by the abiraterone |
Precaution for use Clinical monitoring. If needed, adjustment of the dosage of the propafenone during the treatment with the abiraterone |
ABIRATERONE RxNorm: 1100072 ATC: L02BX03 |
RIFAMPICIN RxNorm: 9384 ATC: J04AB02 |
Substantial decrease of the plasma concentrations of the abiraterone, with risk of lower effectiveness |
Not recommended |


Dylan Hernadez
About
Portfolio
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JavaScript Example
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Fixed Code
JavaScriptExample2
Giphy API


Brain Think
-
thoughtful: 缜密思考过的；深思熟虑的showing signs of careful thought 体贴的；关心别人的；关切的 showing that you think about and care for other people
-
reflection: 沉思；深思；审慎的思考 careful thought about sth, sometimes over a long period of time
-
consider: （尤指为作出决定而）仔细考虑，细想 to think about sth carefully, especially in order to make a decision
-
reconsider: 重新考虑；重新审议to think about sth again, especially because you might want to change a previous decision or opinion


About Me "The Coding Dietitian"
I began my journey by pursuing a career in the health field as a Registered Dietitian. After some time I began to feel like I had more to contribute to the field and felt limited by my current knowledge and skill set. I have always had a strong passion for anything tech related. Technology plays an integral role in our health system. Moving forward, the role of tech integrated healthcare will only continue to flourish. This realization has pushed me to furthur my skill set and learn software development. With this knowledge I can combine my two passions and help craft the future of technology.


| Struts 2 > Alt Syntax |
The altSyntax is an option that can be defined in struts.properties. By default it is set to true and it is strongly recommend you do not change that unless you are upgrading from WebWork 2.1.7 or previous versions.
| Migration tip You can also turn on the altSyntax on a per-page basis by using the set tag. Simply set the name useAltSyntax to the value true. From this point on, all tags will use the altSyntax for the rest of the request. |
The altSyntax changes the behavior of how tags are interpreted. Instead of evaluating each tag parameter against the value stack and needing single quotes to mark string literals, only marked expressions are evaluated.
Example:
the following code uses the Tag Syntax:
<ww:iterator value="cart.items"> ... <ww:textfield label="'Cart item No.' + #rowstatus.index + ' note'" name="'cart.items[' + #rowstatus.index + '].note'" value="note" /> </ww:iterator>
this is somewhat counter intuitive to normal HTML tag behaviour, and you get loads of single quotes. Now the same example in altSyntax:
<ww:iterator value="cart.items"> ... <ww:textfield label="Cart item No. %{#rowstatus.index} note" name="cart.items[%{#rowstatus.index}].note" value="%{note}" /> </ww:iterator>
Only expressions enclosed with %{} are evaluated. The code is shorter and clearer, very similar to JSTL EL usage. Quoting problems, eg. with javascript function calls, are avoided.
In order to fully understand why this option exists and what the differences are, it is best to get a bit of history about WebWork.
| If you are not upgrading from WebWork 2.1.7 or previous versions and you don't care about the history of WebWork's evolution, you can skip this section. See the Tag Syntax section for more information on the standard tag syntax support |
In WebWork 2.1.4, the altSyntax option was introduced. The book, WebWork in Action, while based around WebWork 2.1.7, was entirely written with the assumption that the altSyntax was enabled. As of WebWork 2.2, the altSyntax is turned on by default and eventually the old syntax will no longer be supported and will be removed from the code.


The Table Editor application is designed to create table views which are displayed on operator's workstation. Table Editor is used by engineers during Rapid SCADA configuration.
Figure 1. Table Editor application
Choose the channels from the configuration database in the left pane of the window, and add them to the table view. The contents of the table view is displayed in the right pane.
There are two options how to bind output channels to items of a view:
Hidden items of a table view are not displayed but they affect event filtering by view in the Webstation application.


PICTURES and FULL list of winners at Zimbabwe Young Achievers Awards UK
Varaidzo Kativhu (Miss Varz), a 21-year-old Zimbabwean student who is studying Classical Archaeology and Ancient History at Oxford University and has amassed over 91 000 subscribers on her YouTube channel, was among various young Zimbabweans who were honoured in the UK.
by Lance GumaUpmarket Zimbabwean restaurant eKhaya, in Dudley, West Midlands was the setting for the Zimbabwe Young Achievers Awards on Saturday which honoured people like musician and actor John Falsetto, footballer Marvelous Nakamba, graphic designer David Zinyama and others.
The big winner on the night was acrylic painter ‘Lavish Too Nice’, a talented artist with a brush who won three awards on the night. A few months ago he did a painting of Enzo Ishall on a pair of sneakers that he gave to the Zimdancehall artist when he came to the UK for a show.
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Lavish has also won acknowledgement from the likes of UK rappers Stormzy, Michael Dapaah (Big Shaq), Coach K, Krept, Sneakbo among others. Another winner was Zimbabwean music producer Rodney ‘Rymez’ Hwingwiri who has made hits for British rapper/singer Stefflon Don.
The awards, which last year brought singer Baba Harare as their headline performer, were set up to celebrate and recognise exceptional young Zimbabweans in the UK.
The award for Upcoming Musician of the Year was shared between ZimChild and Vimbai Rose, the daughter of the late singer Culture T, (member of reggae outfit Transit Crew). Culture T died in the UK in 2006 and Vimbai’s mother used the time for her speech to remind the crowd of his legacy.
Below is a list of the winners
Outstanding Contribution to Arts and Entrepreneurship
John Falsetto
Outstanding Contribution to Arts and Entrepreneurship
David Zinyama
Outstanding Contribution to Zimbabwe
Joe Ndebele and Jubilee Pig Farm
Outstanding Contribution to Social Change
Paida Moyo
Outstanding Contribution to Music
Rymez
Inspirational Young Person of the Year
Kudzie Mutasa
Outstanding Young Person of the Year
Miss Varz (Vee Kativhu)
Male Entrepreneur of the Year
Lavish Too Nice*
Female Entrepreneur of the Year
Pontso Dlamini (Popcorns Kitchen)*
Photographer / Videographer of the Year
Jeremiah MXPS*
Social Media Influencer of the Year
Samantha Kashh*
Media Personality of the Year
Gearbox*
DJ of the Year
DJ Fistoz*
Event of the Year
GrillYard – Prince Kaybee*
Event Organiser of the Year
Grillyard*
Charitable Efforts of the Year
Ngcono Mbowane Foundation*
Business of the Year
Mama’s Kitchen*
Community Champion of the Year
Samantha Tshuma*
Dancer of the Year
Dance with Joe*
MUA of the Year
Beauty with Taffy*
Young Professional of the Year
Sharon Ngwena*
Rising Star of the Year
Lavish Too Nice*
Upcoming Musician of the Year
ZimChild*
Vimbai Rose*
Fashion Brand of the Year
Lavish Too Nice*
Afrokini*
People’s Choice Award
Ndebeles Connect Chat Show*
Sportsperson of the Year
Marvelous Nakamba*
The awards are the brainchild of multi-talented media personality Korrine Sky. She is not only a Brand Ambassador, Fashion Blogger, e boutique owner but she has now taken up being a DJ.
Inspired by the motto “Our youth is our future” the purpose of the awards is to create a sense of responsibility, innovation and creativity among young Zimbabweans in the UK. Nehanda Radio