Uni Connect a JA company
Giving students guidance for their academic future, through connections and personalized information.
Uni Connect will allow you to connect and interact with current university students in Ontario to find the best school and program for you.
About Us
Uni Connect is a small startup created by high school students in the JA Company Program whose sole purpose is to provide
other high school students with the information that they need to provide a smooth transition into university.
Our main avenue is through providing a secure and simple method of providing an in depth Q and A on any question that a future
university student might have. This is done through an indirect approach, the high school student fills out a form with their
preferred university and program as well as one or more questions that they would like answered by a student in this program.
We will direct this to said student, and they will send us a video response. At this point the high school student
will then be given the video on payment of a small fee of which the majority will go to the university student in payment.
This process is as secure as the software we used.
About JA
Our online programs give students in grades 3-12 the tools to become financially capable adults and entrepreneurs.
Working with Corporate Partners, we create important connections to the workforce through online tools. webinars and experiential learning.
https://www.jacentralontario.org/


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The production in each Location of Salmon Cookies shop
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| col 3 is | some wordy text | $1600 |
| col 2 is | centered | $12 |


Eastern US in crosshairs for another major storm
by Alex SosnowskiA stormy weather pattern has evolved in the eastern United States during the second week of December, and forecasters say it's likely to culminate in a significant weather system later this week.
Despite a blast of Arctic air and an episode of wintry precipitation at midweek, temperatures are forecast to quickly rebound ahead of the next major storm in most but not all areas of the East Friday and Saturday.
AccuWeather meteorologists expect a narrow zone of heavy snow to develop on the back side of the storm, but most areas can expect a dose of rain rather than snow over the eastern third of the nation.
Instead of an intense storm traveling up the spine of the Appalachians or hugging the coast with cold air nearby and heavy snow in the eastern part of the Ohio Valley, a more moderate storm will travel in the swath between the Appalachians and the Atlantic coast during Friday and Saturday.
Enough cold air will remain rooted in parts of the East to allow for some wintry precipitation and travel.
Some snow is forecast to fall on the central Great Lakes with a wintry mix for a time in northern New England. However, a more dangerous form of precipitation is forecast for a narrow zone across the interior, including parts of the South.
A shallow wedge of cold air is likely to linger long enough in the lower part of the atmosphere to allow freezing rain from upstate South Carolina to western North Carolina, northwestern Virginia, eastern West Virginia and parts of western and central Pennsylvania. Timing and duration of this ice event is key as to the severity of impact.
"Since the freezing rain is probably going to begin later Thursday night and last for several hours over the Carolina and southern Virginia Piedmont, these areas stand the greatest risk of a significant buildup of ice," AccuWeather Senior Meteorologist Eric Leister said.
"These same locations may have ice accrue to a thickness of 0.10 to 0.25 of an inch," Leister added.
At this thickness, there may be enough ice to weigh down some tree limbs to the point where they break and potentially bring down power lines.
"Farther north, the freezing rain is likely to hold off until the daylight hours on Friday or early Friday evening," Leister said.
At the same time, warmer air will be surging in aloft and will limit the duration and buildup of ice.
"Because the air aloft will be constantly warming during the storm, the duration of ice is likely to much shorter across Pennsylvania as opposed to North Carolina," Leister explained.
Even a thin coating of ice can be extremely dangerous for motorists and pedestrians. Black ice could be a major threat to motorists along much of the Interstate 81 corridor from northeastern Tennessee to south-central Pennsylvania. Portions of I-40, I-64, I-66, I-68, I-70, I-77, I-77, I-80 and I-99 will be within the zone of potential ice as well.
Rain from the storm will be nothing short of drenching in most areas. On the order of 1-2 inches with locally higher amounts will fall in 6-18 hours. An AccuWeather StormMax™ of 3 inches is forecast. At this rate, the rain can be heavy enough to cause street flooding.
Flooding along small streams and some rivers is also a concern with this late-week storm as the drenching rain will follow only a few days after a soaking from the storm at the start of the week. This is especially possible where the snow cover was wiped out or greatly reduced by the early-week storm from northern Pennsylvania to central Maine.
The same storm will also soak part of the Deep South, where abnormally dry to moderate drought conditions have persisted in recent weeks.
A much lower amount of rain is likely over the central and southern part of the Florida Peninsula, compared to much of the Eastern states with the storm. It is possible that the zone from Naples to Miami and Fort Lauderdale barely gets a brief shower from Friday to Saturday.
Download the free AccuWeather app to check the forecast in your area. Keep checking back on AccuWeather.com and stay tuned to the AccuWeather Network on DirecTV, Frontier and Verizon Fios .


| a | audio |
| br | vibrate |
| cpt | canplaytype |
| dc | rtcdatachannel |
| dm | devicemotion |
| do | deviceorientation |
| fs | fullscreen |
| g | getusermedia |
| geo | geolocation |
| gum | getusermedia |
| i | inputtypes |
| l | geolocation |
| location | geolocation |
| map | track/map |
| mr | mediarecorder |
| n | notification |
| nt | navigationtiming |
| pc | rtcpeerconnection |
| rt | resourcetiming |
| scripted | video/scripted |
| sources | getusermedia/sources |
| sw | serviceworker |
| t | track |
| ua | useragent |
| v | video |
| ve | video/events |
| wa | webaudio |
| ws | webaudio |
| yt | video/youtube |


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Unity
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Controls the tear. More...
Public Member Functions | |
| void | SetEmotion (string emotion) |
| Sets tear state. More... | |
Private Member Functions | |
| void | Start () |
| Called before the first frame update. More... | |
| void | Update () |
| Called once per frame. More... | |
Private Attributes | |
| Animator | animator |
| Animator object. More... | |
| readonly int | SAD = 1 |
| Universal integer for SAD. More... | |
| readonly int | NOT_SAD = 0 |
| Universal integer for NO EXPRESSION. More... | |
Controls the tear.
Handles the tear and its animation
Definition at line 15 of file TearController.cs.
| void TearController.SetEmotion | ( | string | emotion | ) |
Sets tear state.
| emotion | Possible values: HAPPY, SAD, ANGRY, SURPRISED, IDLE, SPEAKING |
Definition at line 63 of file TearController.cs.
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private |
Called before the first frame update.
Definition at line 40 of file TearController.cs.
References animator.
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private |
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private |
Animator object.
Instance of the Animator class. Holds an animator controller which in turn holds animations and handles the switches between them.
Definition at line 21 of file TearController.cs.
Referenced by SetEmotion(), and Start().
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private |
Universal integer for NO EXPRESSION.
Triggers the tear to turn off
Definition at line 32 of file TearController.cs.
Referenced by SetEmotion().
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private |
Universal integer for SAD.
Triggers objects and animations tied to the SAD look
Definition at line 32 of file TearController.cs.
Referenced by SetEmotion().


Using JFTP, you can transfer files in
ASCII
,
Binary/Image
or
Auto-Detect
mode. Failing to transfer a file in correct mode may corrupt the file
and it may become useless on the target system.
All files that contain plain text must be transferred in
ASCII
mode. Examples of such files would be TXT, HTML, JSP, or XML files.
All files that contain binary data must be transferred in
Binary/Image
mode. This would include EXE, BMP, GIF, JPG or ZIP files.
The
Auto-Detect
(automatic detection) mode becomes handy when you have to transfer
multiple files and directories (a few hundreds or even thousands). In
this case, separating the files that are to be transferred in ASCII
mode and Binary mode becomes a real pain. To overcome this problem,
JFTP provides a place where you can specify what transfer mode to use
for what files. (Click
here to learn how to configure transfer modes based on the file's
extension). When you set the transfer mode to
Auto-Detect
, JFTP automatically determines the transfer mode for a given file and
transfers the file in correct mode, thus saving time and reducing the
chances of corrupting the files.
When you start JFTP, the transfer type is always set to
Auto-Detect
. To change the transfer mode to ASCII, select
Transfer Mode -> ASCII
menu item from the menu bar. To change the transfer mode to
Binary/Image
, select
Transfer Mode -> Binary/Image
menu item from the menu bar.


From: SF Subject: DMT essayDMT EXPERIENCE
A composite essay of my first two DMT tripsdisclaimer: This is a pale reflection of a bottomless mystery. The things I say it is, it is now - these are but linguistic shrouds I am able to cloak it in. Please don't think you know DMT from having read this, you don't. But DO please go and try some, go extract it from a plant - then you will KNOW. Oh, this is my experience, you can ask me any questions you like. Everything here is with closed eyes unless otherwise indicated - this is really the only way to go DEEP.The small wooden pipe was in my mouth and a match was coming to light it. The scenario almost seemed like smoking pot except I knew the taste to be very wrong as the complex, sweetly acrid smoke filled my lungs. Anyway, my pulse never raced like this from the anticipation of getting stoned.The first thing was a sense of dropping away, but to say downward would be too simple. There were all sorts of frequency modulations and crescendoed stacatto pops as the trip descended. This sound data was quiveringly involved with these visual architectonic dream waters that were beginning to emerge, dripping and slipping amongst themselves, and my being became overwhelmed by vacuous, gravity-like suction experiences which impelled me further in. Around me I felt a crowding in of beings as if the Celtic Faerie land of Fay had become momentarily co-present with where I was. I sensed them, but did not experience these creatures. The sucking experience took over for a while then, driving the morphological acrobatics of spacelove that lay before me. There was something about it that makes me think of a voluptuous alien seductress with big, fat lips pulling me to her body in the weirdest feeling embrace ever. It felt like I was being smeared sensually and lustfully around the space in some sort of vacuum-tube funhouse. At this point (maybe a minute into the experience) I started picking up something like the Escher painting of all those sets of stairs with figures descending by all manners of gravity, only its surfaces were emerald isles of what I can only describe as fractal Medusa liquid, serpentine and sexy. There was a thought that I was in a room full of aliens and they were playing with me, but that somehow they had conspired to make me this way - the alien carney music bar on the planet Tatooine in the Star Wars trilogy seems relevant.
Then I had the thought (which just seems to pop up and not really pertain): "What have I done! How did I get this way?" Meaning, how did I come to enter something so foreign that my petty human ontological premises and hopeful body of knowledge seem like a wrench trying to adjust a camel? At that point I lost any touch with my body and was thrust forward into complete and utter amazement. The world became so crammed full of intricacy to the nth that it seemed every nook and cranny in my spacetime was exfoliating little crystalline dancing worlds, bellowing ecstasy. It moved like snakes move: all rippling of muscle and sun glinting scales. I cannot emphasize enough the catapulting, titanic motions of this iridescent zigzag bottlerocket, this nuanced, whittling circus of form, this Brobignagian roller coaster safari across the jeweled plains of wonderland, straining the limits of the knowable.
This is where I was when I felt a certain sort of shockwave across the dome of the sky which gave me memory of the real world. I then entered this whole journey that I would call extrication. Going in was "intrication" or delving into intricacy, so coming back out was sensibly extrication. The experience was very literally an incedible groping back out of this wild wooly thing until I made it "out", which afterwards I realized was only the physical action of opening my eyes. The pipe was in my mouth - its touching my lips had been the reality shockwave I'd felt. The woman who was handling the pipe for me looked like a fractal Medusa as well, but incarnate - she was buzzing all over with this really freaky energy. I said something like, "You expect me to call this a mouth?", a comment which was silenced by the stem of the pipe. One toke and I was out of my body again, yanked back through the scrim of the worlds into the blast furnaces of heaven.
I "came to" in some sense at this point and realized that I could do anything in a space like this, could instantly unfold my richest possible imaginings. "O.K.", I said to myself, "What about trying to do what you believe possible by your perceptual theory of higher dimensional experience?" You see, I got the idea that there is no reason why, in an inner experience, one has to have visions only in front of one. I began to believe this was an imprint that years of bringing the external world into construction of inner spaces had created, but was not necessary. I then tried to imagine what it would be like to see in every direction at once, i.e. what would a ball look like if you could see every side of it at once? I could sense it but not imagine it in my mind. So this is the challenge I set myself. It not only seemed to work (though with everything else going on inside, it was a bit like trying to do a sensitive physics experiment in the midst of a drunken bacchanal) but it did so immediately. I rushed upwards into this superspace that was a spun galactic ecology of stars, a swarming hive of dragonfly constellations. . . This was very profound, but in doing it, it seemed I had reduced the alien quality of what had been going on previous to this excursion.
I let my will go then and tumbled forward into elfland. Terence McKenna is apt in calling these entities "elves". They are elves/not-elves. They don't appear, they kind of ooze out of the woodwork seductively and before you know it they're there - the whole realm is infested with these creatures like nothing else you could ever imagine. They do sing things that are like "self-dribbling jeweled basketballs" or whatever you want to call them. They make Faberge egg concoctions with ingredient lists like: 1) space, 2) lust, 3) politics, 4) circus sideshows, 5) time, 6) gall bladders, 7) existential notions of polyfidelity, 8) cucumbers, 9) Beethoven's 5th symphony, 10) the smell of petunias, and so on. This is somewhat of an arbitrary list, but the point is, all my categories of mind fell away because they were being ceaselessly synthesized and re-synthesized into these hyperdimensional objects, undulating, ululating along. It makes me think of getting home from school when your mother says that she's baked you some treats, only these are like no treats Mom ever made, and when you see them you almost want to say, "Aw, mom, you shouldn't have. I mean you really shouldn't have". What you do with these elves is some sort of a game of catch, only the physics of the game has been replaced by the physics of synesthesia. In catching the things they threw, in playing with them, I participated in the ineffable mysteries that they were. This place is the Joycean "Merry go raum". Being there I came to understand the Heraclitus fragment: "The Aeon is a child at play with colored balls". It is this. As well I understand, "Still the first day, All Fool's Day, here at the center." It is this too.
So for what seemed like centuries I played with the trippy freaky elves and they kept bringing me into atrium after atrium in the antics annex, and all I could do was wonder when we would get to their front door. As far as I know, we never did. Instead they said many things, though I can't say they used what we would call a voice to accomplish this communication. I remember only parts of this. At first they said, "Build this", indicating hyperspace. Later they amended this by saying, "Build it. He will come." from the movie Field of Dreams. Very funny.
Then it was as though alarms started to go off, and the whole space was going through these quivering emergency elaborations. I get the image of a submarine movie sequence when I think back on this, just when it has been discovered on the surface, the periscope retracts and the whole interior goes into haywire, preparatory gymnastics as all the hatches are battened down.  It is as if everything is charged with imponderable electricities and is racing around because someone shouted: "Places everyone!!" They start cramming your soul out of there with a million hands at once, grabbing you by twelve dimensions you never knew your body had. Finally, the thing shuts and there is a sense of finality to that, but just as soon you are on to the next thing.
Slowly then it begins to make farewells and say its goodbyes. Ancient mythos holds that the world is supported by turtles "all the way down", but as I came out of it, my sense was of jeweled great glass revolving elevators all the way down. I remember thinking that I was passing back through the 50,000 veils that the Sufis say the mystery has, one by one, and I clearly remember the awe I felt that each one of them was closed, sealed, and put away in a unique and voluptuous, succulent way. It was without question the most beautiful goodbye I have known in this life. There was no regret of leaving or longing not to leave, just an overpowering acceptance of the imminent return. This went on and upon opening my eyes I had this very zap experience and I was right back in this world, amazingly enough, only ten minutes gone. Slight tracers on light and then these gone too. I was amazed of the idea that one could go back there, could in fact just go there, that where I had been felt entirely like it was a whole hyperspace, raging right next door. I remember saying, and being very sure of this as I still am now, "Those are the gods". By which I meant, of all the things I've experienced in life, they are the most like real living gods, and should be called that. It was very interesting to me that I didn't need to process a whole lot, which I usually require after the mushrooms. Instead, I think I was in a state of being so existentially surpassed by the quality of what I had just been a part of, that I couldn't muster any sort of conceptual or descriptive response to it at all. By default, I was left with just a purity of acceptance for it - I just simply had nothing to put to it in any sense. Instead I resorted to looking wildly and deeply into other peoples eyes and by some existential-perceptual force, to impress upon them the utter beauty of what I had just been. This seemed to work somewhat, though probably not. I definitely felt I had been closer to the core of the real than ever before and that this mystery is front and center to who we are as humans, who we really are. I felt very connected to my universe, very sensitive and strong and in touch with things. Because I apparently have the gift of being able to remember it quite well (others do not), I have to live with memory of its being out there somewhere: very real, very powerful, very alive. There has not been an hour to pass since I did it that I haven't thought of it and tried again to reference it to this world, failing. I do feel it is a very important experience to have as a human being, and in some sense a whole lot safer than mushrooms or acid. I say this because I am aware that I usually have time and opportunity in a traditional trip to come up with weird ideas and believe them which can be hell to integrate when things return to normal. DMT seems to be so awe-inspiring, one is just so floored by it, that there is no chance for trying to figure it out.
This is left for when you return, spacecraft still steaming.


ROMEO AND JULIET A film review by Ben Hoffman Copyright 1996 Ben Hoffman
It was just 60 years ago that I saw my first ROMEO AND JULIET, and loved it even though (or perhaps because) the leads were played by Leslie Howard and Norma Shearer who were, respectively, age 39 and 36. But what did a kid know? They were two of my favorite actors and I adored the film. The music was by Tschaikowsky and that did not hurt one bit. I recall that when Romeo spent the first night with Juliet, the camera panned up over the balcony, into the sky and over the trees and when it came down to earth it was morning. How beautiful it was!
Somewhere around 1958 I saw the Russian filmed ballet version with Ulanova and with the great music of Serge Prokofiev and I went wild about the film and especially the music. Since then I have seen the ballet (Bolshoi) a dozen times and nothing can surpass the ballet version.
In 1968, there was Zeffirelli's wonderful production starring the 15-year -old Olivia Hussey and Leonard Whiting who was a mere 17, which was more in keeping with the original play by Shakespeare. And now we are approaching the millennia with Baz Luhrmann's interpretation of that great work.
Four hundred years ago, Shakespeare wrote:
"Two households, both alike in dignity, in fair Verona (where we lay our scene) From ancient grudge break new mutiny. Where civil blood makes civil hands unclean From forth the fatal loins of these two foes A pair of star-crossed lovers take their lives."
The current version opens with a TV broadcast by an anchorwoman (Edwina Moore) reporting a shoot-out between two rival gangs, the Montagues and the Capulets in Verona, Florida. The TV camera takes us to the scene where the gang members are firing revolvers at each other. Among them is Tybalt (John Leguizamo), a Capulet and Mercutio (Harold Perrineau) a Montague who is Romeo's best friend.
My first reaction to this scene was "This movie is going to bomb!" I felt a small revulsion at the desecration of a great writer. But shortly, thereafter, I was caught up in the film, with the nice touch that the characters spoke Shakespearean English. The appearance of Romeo (Leonardo DiCaprio. whom I correctly chose to be nominated for Best Supporting Actor in WHAT'S EATING GILBERT GRAPE? and that of Juliet (Claire Dane, who won an Emmy nomination in MY SO-CALLED LIFE, and followed that with LITTLE WOMEN, HOW TO MAKE AN AMERICAN QUILT and TO GILLIAN ON HER 37TH BIRTHDAY) moved the film into another dimension). Both DiCaprio and the very innocent-looking Dane gave the film a feeling of young love at first sight. There could not have been better casting.
A couple of quick complaints. Was it really necessary to make Mercutio into a cross-dresser? Was it really necessary to have Juliet blow her brains out with a revolver . . . or was that supposed to be in keeping with the modern crazy world of guns? I would have much preferred had she finished the deadly potion Romeo had just taken.
Anyone upset that I have committed "a spoiler" by revealing that both Romeo and Juliet die? You have to be kidding, right?
Other notables in the cast are Pete Postlethwaite (as Father Laurence) who absolutely knocked me out as the tragic father in that wonderful film, IN THE NAME OF THE FATHER as well as his appearances in many other fine films . . . and Brian Dennehy as Ted Montague as the head of the Montague clan and Paul Servino as Fulgencio Capulet, the patriarch of the Capulet clan, Diane Venora as his wife Gloria Capulet. Paul Rudd is Paris, Juliet's suitor; and let us not forget Juliet's nursemaid, played by that fine British actress, Miriam Margolyes, who here has a Spanish accent.
All in all, an exciting, spectacular film . . . and certainly original.
Directed by Baz Luhrmann.
Rated 3.5 Bytes
4 Bytes = Superb 3 Bytes = Too good to miss 2 Bytes = Average 1 Byte = Save your money
Ben Hoffman
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‘A safe place for LGBT people’: Gay Saudi journalists detained in Australia
by AFPSYDNEY: Two gay Saudi journalists who sought asylum in Australia after being threatened at home over their relationship have been held for weeks at an immigration detention centre, their lawyer said on Wednesday.
The couple arrived in Australia in mid-October on tourist visas but was singled out by airport customs officials — then taken into detention — when they admitted plans to seek asylum, lawyer Alison Battisson said.
“Australia being very well known for being… a safe place for LGBT people, they were incredibly surprised and distressed,” she said.
One of the men — who worked for Saudi Arabia’s media ministry and regularly assisted visiting international news organisations — said they came under pressure from authorities after a dissident leaked sensitive documents to foreign media.
“I was called into a prison on the outskirts of Riyadh by the state security,” he told ABC, adding they “hinted that they realised I was in a relationship with my partner and that I should stop working with the foreign media”.
Battisson said the men had not leaked any documents, but were swept up in a wider crackdown by Saudi authorities in the wake of Khashoggi’s murder.
In August, one of the men received a phone call from a relative warning they knew of their gay relationship and if it wasn’t ended his partner would be killed.
Police followed that up with separate calls asking them to come in for questioning, which led to their decision to flee.
Homosexuality is illegal in Saudi Arabia and punishable by death.
Battisson says the two men have been separated in detention as one is receiving medical treatment, while the other is housed with convicted criminals awaiting deportation.
She said poor conditions in the centre and the uncertainty surrounding their case have proved “psychologically very difficult”.
“Them speaking up is actually their right — there’s no reason we should remain silent about human rights abuses in Australia,” she said.
The home affairs department, which oversees immigration matters, and the Australian Border Force did not respond to requests for comment.


Kasaragod Travel Guide
Zone: South
Headquarters: Kasaragod
The northernmost district of Kerala, Kasaragod is renowned for its hills, forts and water bodies. The coir and handloom industry here are extremely famous around the world. The place is also popular for its ancient temples and rich biodiversity. It is an important border district as well that regulates trade with a lot of neighbouring States. Legends regarding the district greet you at every turn on a visit here. A trip here is incomplete without visiting Bekal Fort, the most majestic and well maintained fort in South India.
Best Places to Visit in Kasaragod
1. Nileshwaram
Nileshwaram, also known by the name of Nileshwar, is a major town that is located in the Kasaragod District of Kerala in southern India.Nileshwaram is one of the three municipalities that can be found in the district, the others being Kasaragod and Kanhangad.Nileshwaram is also referred to as the cultural capital of the Kasargod District and lies nestled between two rivers, the Nileshwaram Puzha and Thejaswini Puzha. With the Arabian Sea to its west, the town is breathtakingly beautiful and a spectacular site to be at.
2. Ranipuram Hills
The gentle hills of Ranipuram in Kerala are famous for its trekking trail.Situated at the height of about 750 meters above sea level,this destination has thick forest vegetation and lush green grasslands.The whole place is proposed inside the Ranipuram Wildlife Sanctuary which merges with Talakaveri Wildlife Sanctuary of Karnataka.
3. Bekal
Located on the west of the Malabar coastline,It is famous for its beaches, backwaters, forts and some tourists spots.Bekal is home to the largest fortress in Kerala.  A set of 45 caves called the Nityanandashram caves, Kappil Beach and Chandragiri fort are few of the other major attractions.Bekal was also selected as one among the top ten travel destinations by Lonely Planet.


ftpuploadresume.c
Download ftpuploadresume.c raw
/*************************************************************************** * _ _ ____ _ * Project ___| | | | _ \| | * / __| | | | |_) | | * | (__| |_| | _ <| |___ * \___|\___/|_| \_\_____| * * Copyright (C) 1998 - 2017, Daniel Stenberg<EMAIL_ADDRESS>et al. * * This software is licensed as described in the file COPYING, which * you should have received as part of this distribution. The terms * are also available at https://curl.haxx.se/docs/copyright.html. * * You may opt to use, copy, modify, merge, publish, distribute and/or sell * copies of the Software, and permit persons to whom the Software is * furnished to do so, under the terms of the COPYING file. * * This software is distributed on an "AS IS" basis, WITHOUT WARRANTY OF ANY * KIND, either express or implied. * ***************************************************************************/ /* <DESC> * Upload to FTP, resuming failed transfers. * </DESC> */ #include <stdlib.h> #include <stdio.h> #include <curl/curl.h> /* parse headers for Content-Length */ static size_t getcontentlengthfunc(void *ptr, size_t size, size_t nmemb, void *stream) { int r; long len = 0; r = sscanf(ptr, "Content-Length: %ld\n", &len); if(r) *((long *) stream) = len; return size * nmemb; } /* discard downloaded data */ static size_t discardfunc(void *ptr, size_t size, size_t nmemb, void *stream) { (void)ptr; (void)stream; return size * nmemb; } /* read data to upload */ static size_t readfunc(void *ptr, size_t size, size_t nmemb, void *stream) { FILE *f = stream; size_t n; if(ferror(f)) return CURL_READFUNC_ABORT; n = fread(ptr, size, nmemb, f) * size; return n; } static int upload(CURL *curlhandle, const char *remotepath, const char *localpath, long timeout, long tries) { FILE *f; long uploaded_len = 0; CURLcode r = CURLE_GOT_NOTHING; int c; f = fopen(localpath, "rb"); if(!f) { perror(NULL); return 0; } curl_easy_setopt(curlhandle, CURLOPT_UPLOAD, 1L); curl_easy_setopt(curlhandle, CURLOPT_URL, remotepath); if(timeout) curl_easy_setopt(curlhandle, CURLOPT_FTP_RESPONSE_TIMEOUT, timeout); curl_easy_setopt(curlhandle, CURLOPT_HEADERFUNCTION, getcontentlengthfunc); curl_easy_setopt(curlhandle, CURLOPT_HEADERDATA, &uploaded_len); curl_easy_setopt(curlhandle, CURLOPT_WRITEFUNCTION, discardfunc); curl_easy_setopt(curlhandle, CURLOPT_READFUNCTION, readfunc); curl_easy_setopt(curlhandle, CURLOPT_READDATA, f); /* disable passive mode */ curl_easy_setopt(curlhandle, CURLOPT_FTPPORT, "-"); curl_easy_setopt(curlhandle, CURLOPT_FTP_CREATE_MISSING_DIRS, 1L); curl_easy_setopt(curlhandle, CURLOPT_VERBOSE, 1L); for(c = 0; (r != CURLE_OK) && (c < tries); c++) { /* are we resuming? */ if(c) { /* yes */ /* determine the length of the file already written */ /* * With NOBODY and NOHEADER, libcurl will issue a SIZE * command, but the only way to retrieve the result is * to parse the returned Content-Length header. Thus, * getcontentlengthfunc(). We need discardfunc() above * because HEADER will dump the headers to stdout * without it. */ curl_easy_setopt(curlhandle, CURLOPT_NOBODY, 1L); curl_easy_setopt(curlhandle, CURLOPT_HEADER, 1L); r = curl_easy_perform(curlhandle); if(r != CURLE_OK) continue; curl_easy_setopt(curlhandle, CURLOPT_NOBODY, 0L); curl_easy_setopt(curlhandle, CURLOPT_HEADER, 0L); fseek(f, uploaded_len, SEEK_SET); curl_easy_setopt(curlhandle, CURLOPT_APPEND, 1L); } else { /* no */ curl_easy_setopt(curlhandle, CURLOPT_APPEND, 0L); } r = curl_easy_perform(curlhandle); } fclose(f); if(r == CURLE_OK) return 1; else { fprintf(stderr, "%s\n", curl_easy_strerror(r)); return 0; } } int main(void) { CURL *curlhandle = NULL; curl_global_init(CURL_GLOBAL_ALL); curlhandle = curl_easy_init(); upload(curlhandle<EMAIL_ADDRESS>"C:\\file", 0, 3); curl_easy_cleanup(curlhandle); curl_global_cleanup(); return 0; }


The following advert appeared in Exchange & Mart in 1936:
UNLUCKY AT GAMBLING?
If so why not experiment by buying a pack of Surrealist Forecast Cards? Designed by a famous mystic artist and author, they were originally intended as a joke, but he found that they picked the winners in his case, and in many others. Can be used for any race, anywhere, any year, and the same pack will last for years. These cards are not guaranteed, as they re-act differently in the case of each individual, but they do enable you to conduct an interesting and perhaps profitable experiment with luck. Obviously, if they were infallible we would be so rich that we wouldn't need to advertise them. So we make this very fair offer. Buy a pack with full instructions for 5/-. If you find them to be of no use to you your money will be refunded without question or argument.
SURREALIST FORECAST CARDS,
261, Lauderdale Mansions, London, W.9
The “mystic artist and author” was Austin Osman Spare, and a rare photograph of a set of the cards (now worth considerably more than 5/- or 25p) can be seen here.


Mobile is now your marketplace
MarketPush is a unique platform that
enables your small business to reach new
customers right where they stand.
MarketPush is a unique platform that
enables your small business to reach new
customers right where they stand.
By easily integrating with MarketPush’s network of mobile nano-networks your
business can be global in the blink of an eye.
Create powerful campaigns instantly and direct
them into your clients hands.
Marketing campaigns that are pushed directly to
your customets where ever they are.
With our camprehensive suite of reports and
analysis you'll be able to understand your clients
behaviors better.
Our platform of nano-networks is powerfully integrated with the largest and fastest
mobile networks so you can always stay connected with your clients.


Use continuous querying in your clients to receive continuous updates to queries run on the servers.
CQs are only run by a client on its servers.
Before you begin, you should be familiar with Querying and have your client/server system configured.
Configure the client pools you will use for CQs with
subscription-enabled
set to true.To have CQ and interest subscription events arrive as closely together as possible, use a single pool for everything. Different pools might use different servers, which can lead to greater differences in event delivery time.
Write your OQL query to retrieve the data you need from the server.
The query must satisfy these CQ requirements in addition to the standard GemFire querying specifications:
- The FROM clause must contain only a single region specification, with optional iterator variable.
- The query must be a SELECT expression only, preceded by zero or more IMPORT statements. This means the query cannot be a statement such as
"/tradeOrder.name"
or"(SELECT * from /tradeOrder).size".
- The CQ query cannot use:
- Cross region joins
- Drill-downs into nested collections
- DISTINCT
- Projections
- Bind parameters
- The CQ query must be created on a partitioned or replicated region. See Region Type Restrictions for CQs.
The basic syntax for the CQ query is:
SELECT * FROM /fullRegionPath [iterator] [WHERE clause]
This example query could be used to get all trade orders where the price is over $100:
SELECT * FROM /tradeOrder t WHERE t.price > 100.00
Write your CQ listeners to handle CQ events from the server. Implement
org.apache.geode.cache.query.CqListener
in each event handler you need. In addition to your main CQ listeners, you might have listeners that you use for all CQs to track statistics or other general information.Note: Be especially careful if you choose to update your cache from your
CqListener
. If your listener updates the region that is queried in its own CQ and that region has aPool
named, the update will be forwarded to the server. If the update on the server satisfies the same CQ, it may be returned to the same listener that did the update, which could put your application into an infinite loop. This same scenario could be played out with multiple regions and multiple CQs, if the listeners are programmed to update each other’s regions.This example outlines a
CqListener
that might be used to update a display screen with current data from the server. The listener gets thequeryOperation
and entry key and value from theCqEvent
and then updates the screen according to the type ofqueryOperation
.// CqListener class public class TradeEventListener implements CqListener { public void onEvent(CqEvent cqEvent) { // org.apache.geode.cache Operation associated with the query op Operation queryOperation = cqEvent.getQueryOperation(); // key and new value from the event Object key = cqEvent.getKey(); TradeOrder tradeOrder = (TradeOrder)cqEvent.getNewValue(); if (queryOperation.isUpdate()) { // update data on the screen for the trade order . . . } else if (queryOperation.isCreate()) { // add the trade order to the screen . . . } else if (queryOperation.isDestroy()) { // remove the trade order from the screen . . . } } public void onError(CqEvent cqEvent) { // handle the error } // From CacheCallback public void close() { // close the output screen for the trades . . . } }
When you install the listener and run the query, your listener will handle all of the CQ results.
If you need your CQs to detect whether they are connected to any of the servers that host its subscription queues, implement a
CqStatusListener
instead of aCqListener
.CqStatusListener
extends the currentCqListener
, allowing a client to detect when a CQ is connected and/or disconnected from the server(s). TheonCqConnected()
method will be invoked when the CQ is connected, and when the CQ has been reconnected after being disconnected. TheonCqDisconnected()
method will be invoked when the CQ is no longer connected to any servers.Taking the example from step 3, we can instead implement a
CqStatusListener
:public class TradeEventListener implements CqStatusListener { public void onEvent(CqEvent cqEvent) { // org.apache.geode.cache Operation associated with the query op Operation queryOperation = cqEvent.getQueryOperation(); // key and new value from the event Object key = cqEvent.getKey(); TradeOrder tradeOrder = (TradeOrder)cqEvent.getNewValue(); if (queryOperation.isUpdate()) { // update data on the screen for the trade order . . . } else if (queryOperation.isCreate()) { // add the trade order to the screen . . . } else if (queryOperation.isDestroy()) { // remove the trade order from the screen . . . } } public void onError(CqEvent cqEvent) { // handle the error } // From CacheCallback public void close() { // close the output screen for the trades . . . } public void onCqConnected() { //Display connected symbol } public void onCqDisconnected() { //Display disconnected symbol } }
When you install the
CqStatusListener
, your listener will be able to detect its connection status to the servers that it is querying.Program your client to run the CQ:
- Create a
CqAttributesFactory
and use it to set yourCqListener
s andCqStatusListener
. - Pass the attributes factory and the CQ query and its unique name to the
QueryService
to create a newCqQuery
. - Start the query running by calling one of the execute methods on the
CqQuery
object. You can execute with or without an initial result set. - When you are done with the CQ, close it.
- Create a
Continuous Query Implementation
// Get cache and queryService - refs to local cache and QueryService
// Create client /tradeOrder region configured to talk to the server
// Create CqAttribute using CqAttributeFactory
CqAttributesFactory cqf = new CqAttributesFactory();
// Create a listener and add it to the CQ attributes callback defined below
CqListener tradeEventListener = new TradeEventListener();
cqf.addCqListener(tradeEventListener);
CqAttributes cqa = cqf.create();
// Name of the CQ and its query
String cqName = "priceTracker";
String queryStr = "SELECT * FROM /tradeOrder t where t.price > 100.00";
// Create the CqQuery
CqQuery priceTracker = queryService.newCq(cqName, queryStr, cqa);
try
{ // Execute CQ, getting the optional initial result set
// Without the initial result set, the call is priceTracker.execute();
SelectResults sResults = priceTracker.executeWithInitialResults();
for (Object o : sResults) {
Struct s = (Struct) o;
TradeOrder to = (TradeOrder) s.get("value");
System.out.println("Intial result includes: " + to);
}
}
catch (Exception ex)
{
ex.printStackTrace();
}
// Now the CQ is running on the server, sending CqEvents to the listener
. . .
// End of life for the CQ - clear up resources by closing
priceTracker.close();
With continuous queries, you can optionally implement:
- Highly available CQs by configuring your servers for high availability.
- Durable CQs by configuring your clients for durable messaging and indicating which CQs are durable at creation.


--- title: "1.4 — Utility Maximization - Practice Problems" editor_options: chunk_output_type: console ---
Suppose you can watch movies in the theater (\(t\)) and streaming at home (\(s\)), and earn utility according to the utility function: \[u(t,s)=4ts\]
Where your marginal utilities are: \[\begin{align*} MU_t&=4s\\ MU_s&=4t\\ \end{align*}\]
Put \(t\) on the horizontal axis and \(s\) on the vertical axis. Write an equation for \(MRS_{t,s}\)
Would bundles of \((2,2)\) and \((1,4)\) be on the same indifference curve?
Sketch this indifference curve.
You can get utility from consuming Soda \((s)\) and Hot dogs \((h)\), according to the utility function:
\[u(s,h)=\sqrt{sh}\]
The marginal utilities are:
\[\begin{align*} MU_s&=0.5s^{-0.5}h^{0.5} \\ MU_h&=0.5s^{0.5}h^{-0.5} \\ \end{align*}\]
You have an income of $12, the price of Soda is $2, and the price of a Hot dog is $3. Put Soda on the horizontal axis and Hot dogs on the vertical axis.
What is your utility-maximizing bundle of Soda and Hot dogs?
How much utility does this provide?


Frequency of messages
Every 1 level
Every 5 levels
Every 10 levels
Custom...
Message Color
Level Icons
1-10
10-25
25-50
50+


Home
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The north is subtropical with dry winters and wet summers, while the southeast has a monsoon climate with the rainy season from May to October.
Brunei Bay Radio operates a regular voice broadcast sked of METAREA and local coastal forecasts for SE Asia waters, the NW Pacific and eastern Indian Ocean. For details of Brunei Bay Radio broadcast skeds and frequencies, see http://www.bruneibay.net/bbradio/bbrschfvoice.htm and http://www.bruneibay.net/bbradio/bbrscweathMSIbcasts.html
For links to free global weather information, forecast services and extreme weather information see the Noonsite Weather Page.
Da Nang * , Haiphong * , Ho Chi Min City * , Nha Trang * , Pan Thiet * , Qui Nhon *
* indicates port of entry


OBO-Edit uses xml documents called screen layouts to determine how the main gui is set up. To edit the gui layout, open The Configuration Manager Plugin and click the "Display Layout" tab:
The text box in the center contains the XML code that controls the appearance of the main display. Enter your own XML code here to change the display layout.
The "Import XML File..." button allows an XML layout file to be loaded from the disk into this window. When the button is pressed, a file browser window will appear. Select a file from the browser to load it.
The "Export XML File..." button saves the current contents of the layout panel to an XML file on disk. When the button is pressed, a file browser window will appear. Select a location on the disk and type in a new filename to save the file.
Screen layouts conform to the standard rules for well-formed xml documents: tags may be nested, tags must be closed, attribute values must be enclosed in quotes, etc.
A screen layout is simply a description of a single component (although that component may contain subcomponents, as we'll see below). So the following is a perfectly acceptable screen layout:
| Layout code | Resulting gui |
<component id="DAG"/> |
Of course, that's not very useful, because we haven't included a text editor panel, so there's no way to edit the term text or see term details. Paste this text to replace all the text currently in the Display layout window to see what happens. We'll need to add more tags:
components
This is the tag used to specify a OBO-Edit component for the GUI. In the example above, it is the "DAG" in "<component id="DAG"/>". The value of this tag's ID attribute is used to determine which component to show. This tag has different attributes that can be set depending on which ID value you use. To try this out you can paste just the text "<component id="DAG"/>" into the display layout section of your configuration and then replace the text "DAG" with each of the ID values listed in the table below.
| ID Value | Attributes |
DAG Creates a ontology editor panel with scroll bars: |
autoscroll - Can have the value "true" or
"false". Determines whether a DAG component will automatically scroll
to show the current selection. The default value is false.
|
showTypes - Can have the value "true" or
"false". Determines whether the "Types" graph will appear in this
component. The default value is true.
|
|
showTerms - Can have the value "true" or
"false". Determines whether the ontology terms that are not
relationship types will appear in this component. The default value is
true.
|
|
showObsoletes - Can have the value "true" or
"false". Determines whether obsolete terms will be shown in this
component. The default value is true.
|
|
filter - May contain the name of a saved
filter (see Filtering). If this tag
is defined with a valid filter name, the filter will automatically be
applied to this dag view.
|
|
renderer - May contain the name of a saved
filter (see Rendering). If this tag
is defined with a valid filter name, the renderer will automatically be
added to this dag view.
|
|
title - Can have any value. If a title is
specified, it will appear above the component.
|
|
FIND Creates a find/filter control : |
none |
TEXTEDIT Creates a text editor control: Note that if multiple terms are selected, a list of currently selected terms will appear on the left side of the text editor. Therefore, it is a good idea to make this control a little wider than you need using the width attribute . |
none |
plugin:classname Embeds the plugin classname in the gui. For example, plugin:org.bdgp.apps.dagedit.plugin.DAGView creates the following: Any plugin may be embedded in the main gui. The classnames of the plugins that come with OBO-Edit are: OBO-Edit Configuration Manager - org.bdgp.apps.dagedit.plugin.ConfigurationPlugin Category Manager Plugin - org.bdgp.apps.dagedit.plugin.CategoryManagerPlugin Extended Info Plugin - org.bdgp.apps.dagedit.plugin.ExtendedInfoPlugin DAG Viewer - org.bdgp.apps.dagedit.plugin.DAGView History Plugin - org.bdgp.apps.dagedit.plugin.HistoryPlugin Term Change Tracker Plugin - org.bdgp.apps.dagedit.plugin.TermChangeTrackerPlugin CVS Plugin - org.bdgp.apps.dagedit.plugin.CVSPlugin Graph Viewer Plugin - org.bdgp.apps.dagedit.plugin.GraphPlugin To determine the classnames for external plugins, please consult the documentation for the specific plugin collection. |
none |
Most component tags may be used only once in a layout. If you attempt to use a typical component multiple times, it will appear in one of the specified locations, and will appear in all other locations as a blank component of size 0x0.
The one exception is the "DAG" component. It can appear in the layout as many times as you'd like.
There are some attributes that can be specified for any tag...
The remaining tags are used to arrange the components on the screen.
Divider
This tag creates a split pane; that is, a movable divider between two components. Both subtags must be specified.
| Subtags: | |
first
|
Specifies the contents to the left of or above the divider, depending on the divider orientation (see below). |
second
|
Specifies the contents to the right of or below the divider, depending on the divider orientation (see below). |
| Attributes: | |
orientation
|
Specifies whether this is a horizontal divider (with components to the left and right), or a vertical divider (with components above and below). Allowable values are "HORZ" and "VERT". The default value is "HORZ". |
dividerSize
|
Specifies the size of the divider bar, in pixels. The default value is "5". |
Example
| Layout code | Resulting gui |
<divider orientation="HORZ" dividerSize="15" >
|
Box
This tag creates a panel containing a stack of multiple components. At least one subcomponent must be specified.
| Subtags: | |
| components | The box tag should simply contain a list of components in the order they will appear. |
| Attributes: | |
orientation
|
Specifies whether this is a horizontal stack of components (with components laid out from left and right), or a vertical stack of components (with components laid out from top to bottom). Allowable values are "HORZ" and "VERT". The default value is "HORZ". |
| Layout code | Resulting gui |
<box orientation="VERT" >
|
Panel
This tag creates a panel containing components located at any of the following positions: north, south, east, west, and center. At least one position subtag must be specified.
| Subtags: | |
north
|
Specifies a component at the north position (the top of the panel). The component will span the entire width of the panel, but will use its preferred height. |
south
|
Specifies a component at the south position (the bottom of the panel). The component will span the entire width of the panel, but will use its preferred height. |
east
|
Specifies a component at the east position (the right of the panel). The component will span the distance between the north component and the south component. If the north or south component is not specified, the component will span to the top or bottom of the panel, respectively. The component will use its preferred width. |
west
|
Specifies a component at the west position (the left of the panel). The component will span the distance between the north component and the south component. If the north or south component is not specified, the component will span to the top or bottom of the panel, respectively. The component will use its preferred width. |
center
|
Specifies a component at the center position. The component will ignore its preferred width and height to fill all the space in the panel that is not occupied by a north, south, east or west component. |
| Layout code | Resulting gui |
<panel>
|
Tabs
This tag creates a tabbed pane; a component that contains several other sub-components which are only visible one at a time. A list of buttons (ie tabs) at the top of the tabbed pane allow a user to decide which component is visible. A tabbed pane may contain any number of tabs.
| Subtags: | |
tab
|
Creates a tab in this pane with the specified name, containing the specified component. Any number of tab tags may be specified. |
| Layout code | Resulting gui |
<tabs>
|
Scroller
This tag puts scrollbars around a component. Note that if a component already has scrollbars, this tag will add an additional set of scrollbars around those, which will make the gui very difficult to use. A single subcomponent must be specified.
| Subtags: | |
| component | The scroller tag should contain a single component. |
| Attributes: | |
horz
|
Specifies the behavior of the horizontal scrollbar. Allowable values
are:
"NEVER" - Never show a horizontal scrollbar. The gui will try to squeeze
in the component no matter how wide it is. The default value is "AS_NEEDED". |
vert
|
Specifies the behavior of the vertical scrollbar. Allowable values
are:
"NEVER" - Never show a vertical scrollbar. The gui will try to squeeze
in the component no matter how tall it is. The default value is "AS_NEEDED". |
| Layout code | Resulting gui |
<scroller width="200">
|
| Layout code | Resulting gui |
<divider
orientation="HORZ">
|
Image 1 Image 2 Image 3 Image 4 |


{% extends "learning_logs/base.html" %} {% block page_header %}
Make your own Learning Log, and keep a list of the topics you're learning about. Whenever you learn something new about a topic, make an entry summarizing what you've learned.
Register »


enum class VideoPauseState
VideoPauseState describes the pause status of a video tile.
Unpaused |
The video tile is not paused |
PausedByUserRequest |
The video tile has been paused by the user, and will only be unpaused if the user requests it to resume. |
PausedForPoorConnection |
The video tile has been paused to save on local downlink bandwidth. When the connection improves, it will be automatically unpaused by the client. User requested pauses will shadow this pause, but if the connection has not recovered on resume the tile will still be paused with this state. |
value |
val value: Int |
from |
fun from(intValue: Int): VideoPauseState? |


The Enterprise Gym has been awarded a High Impact Host award for the activities it ran during the 2014 Global Entrepreneurship Week held in November 2014.
The three events held were: TEG Talks - a series of 5 short snappy talks from entrepreneurs about their respective journey's to where they are today; a networking event
bringing together enterprising students, business people, academics and support agencies and professionals; a joint event held with DUSA where current
students who are starting of have started a business shared their experiences with an audience of interested students. We are already looking for to and planning for GEW 2015.


Tags: nan
Style: Impressionism
Artist: Monet Claude
Title: Pleasure Boats, Argenteuil, c.1872-3 (oil on canvas)
Year: 1873
Genre: landscape
Categories: dock (21.1%); lakeside (18.2%); fountain (9.6%); schooner (9.3%); breakwater (5.8%)
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This e-mail message (together with any attachments) is for the designated recipient only. It may contain information that is privileged for the designated recipient. If you are not the intended recipient, you are hereby notified that any use, retention, disclosure, copying, printing, forwarding or dissemination of the message is strictly prohibited. If you have received the message in error, please erase all copies of the message (including attachments) from your system and notify the sender immediately.


Buffalo Plains [av55], plain, in Imperia, peasants: 113
Last updated Turn #108_bad
Buffalo Plains [av55], plain, in Imperia, peasants: 113
------------------------------------------------------------------------
0: Garrison [eh7c], garrison, Imperial Empire, with ten soldiers guards
0: Buffalo Plains [av55].
30: The population grows by one peasant.
Province controlled by Castle Thorbardin [v46], castle, in Thorbardin
Mountains [ao69]
Ruled by Osmosis [o2n], duke
Entrance fees:
Routes leaving Buffalo Plains:
North, to Ocean [au55], The Inner Sea, 2 days
East, plain, to Buffalo Plains [av56], 7 days
South, to Ocean [aw55], The Inner Sea, 2 days
West, plain, to Buffalo Plains [av54], 7 days
Seen here:
Garrison [eh7c], garrison, Imperial Empire, with eight soldiers
Stack of nazgul [da7o], nazgul, number: 3


White to play 15
pips White=167 Black=158
(CorrectAnswer= 0/0, ErrorScore= 0)
1. 13/8 6/5* eq: -0.073 48.39% (G:13.27% B:0.53%) 51.61% (G:15.13% B:0.88%) 2. 6/1* 6/5* eq: -0.182 (-0.108) 45.82% (G:11.58% B:0.41%) 54.18% (G:16.50% B:1.06%) 3. 24/23 13/8 eq: -0.191 (-0.118) 45.24% (G:10.18% B:0.33%) 54.76% (G:14.37% B:0.54%) 4. 24/18 eq: -0.231 (-0.157) 44.69% (G: 8.40% B:0.31%) 55.31% (G:15.01% B:0.45%) 5. 24/23 6/1* eq: -0.242 (-0.169) 43.55% (G: 9.62% B:0.29%) 56.45% (G:14.84% B:0.67%)


Copyright 2008-2013 Timothy C. Lethbridge, Andrew Forward, Omar Badreddin, Dusan Brestovansky, Julie Filion, Miguel Garzon, Hamoud Aljamaan, Ali Fatolahi, Julian Solano, Joshua Horacsek, Joel Hobson, Alvina Lee, Sultan Eid, Jordan Johns, Sonya Adams, James Zhao, Adam Dzialoszynski, Luna Lu, Song Bae Choi, Thomas Morrison, Sacha Bagasan, Andrew Paugh, Stuart Erskine, Russell Staughton, Christopher Hogan, Geoffrey Guest, Gabriel Blais Bourget, Robin Jastrzebski, Quinlan Jung, Blakeley Quebec Desloges, Jesus Zambrano, Ahmed Orabi, Mahmoud Orabi, Tonio Resende, Vahdat Abdelzad, Opeyemi Adesina, Aliaa Alghamdi, Tiago Nascimento, Tianyuan Chu, Fiodar Kazhamiaka, Greg Hysen, Jean-Christophe Charbonneau, Kenan Kigunda, Marc Antoine Gosselin-Lavigne
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
 IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.


FROM THE DESK OF DR USMAN KARIM Manager Bill And Exchange Dept BANK OF AFRICA(BOA) Ouagadougou Burkina Faso. Dear Friend, I know that this mail will come to you as a surprise. I am the bill and exchange manager in BANK OF AFRICAk .I Hoped that you will not expose or betray this trust and confident that i am about to repose on you for the mutual benefit of our both families. I need your urgent assistance in transferring the sum of $11.3 million immediately to your account. The money has been dormant for years in our Bank here without any body coming for it. The owner of this account is JOSEPH F. GRILLO, foreigner and he is the Manager Of petrol chemical service, a chemical engineer by Profession. He died in world trade center as a victim of the September 11,2001 Incident that befall the United State of America, the bank has made series of efforts to contact any of the relatives to claim this money but without success, you can confirm through this website: http://www.september11victims.com/september11Victims/VictimInfo.asp?ID=1260 I don't want the money to go into our Bank treasury as an abandoned fund. So this is the reason why i contacted you ,so that the bank can release the money to you as the nearest person to the deceased customer. Please i will like you to keep this proposal as a top secret and delete if you are not interested. Upon receipt of your reply I will send you full details on how the business will be executed and also note that you will have 40% of the above mentioned sum if you agree to transact the business with me. Dr.usman karim BANK OF AFRICA, Burkina Faso-West Africa. _________________________________________________________________ MSN Hotmail sur i-mode� : envoyez et recevez des e-mails depuis votre téléphone portable ! http://www.msn.fr/hotmailimode/


Execution Context
During execution sometimes one needs information that are cross cutting the application.
Such as who is the currently logged in user, current culture, what is the current tenant and other custom meta
data you want is relative to the environment.
In Bifrost this is formalized through something called IExecutionContext
.
Taking it as a dependency
You can take a dependency directly to the IExecutionContext
on the constructor of any types
resolved by the IOC.
using Bifrost.Execution;
public class MySystem
{
public MySystem(IExecutionContext executionContext)
{
// Put your code here
}
}
ExecutionContextManager
If the type taking the dependency has a lifecycle of transient or per web request lifecycle, this is fine. With a singleton lifecycle, this is not very useful at all, as you would get the execution context that is valid at the first creation time. Any changes after that would not be reflected. If you have a singleton, you can take a dependency to something called IExecutionContextManager
using Bifrost.Execution;
public class MySystem
{
public MySystem(IExecutionContextManager executionContextManager)
{
var current = executionContextManager.Current;
// Put your code here
}
}
On the execution context you will find the following properties:
| Property | Type |
|---|---|
| Principal | IPrincipal |
| Culture | CultureInfo |
| System | string |
| Tenant | ITenant |
| Details | dynamic |
Principal
The principal is populated by whatever resolver is configured for the system to resolve it. You can read more about principal and how the resolvers work here.
Culture
Culture is the culture that is currently set on the thread.
System
System represents a string that just gives a name of your application - the currently running system. It exists as a property on the configure object of Bifrost, also called System. During configuration you simply set that property.
Tenant
Tenant is resolved by the tenancy system. You can read more about this here.
Details
The last property is a dynamic property called Details - it can only be populated by placing a class
implementing ICanPopulateExecutionContextDetails anywhere, in fact you can have multiple.
Bifrot will discover all your implementations and call the Populate()
method whenever the
execution context needs to be populated.
using Bifrost.Execution;
public class MyPopulator : ICanPopulateExecutionContextDetails
{
public Populate(IExecutionContext executionContext, dynamic details)
{
details.SomeMetaData = "Hello world";
}
}


---
layout: home
search_exclude: true
---
![Popeye-Deep-Learning](https://ichef.bbci.co.uk/news/976/cpsprodpb/522E/production/_100583012_popeye2.jpg)
Hi! My name is Ankur Sinha and Welcome to My Blog.
First of all, I should explain a little about the Image of Popeye and why I think it to be Analoguos to the Blog. Spinach is what gives Popeye his strength. I think the Spinach Can is the Hardware available nowdays, and the Spinach itself is the Data. Popeye is like our Deep Learning Algorithm. That's All Folks and Happy Reading!!
# A Deep Learning and Machine Learning Blog


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To interact, go to the lobby, and begin chatting with others!
The purpose of this web app is to showcase how certain attributes of social media foster the creation of negative communities within the platform.
What attributes?
Anonymity online is the biggest contributor to the creation of these communities. That paired with tools that allow users to voice their radical opinions while remaining hidden is the key to their success.


CANDYMAN A review in the public domain by The Phantom<EMAIL_ADDRESS>[A brief note: the somewhat crabby tone of the Phantom's latest review should be attributed more to the fact that it was written during the most recent Presidential debate than to the quality of the film itself; in retrospect, the debate apparently skewed the Phantom's ability to make reasoned -- and above all, brief -- arguments. CANDYMAN is worth about 2 1/2 stars out of 4, and depending on how quickly you read, may in fact take less time to get through than this review. As compensation for this, please feel free to smoke, keep crying babies in the room with you, and leave empty popcorn and soda containers wherever they may fall. Thank you, and enjoy the show.]
The Phantom has long held a theory about horror films, but it was only recently that he got to confirm it. Although he's not subjected this theory to rigorous testing, he nonetheless now feels confident enough to state that to his knowledge the word "thesis" has never appeared in the screenplay for a successful horror film. Actually, let's rephrase that: the word "thesis" has never appeared in the screenplay for a *good* horror film, as it remains to be seen whether or not CANDYMAN will be successful in this unpleasant season of sub-par horror.
It is with some trepidation that the Phantom has returned to the reviewing scene; having seen both HELLRAISER III and INNOCENT BLOOD, it occurred to the Phantom that modern horror has now gotten so far off-track; so misguided; and so poorly executed that his services were perhaps no longer necessary -- that at this point the best he can hope to do is to act as something of a morning traffic report for this fall's horrible horror films. Perhaps all he can be expected to do now is point out the apparently never ending series of cinematic traffic jams and roadside wrecks to phans who are more than likely already in their cars and pounding their dashboards in frustration. Like the morning rush, bad cinematic horror is with us always; yet somehow we're always aggrieved and surprised whenever we come face to face with it.
After all, it's one thing if we're treated to one good horror film out of every three or four; it's another if we find ourselves buried in cynical, misguided dreck, powerless to stop its production and release, and yet helpless in our fervent hopes that *this* time things will be different -- that *this* time John Landis or the vaunted Clive Barker won't let us down, even though he has now more often than his ubiquitous press clippings would have us believe.
In fact, although Barker has now lent his name and dubious executive producing talent to a half dozen different horror films, he has actually directed only one and a half. The half is of course HELLRAISER, the film that guaranteed him future directing offers even though the film itself was more or less taken away from him and given to Tony Randel to complete. (Randel also directed Barker's second film, HELLBOUND: HELLRAISER II and showed the same sure touch there that he did in the first installment.) Barker's only complete effort, NIGHTBREED, had the look of a good horror film; its plot was taken from one of Barker's better stories, the novella "Cabal"; it even had the benefit of David Cronenberg's quite disturbing performance as the psychiatrist Decker, and his alter ego, The Mask. Yet the film itself was something of a mess -- something that pleased neither those who read the novella nor those who didn't, disappointing the former and leaving the latter in a DUNE-like dark. Here, as with the visually stunning HELLRAISER, Barker seemed much better introducing new ideas and creating visually compelling tableaus than he was at the nuts-and-bolts execution that any good horror film requires.
And HELLRAISER III? It's a movie that was quite obviously made just to rake in as much money as possible from gullible horror fans; beyond a few good special effects, there's virtually nothing of interest in this installment of the HELLRAISER series. (In fact, the high point of the film for the Phantom came early on, when he got a free package of Honey Gold Wheaties to try, just for buying a ticket. Sadly, the cereal in the package had a lot more snap crackle and pop than did the serial on the screen.) This is all quite an achievement, for Barker and friends have in just two sequels managed to do what the folks at New Line Cinema took four to do with the ELM STREET series: run it completely into the ground.
All of which brings us to CANDYMAN, yet another film based on a Clive Barker short story, and one for which Barker served only as executive producer (Hollywood-ese for "the man who gets paid or the film don't get made".) Although far from a successful horror film, CANDYMAN is at least technically very well made; competently acted and directed; at times visually compelling; and frequently quite scary. Yet for the Phantom, it just didn't seem very *good*.
Let's explore this for a moment, keeping in mind the Phantom's theory about the word "thesis", and going back to the short story on which CANDYMAN was based, "The Forbidden". Briefly, Barker's original story was based on the idea that an isolated community that exists outside the realm of "civilized" society might not only develop legends about a fearsome boogeyman -- a phantom killer who dispatches his victims in gruesome ways and is as capricious as he is vicious -- but that it would actively work to keep the legend alive -- and very real. Barker's execution of this idea is quite compelling, because he takes you quickly from outside this closed community into its heart, where you discover a secret that at first doesn't seem to make any sense. Why would a community live with this horror? Do they even have a choice? Do they *want* to? Interesting, and certainly the stuff of which great short stories are made.
We've seen hints of this on the screen before: consider, say, the beginning of John Landis' classic AN AMERICAN WEREWOLF IN LONDON, where you stumble into a community that's hiding some strange secret, something that outsiders don't understand. The community is afraid of the werewolves all right; yet they don't actively seek them out and hunt them down. Instead, they live with the terror of knowing that whoever may stray onto the moors late at night might well become the next victim (or perhaps become himself another werewolf). One of the things that makes tales of werewolves so compelling is the fact that by definition werewolves are part of a community, at least for 29 days out of every month -- it's just during the full moon that they find themselves preying on their neighbors. In much the same way, Candyman has been part of the community on which he preys for so long that to kill him would be to change the very nature of the community itself. Isn't it worth living with a little horror if it means we can remain comfortably in the realm of the known? If it means that we can keep alive something that makes our isolated and shunned community special? For such a slippery and tricky topic, Barker managed a tour de force, both frightening and thought-provoking; it's no accident that tales like "The Forbidden" made his well-deserved reputation as a master story-teller.
Of course, like many great short stories, this one is good partly because it's *short*. That is, the idea is sufficient to hold us spellbound for thirty or forty pages, but if it were padded out beyond that, things would start to break down and the story would start straying to less compelling or original ideas. Hence, Landis gave us a taste of what it means for a werewolf to be part of a community but then quickly moved on to the main focus of the film.  End of story.
Could something like this translate well to the screen? The Phantom thinks that only a genius of the form could have carried it off; perhaps John Carpenter in his better days, or Frank Henenlotter if someone could convince him to stay away from that ever-tempting latex. But none of the people responsible for CANDYMAN -- either singly or together -- have the talent to do this successfully, which means that right from the start a lot of compromises have to be made. Now, compromises in and of themselves are not necessarily bad, as long as everyone agrees that they're no longer going to be filming a strict adaptation of original story. Carpenter's version of THE THING is a testament to what a little creative re-writing can do for a film; CANDYMAN, alas, is not.
What does all this have to do with having the word "thesis" in a horror film? Simply that from the very beginning, the screenplay for CANDYMAN wanders wide afield of what should be its primary focus and spends most of two hours going this way and that, never quite sure of its intentions even until the very end. (Or perhaps especially at the very end, which must be one of the most blatant cop-out endings in the history of the horror film -- worse even in some ways than the ever-reincarnating Freddy and Jason, since it's difficult to get upset with films that we hold in so little esteem to begin with.)
Instead of putting us right in the community and letting us experience Candyman first hand with the people who are living their lives with him, the filmmakers focus on a doctoral candidate working on her thesis: that the people in a housing project on Chicago's South Side would start to blame a mythical boogeyman for some of the gruesome murders that occur there with alarming frequency. (In the short story, Barker uses a similar device to get the protagonist into the community, but there she goes to study graffiti as a form of youthful expression and only stumbles onto the legend by accident.) But this doesn't really make any sense, does it? The people living in urban ghettos live with unspeakable violence and murder every day, and they know exactly who is responsible -- for people who must take care leaving their homes not just during a full moon but at any time of any day, a boogeyman who kills some poor soul with a meat hook once in a blue moon would be the very least of their worries.
Too, the legend is distorted to fit HELLRAISER-like sensibilities: instead of being an unknowable and capricious god, Candyman becomes a lot like Pinhead -- look into a mirror and say his name five times and he'll appear.   Wasn't the idea supposed to be that Candyman was a horrible monster, perhaps real, perhaps legend, who killed the poor folks in the ghetto whenever the spirit moved him?
As if this weren't confusing enough, apparently someone saw and enjoyed THE SILENCE OF THE LAMBS and thought that having a spunky investigator go after a mysterious serial killer would be just the ticket, especially if both investigator and serial killer form some sort of relationship.
But how on earth does any of this fit with the original story's driving idea? As it happens, not very well at all, and the result is a well-filmed, competently made mish-mash of excessive exposition, senseless "spring-loaded cat" stunners for an audience growing restless with the essential rootlessness of the screenplay, and the sense that the rewriting continued long after the cameras started rolling.
So instead of using the heroine as a way to keep the focus of the film squarely on Candyman himself -- a technique used to perfection in SILENCE OF THE LAMBS -- we get involved in her marital difficulties and in her quest for a thesis topic; then the film shifts still further away from Candyman as more and more of the plot concerns itself with her, even though the Phantom doesn't remember seeing her name above the shadowy figure in the film's print ads. Meanwhile, what happened to those people in the projects? Candyman is at least ostensibly part of their community, but that's true only for the first half of the film; by the time the terribly contrived ending finally rolls around, they've been reduced to stoic-looking bystanders.
As if to help keep the film on track, the filmmakers load it with scene after scene of exposition. We're even plunked into the middle of a lecture on "modern oral history", presumably just in case we don't know what a legend is. Does anyone remember a lecture on the clinical definition of "sociopath" in SILENCE OF THE LAMBS? Were we the poorer for its lack? Or was Demme able to *show* us what a sociopath is, to put us right in a cell with one and let us feel a little of what Clarice Starling must have been feeling during her interviews with Lector. This is, after all, what people go to the movies for -- if we wanted a narrative, we'd read Barker's short story. (Not that this is an either/or situation, but movies are a primarily visual medium -- filmmakers ignore this at their peril.)
By its end, the filmmakers have turned CANDYMAN nearly into an ELM STREET sequel, except without the playful sense of fun. Why does Candyman *talk* to this poor woman -- and by extension, to us -- so much? The result is that we're always once-removed from the horror; we're always watching him kill someone else. That's scary, sure, just like have a cat jump straight at the screen is scary. (The Phantom coined the term "spring-loaded cat" after seeing ALIEN and noting one of Ridley Scott's favorite scare tactics.) Yet for all the false scares in ALIEN, it remains a consummate horror film because Scott lets us experience the horror *first hand*. The alien comes right at us throughout the last half the film -- we're not just sitting around waiting for it to show up, kill someone else, and put a knife in our hand in an attempt to add yet one more twist to an already over-complicated plot.
Get the sense that the Phantom was somewhat disappointed with CANDYMAN? Well, yes, but let's qualify that a little. First, the film is anything but the usual run-of-the-mill dreck that these days passes for modern horror. It's also head and shoulders above both of its immediate predecessors, INNOCENT BLOOD and HELLRAISER III, each of which was so misguided and poorly made as to be nearly unwatchable. Instead, CANDYMAN is a good, solid horror film that just didn't click as often as the Phantom wished it had; because it was, in a strictly technical sense, so good, the Phantom's disappointment that it didn't deliver on its promise was all the greater.
In fact, one of its greatest flaws is that it introduces and then neglects more good ideas than we're likely to see in the next dozen horror films. Among them, the way the filmmakers flirted with some of our most primal fears about mirrors and walls was both exciting and disturbing, at least as far as it went. Mirrors have always featured prominently in tales of horror, but rarely are they featured as plot elements in horror films (with the notable exception of THE BOOGEYMAN, a HALLOWEEN clone that was nearly as good as the film to which it paid homage). And the notion that the very walls which provide us with a feeling of invulnerability and safety might harbor terrors of their own is a very compelling one; alas, it is dispensed with almost as soon as it's introduced.
Ah well. On balance, you won't go too far wrong in seeing CANDYMAN; but don't expect either a faithful rendition of Barker's remarkable short story or even a film that operates on a level higher than the easy scare -- to the Phantom, CANDYMAN seemed a ghost story without a payoff. (Need to know if a horror film is overly complicated or lacks focus? Here's a good test: try to relate the film's plot -- that is, explain the film -- to someone, campfire optional. If you find it the least bit difficult, chances are the screenplay either got worked on too little or much too much.) In the Phantom's opinion, we need more filmmakers willing to at least attempt to create a subjective and personal horror experience for their audience, rather than bombard them with shocks, gore and excessive exposition in an attempt to cover over the flaws in their screenplays.
(Or perhaps this means that good writing is just as important in the cinema as it is on the page, that special effects and spring-loaded cats can't substitute for intelligent, well-considered terror. If nothing else, CANDYMAN is an example of a horror film that is far better directed than it was written.)
To close, it is the Phantom's fervent hope that this review has given you something to think about as we approach the season of ghosts and witches, even if it has left you no better informed or prepared to make a decision than did those brief glimpses of nationally televised hell, the Presidential debates. Where oh where was Pinhead, Candyman, Freddy and Jason when we really needed them?
: The Phantom<EMAIL_ADDRESS>: cmcl2!panix!sbb
.
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.
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Related links: index of all rec.arts.movies.reviews reviews


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Performance test results of blocking and non-blocking APIs
This repository contains a two very simple APIs
written using Javalin.
All APIs receive a query param with an amount of milliseconds of blocking work it should simulate. Blocking work is
simulated using a Thread.sleep during the call using:
- Thread.sleep in the handler (see javalin-normal)
- Thread.sleep in a CompletableFuture on Executor.cachedThreadPool() (see javalin-cf-pooled-sleep)
A gatling load test is run against the APIs with different parameters to see how the API performs. The links to the
HTML reports for each test-case are listed below.
The performance test was also run against a simple SpringBoot 2.2.4 service with spring-web-reactive using a
RestController that executes the Thread.sleep using:
- Mono using delay (see mono-delay)
- Mono using fromCallable (see mono-sleep)
- Mono using fromCallable using Schedulers.elastic() (see mono-sleep-sched)
- CompletableFuture without a backing threadpool see (cf-sleep)
- CompletableFuture with a dedicated Executor.cachedThreadPool() (see cf-pooled-sleep)
- Naked return type with Thread.sleep in the body (see raw-sleep)
See the code here: APIs written using SpringBoot


{% extends "fermentation/base.html" %} {% import "macros/forms.html" as forms %} {% block headpagetitle %}{{ gettext("confirm removal of fermentation step %(fstep_name)s for your brew %(brew_name)s", fstep_name=fstep.name, brew_name=fstep.brew.name) }}{% endblock %} {% block widecontent %}
{{ gettext("Fermentation step %(fstep_name)s for your brew %(brew_name)s is about to be deleted with all its content. As this process is irreversible we're asking you again, is this really what you want do do?", fstep_name=fstep.name, brew_name=fstep.brew.name) }}
{{ forms.render_form(delete_form, url_for('ferm.fermentationstep_delete', fstep_id=fstep.id)) }} {% endblock %}


‘Like the Liverpool front three’ – Grealish reveals tactical model from Aston Villa boss
by Ron CarneLiverpool are leading the way in the Premier League this season and are out to defend their Champions League crown, so it would be no surprise if other sides are drawing inspiration from them.
Jurgen Klopp has turned the Merseyside giants into a genuine contender both domestically and in Europe, and more major trophies could be on their way to Anfield in the coming months and years.
SEE MORE: Video: Hourihane curls in brilliant free-kick to give Aston Villa lead vs Newcastle Utd
With that in mind, it shouldn’t really come as much of a surprise then that other teams are looking at what Liverpool are doing on the pitch and trying to replicate that to suit the players at their disposal.
Aston Villa captain Jack Grealish seemingly gave away a little hint in his post-match interview after his side’s 2-0 win over Newcastle United on Monday night, as he revealed what boss Dean Smith has asked from him when playing out on the left wing.
As seen in the video below, the Villa talisman conceded that Smith wants him to play ‘like the Liverpool front three’ when out on the left to act as more of a third striker rather than a left-sided midfielder.
Grealish also showed a humble side to him by noting that he’s aware he’s not on their level, but ultimately he’s proving to be absolutely crucial to Villa’s bid to avoid relegation this season and there is no doubt that the club’s fans value him as highly as the Liverpool faithful do the likes of Mohamed Salah and Sadio Mane.
Time will tell if Smith’s ideas and demands work in the long run, but Grealish’s return from injury saw Villa get back to winning ways and they’ll hope to kick on heading into the festive period.


If you need any support, please send email to<EMAIL_ADDRESS>如果有问题、意见与建议，请发送邮件至 yeseni.today@gmail.com


Package with thermal ports
This package provides thermal ports.
Extends from Modelica.Icons.InterfacesPackage (Icon for packages containing interfaces).
| Name | Description |
|---|---|
| HeatPort | Heat port |
| HeatPortVec | Vector of heat port |
| HeatPortRad |
Heat port
MSL thermal port
Extends from Modelica.Thermal.HeatTransfer.Interfaces.HeatPort (Thermal port for 1-dim. heat transfer).
| Type | Name | Description |
|---|---|---|
| Temperature | T | Port temperature [K] |
| flow HeatFlowRate | Q_flow | Heat flow rate (positive if flowing from outside into the component) [W] |
Vector of heat port
Vector of n heat port
| Type | Name | Default | Description |
|---|---|---|---|
| Integer | n | 2 | No. of elements |
| Type | Name | Description |
|---|---|---|
| Integer | n | No. of elements |
| Temperature | T[n] | temperature [K] |
| flow HeatFlowRate | Q_flow[n] | heat rate [W] |
Extends from Modelica.Thermal.HeatTransfer.Interfaces.HeatPort (Thermal port for 1-dim. heat transfer).
| Type | Name | Description |
|---|---|---|
| Temperature | T | Port temperature [K] |
| flow HeatFlowRate | Q_flow | Heat flow rate (positive if flowing from outside into the component) [W] |


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Can you move around all day without a recurring injury flaring up?
Can you walk home at night without fear of being in danger?
Are you able to attend events without wondering if there's a bathroom you can use?
Do you know someone who could loan you money in a pinch?
Do people always believe you when you say where you're from?
Is there a national holiday in the country that you live in that honours an aspect/event of your religious/cultural background? (If this doesn't apply to you, skip this question)
Can you see a doctor when you need to?
Are you comfortable holding hands with your significant other(s) in public?
Have you been offered a job with the help of a friend or a family member?
Are you able to attend events without wondering if the main entrance is accessible to you?
Do you think of the police as someone you can call for help?
Do you commonly relate to people positively portrayed in the media and with whom you share significant aspects of your identity (e.g. race, ethnicity, gender, sexual orientation, ability)?
Can you fall asleep easily once you've decided to fall asleep?
Have you always been able to afford at least 2 meals a day?
Can you discuss all aspects of your identity with your family?
Is the gender on your official documents correct?
Have you always felt like your identity was well-described by categorical boxes on a medical form?


“I want to give people the opportunity to look at the world through
a deeper and more creative lens.”
My name is Megan Lasso. I am a Design Major and have about a year until I graduate
with a degree. I specialize in illustrating logos and designing the structure
of new products that will help make people's lives easier.
Images of my work:
-The “B Rose”, or rose, illustration represents my older sister and her middle name.
-The Lake Wood logo, or “Wordmark”, was made for a restaurant.
-The tree, or “Hope” illustration was made for packaging for a company and it represents hope.
-The panel named “Comical”, was drawn for a futuristic comic strip.
-The “Summer” logo was made to promote summer, though now that I look at it, I would change the colors.


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Safadi Withdraws His Candidacy to Be Lebanon's Next Prime Minister - Reports
The country has been shaken by protests for weeks, already leading to the resignation of Prime Minister Saad al-Hariri on 29 October.
Mohammad Safadi has withdrawn his candidacy to be the next leader of the Lebanese government, LBCI and al-Jadeed reported on Saturday.
Earlier this week, Safadi, who had served as finance minister, agreed to be Lebanon's PM nominee, the local media reported.
At the end of October, Prime Minister Saad Hariri had announced his resignation, amid the ongoing demonstrations that started in Lebanon on 17 October over the government's intent to raise taxes on online calls.
Hariri will though remain at the post until a new government is formed.


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