Reports use of features which have questionable effect, or no effect at all.
kotlinx.android.synthetic
imports are shown as deprecatedVideoView.setOnClickListener
is useless before Android API 26: the listener won't actually be invoked.
As a workaround, you can extend VideoView and fix it yourself:
public final class ClickableVideoView extends VideoView {
private final GestureDetector gd;
public ClickableVideoView(Context context, AttributeSet attrs) {
super(context, attrs);
gd = new GestureDetector(context, new GestureDetector.SimpleOnGestureListener() {
@Override public boolean onSingleTapUp(MotionEvent e) {
return performClick();
}
});
}
@SuppressLint("ClickableViewAccessibility")
@Override public boolean onTouchEvent(MotionEvent ev) {
//noinspection ConstantConditions,PointlessBooleanExpression
return gd.onTouchEvent(ev) || super.onTouchEvent(ev) || true;
}
}
RecyclerView.setOnClickListener
has no effect, too.getConstantState()
.
Null ConstantState may lead to crashes;
inherited ConstantState guarantees caching bugs when inflated from resources.The inspection is provided by Mike's IDEA Extensions.


"""Jinja2 environment and extensions loading."""
from jinja2 import Environment, StrictUndefined
from cookiecutter.exceptions import UnknownExtension
[docs]class ExtensionLoaderMixin(object):
"""Mixin providing sane loading of extensions specified in a given context.
The context is being extracted from the keyword arguments before calling
the next parent class in line of the child.
"""
def __init__(self, **kwargs):
"""Initialize the Jinja2 Environment object while loading extensions.
Does the following:
1. Establishes default_extensions (currently just a Time feature)
2. Reads extensions set in the cookiecutter.json _extensions key.
3. Attempts to load the extensions. Provides useful error if fails.
"""
context = kwargs.pop('context', {})
default_extensions = [
'cookiecutter.extensions.JsonifyExtension',
'cookiecutter.extensions.RandomStringExtension',
'cookiecutter.extensions.SlugifyExtension',
'jinja2_time.TimeExtension',
]
extensions = default_extensions + self._read_extensions(context)
try:
super(ExtensionLoaderMixin, self).__init__(extensions=extensions, **kwargs)
except ImportError as err:
raise UnknownExtension('Unable to load extension: {}'.format(err))
def _read_extensions(self, context):
"""Return list of extensions as str to be passed on to the Jinja2 env.
If context does not contain the relevant info, return an empty
list instead.
"""
try:
extensions = context['cookiecutter']['_extensions']
except KeyError:
return []
else:
return [str(ext) for ext in extensions]
[docs]class StrictEnvironment(ExtensionLoaderMixin, Environment):
"""Create strict Jinja2 environment.
Jinja2 environment will raise error on undefined variable in template-
rendering context.
"""
def __init__(self, **kwargs):
"""Set the standard Cookiecutter StrictEnvironment.
Also loading extensions defined in cookiecutter.json's _extensions key.
"""
super(StrictEnvironment, self).__init__(undefined=StrictUndefined, **kwargs)


This is an example to demonstrate browser-based debugging of C++-generated WebAssembly. For more information, please see the associated documentation.


Home
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Circle Invaders
Use left and right arrow keys to move the shooter
Use spacebar to shoot


|
SideCar
|
Class for all sampling message containers. More...
#include </Users/howes/src/sidecar/Messages/Message.h>
Public Member Functions | |
| uint32_t | getSamplingFlags () const |
| Optain the state flags from the sampling system. More... | |
| uint32_t | getSamplingTimeStamp () const |
| Obtain the high-frequency time stamp from the sampling system. More... | |
| uint32_t | getSamplingSequenceCounter () const |
| Obtain the PRI sequence counter from the sampling system. More... | |
| uint32_t | getSamplingShaftEncoding () const |
| Obtain the radar shaft encoding value from the sampling system. More... | |
| uint32_t | getSamplingPRFEncoding () const |
| Obtain the PRF encoding value from the sampling system. More... | |
| double | getSamplingIRIGTime () const |
| Obtain the IRIG time value from the sampling system. More... | |
| double | getSamplingRangeMin () const |
| Obtain the range value of the first sample from the sampling system. More... | |
| double | getSamplingRangeFactor () const |
| Obtain the delta range between adjacent samples. More... | |
| double | getSamplingRangeAt (size_t index) const |
| Obtain the range value for a given sample. More... | |
| size_t | getSamplingSize () const |
| Obtain the number of sample values in the message. More... | |
| double | getAzimuthStart () const |
| Obtain an azimuth value in radians for the sampling message, based on the shaft encoder value from the RIU. More... | |
| double | getAzimuthEnd () const |
| Obtain an azimuth value in radians for the sampling message, based on the shaft encoder and the north mark values from the VME syatem. More... | |
| Public Member Functions inherited from SideCar::Messages::BaseMessage | |
| BaseMessage () | |
| Default constructor. More... | |
| bool | isValid () const |
| Determine if there is a valid backing object present. More... | |
| virtual const Messages::MetaTypeInfo & | getMessageMetaTypeInfo () const |
| Obtain meta data that describes the message type. More... | |
| const std::string & | getMessageProducer () const |
| Obtain the name of the entity that created this message; usually the name of an algorithm. More... | |
| uint32_t | getMessageSequenceNumber () const |
| Obtain the sequence number associated with this message. More... | |
| void | setMessageSequenceNumber (uint32_t value) |
| Set the sequence number associated with this message. More... | |
| Time::TimeStamp | getMessageCreatedTimeStamp () const |
| Obtain the time when this message was created. More... | |
| void | setMessageCreatedTimeStamp (const Time::TimeStamp &value) |
| Set the time when this message was created. More... | |
| Time::TimeStamp | getMessageEmittedTimeStamp () const |
| Obtain the time when this message was emitted to a network device. More... | |
| size_t | getMessageSize () const |
| Obtain the number of bytes occupied by this message. More... | |
| ACE_InputCDR & | load (ACE_InputCDR &cdr) |
| Update attribute values using data from an ACE input CDR object. More... | |
| ACE_OutputCDR & | write (ACE_OutputCDR &cdr) const |
| Store attribute values into an ACE output CDR object. More... | |
| std::ostream & | print (std::ostream &os) const |
| Write out a textual representation of the object to the given stream. More... | |
Protected Member Functions | |
| SamplingMessage (Impl *impl) | |
| Constructor. More... | |
| Protected Member Functions inherited from SideCar::Messages::BaseMessage | |
| BaseMessage (BaseMessageImpl *impl) | |
| Constructor. More... | |
| template<typename T > | |
| T & | getTImpl () |
| Template type-cast operator to obtain a modifiable reference type derived from BaseMessageImpl. More... | |
| template<typename T > | |
| const T & | getTImpl () const |
| Template type-cast operator to obtain a read-only reference type derived from BaseMessageImpl. More... | |
Class for all sampling message containers.
Implements the same type-agnostic interface as SamplingMessageImpl, but simply forwards requests to the held SamplingMessageImpl object. Provides additional convenience methods for working with sampling data.
|
inlineprotected |
| double SideCar::Messages::SamplingMessage::getAzimuthEnd | ( | ) | const |
Obtain an azimuth value in radians for the sampling message, based on the shaft encoder and the north mark values from the VME syatem.
| double SideCar::Messages::SamplingMessage::getAzimuthStart | ( | ) | const |
Obtain an azimuth value in radians for the sampling message, based on the shaft encoder value from the RIU.
NOTE: assumes that the radar is pointing north when getSamplingShaftEncoding() == 0.
|
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I perceive most conflicts as falling into one of two categories. First, there is conflict arising from a rational opposition of interests, usually over some scarce resource. These conflicts are extremely common and are in fact the basis of the price-setting mechanism in our economy. I don't mind these sorts of conflicts because they can oftentimes be settled in a reasonable, gentlemanly manner.
The other type of conflict is emotional in nature and isn't grounded in anything significant. It's often triggered by clashing personalities and values, but is ultimately rooted in a childish, entitled disposition towards the world. People who have conquered real struggles in their lives and who are constantly pushing themselves to greater heights don't become caught up in petty bickering with others - they don't have time for it.
When I find myself in the first type of conflict, I engage with it head-on and usually arrive at a satisfactory conclusion with the other party with no hard feelings. If someone tries to start the second type of conflict with me, I will deal with the other person in a polite manner but mentally downgrade them and avoid dealing with them in the future.


java.lang.Exception
that are not declared final
.
Data on exception objects should not be modified because this may result in losing the error context for later debugging and logging.
Example:
public class EditorException extends Exception {
private String message; // warning: Non-final field 'message' of exception class
}


DIUREX MAX- pamabrom tablet, film coated
Alva-Amco Pharmacal Companies, Inc.
Disclaimer: Most OTC drugs are not reviewed and approved by FDA, however they may be marketed if they comply with applicable regulations and policies. FDA has not evaluated whether this product complies.
Active ingredient (in each caplet)
Pamabrom, 50 mg....................................Diuretic
Uses
For the relief of
- temporary water weight gain
- bloating
- swelling
- full feeling
associated with the premenstrual and menstrual periods.
Warnings
Ask a doctor or pharmacist before use if you are taking any other medications.
Stop use and ask a doctor if symptoms last more than ten consecutive days.
If pregnant or breastfeeding, ask a health professional before use.
Keep out of reach of children. In case of overdose, get medical help or contact a poison control center right away.
Directions
- Read all package directions and warnings before use.
- Use only as directed.
- Adults: One (1) caplet after breakfast with a full glass of water.
- Dose
may be repeated after six (6) hours, not to exceed four (4) caplets in 24 hours.
- Start taking 5 or 6 days before onset of period and continue until desired relief is obtained or end of period.
- Drink 6 to 8 glasses of water daily.
- For use by normally healthy adults only.
- Persons under 18 years of age should use only as directed by a doctor.
Calcium content: 205 mg/caplet. **Contents sealed: Each Diurex, light blue colored, oval shaped caplet bears the identifying mark
"ALVA" plus a "1" on the caplet's reverse side and is sealed in a clear plastic
blister with a foil backing. Do not use if seal appears broken or if
product contents do not match product description. Note: The appearance of golden tinted urine which may occur after taking Diurex Water Caplets is a normal and temporary effect. You may report serious side effects to the phone number provided under Questions? below.
Inactive ingredients
Calcium sulfate dihydrate, croscarmellose sodium, dicalcium phosphate, FDC Blue No. 1, hypromellose, magnesium stearate, mineral oil, polyethylene glycol, potassium gluconate, riboflavin, sodium lauryl sulfate, stearic acid and titanium dioxide.
Questions? 1-800-792-2582
Alva-Amco Pharmacal Companies, Inc.


In my project, I have to dump data from Mysql to MongoDB. And, this feature only used in development. However, Rails will load any classes under folder “app/” automatically . So, how can I avoid “Development-Only Class” loading in production environment?
let’s check it out~
If you have a class named: DumpDataFromOldServer and it located at folder ‘/app/development_only’. like this:
12345
# app/development_only/dump_data_from_old_server.rb
class DumpDataFromOldServer < ActiveRecord::Base
....
end
Step1. Application.rb
you still need to let Rails know which folders should be loaded by using config.eager_load_paths.
ps. what’s difference between eager_load and auto_load?
path_rejector = lambda { |s| s.include?("app/development_only") }
# Remove the path from being loaded when Rails starts:
config.eager_load_paths = config.eager_load_paths.reject(&path_rejector)
# Remove the path from being lazily loaded
ActiveSupport::Dependencies.autoload_paths.reject!(&path_rejector)
It will be:
1234567891011
# config/environments/production.rb
Rails.application.configure do
...
path_rejector = lambda { |s| s.include?("app/development_only") }
config.eager_load_paths = config.eager_load_paths.reject(&path_rejector)
ActiveSupport::Dependencies.autoload_paths.reject!(&path_rejector)
end
Step3. Test
1234567891011
# In Development console: rails c
> DumpDataFromOldServer.all.first
DumpDataFromOldServer Load (0.6ms) SELECT `dump_data_from_old_server`.* FROM `dump_data_from_old_server ` LIMIT 1
=> #<DumpDataFromOldServer id: 1, created_at: "2014-05-09 16:59:55">
# In Production console: rails c -e production
> DumpDataFromOldServer.all.first
NameError: uninitialized constant DumpDataFromOldServer
Since ‘google-api-ruby-client’ make a big change from 0.8 to 0.9 when my project is running out of time, and also I met this issue, So, I make this decision, let’s build a API client by myself.


This game's clips were originally found off of the second DVD in The Lion King DVD set (the blue disc pictured).
The game is a very simple choose-your-own-adventure where Timon the meerkat and Pumbaa the warthog are stopped along their safari journey by crossroads where the user must choose their next direction to travel, either left or right.
Each choice will have different outcomes, such as going into a cave full of bats (oof) or traveling through an elephant graveyard (ouchie).
The remote for the DVD player was how the user interacted and influenced what would happen to Timon and Pumbaa in the original experience. With this website, I hope to recreate a faithful online representation of what I cherished as a child.


HTML? CSS? Elements, tags, attributes...? WHAT DOES IT MEAN!?!
It's okay. Let's ease you into it, yeah? Click below to see the lesson and get your learning on.
This go round we take a closer look at HTML elements and how to structure web pages. Along the way, we'll talk of semantics and styling, pathing, and linking, one of HTML's most powerful features.
View LessonThe last full lesson on HTML includes a deeper look at lists, tables, and forms. We'll look at them in the context of everything you've learned up to this point and start skimming the surface of cascading style sheets.
View Lesson


| File: | local/lib/perl5/Test/Most/Exception.pm |
| Coverage: | 100.0% |
| line | stmt | bran | cond | sub | time | code |
|---|---|---|---|---|---|---|
| 1 | package Test::Most::Exception; | |||||
| 2 | ||||||
| 3 | 6 6 6 | 13 5 81 | use warnings; | |||
| 4 | 6 6 6 | 11 4 73 | use strict; | |||
| 5 | ||||||
| 6 | 6 6 6 | 14 15 482 | use base 'Exporter'; | |||
| 7 | our @EXPORT_OK = ('throw_failure'); | |||||
| 8 | ||||||
| 9 - 17 | =head1 NAME Test::Most::Exception - Internal exception class =head1 VERSION Version 0.33 =cut | |||||
| 18 | ||||||
| 19 | our $VERSION = '0.33'; | |||||
| 20 | $VERSION = eval $VERSION; | |||||
| 21 | ||||||
| 22 - 34 | =head1 SYNOPSIS This is the exception thrown by C<die_on_fail> by C<Test::Most>. =head1 EXPORT We export only one function: =head2 C<throw_failure> This is the exception for C<die_on_fail>. =cut | |||||
| 35 | ||||||
| 36 | 6 | 21 | use Exception::Class 'Test::Most::Exception' => { | |||
| 37 | alias => 'throw_failure', | |||||
| 38 | description => 'Test failed. Stopping test.', | |||||
| 39 | 6 6 | 1135 7 | }; | |||
| 40 | ||||||
| 41 | 1; | |||||
| 42 | ||||||
| 43 - 107 | =head1 AUTHOR Curtis Poe, C<< <ovid at cpan.org> >> =head1 BUGS Please report any bugs or feature requests to C<bug-test-extended at rt.cpan.org>, or through the web interface at L<http://rt.cpan.org/NoAuth/ReportBug.html?Queue=Test-Most>. I will be notified, and then you'll automatically be notified of progress on your bug as I make changes. =head1 SUPPORT You can find documentation for this module with the perldoc command. perldoc Test::Most You can also look for information at: =over 4 =item * RT: CPAN's request tracker L<http://rt.cpan.org/NoAuth/Bugs.html?Dist=Test-Most> =item * AnnoCPAN: Annotated CPAN documentation L<http://annocpan.org/dist/Test-Most> =item * CPAN Ratings L<http://cpanratings.perl.org/d/Test-Most> =item * Search CPAN L<http://search.cpan.org/dist/Test-Most> =back =head1 CAVEATS The stack trace is likely useless due to how C<Test::Builder> internals work. Sorry 'bout that. =head1 ACKNOWLEDGEMENTS Many thanks to C<perl-qa> for arguing about this so much that I just went ahead and did it :) Thanks to Aristotle for suggesting a better way to die or bailout. Thanks to 'swillert' (L<http://use.perl.org/~swillert/>) for suggesting a better implementation of my "dumper explain" idea (L<http://use.perl.org/~Ovid/journal/37004>). =head1 COPYRIGHT & LICENSE Copyright 2008 Curtis Poe, all rights reserved. This program is free software; you can redistribute it and/or modify it under the same terms as Perl itself. =cut | |||||
| 108 | ||||||
| 109 | 1; |


CollectionViewLayout
open class CollectionViewLayout : NSObject
The CollectionViewLayout class is an abstract base class that you subclass and use to generate layout information for a collection view. The job of a layout object is to determine the placement of cells, supplementary views inside the collection view’s bounds and to report that information to the collection view when asked. The collection view then applies the provided layout information to the corresponding views so that they can be presented onscreen.
-
The collection view this layout has been applied to
Set when the layout is given to a collection view’s collectionViewLayout property
Declaration
Swift
open internal(set) weak var collectionView: CollectionView? { get set }
-
The direction that the collection view should scroll
Declaration
Swift
open var scrollDirection: CollectionViewScrollDirection { get }
-
The size that encapsulates all views within the collection view
Note: Subclasses must override this method and use it to return the width and height of the collection view’s content. These values represent the width and height of all the content, not just the content that is currently visible. The collection view uses this information to configure its own content size to facilitate scrolling.
Declaration
Swift
open var collectionViewContentSize: CGSize { get }
-
If supporting views should be pinned to the top of the view
Declaration
Swift
open var pinHeadersToTop: Bool
-
Currently this is only called when the layout is applied to a collection view.
Declaration
Swift
open func invalidate()
-
Asks the layout if it should be invalidated due to a bounds change on the collection view
Declaration
Swift
open func shouldInvalidateLayout(forBoundsChange newBounds: CGRect) -> Bool
Parameters
newBounds
The new bounds of the collection view
Return Value
If the layout should be invalidated
-
Tells the layout object to update the current layout.
Discussion
Layout updates occur the first time the collection view presents its content and whenever the layout is invalidated explicitly or implicitly because of a change to the view. During each layout update, the collection view calls this method first to give your layout object a chance to prepare for the upcoming layout operation. The default implementation of this method does nothing. Subclasses can override it and use it to set up data structures or perform any initial computations needed to perform the layout later.
Declaration
Swift
open func prepare()
-
All the index paths to be displayed by the collection view
Becuase the layout likely needs to process all items in the data, setting this during prepare() can cut out the overhead of the collection view having to do so itself.
Declaration
Swift
public var allIndexPaths: OrderedSet<IndexPath>
-
Returns the layout attributes for all views in a given rect
Declaration
Swift
open func layoutAttributesForItems(in rect: CGRect) -> [CollectionViewLayoutAttributes]
Parameters
rect
The rect in which to look for elements
-
Returns the layout attributes for an item at the given index path
Important
This must be overridden by subclasses
Declaration
Swift
open func layoutAttributesForItem(at indexPath: IndexPath) -> CollectionViewLayoutAttributes?
Parameters
indexPath
The index path of the item for which you want the attributes
-
Returns the layout attributes for the supplementary view of the given kind and the given index path
Important
This must be override by a subclass
Declaration
Swift
open func layoutAttributesForSupplementaryView(ofKind kind: String, at indexPath: IndexPath) -> CollectionViewLayoutAttributes?
Parameters
elementKind
The kind of the view
indexPath
The index path of the view
-
Returns the frame that encapsulates all the content in the section
Declaration
Swift
open func rectForSection(_ section: Int) -> CGRect
Parameters
section
The section to get the frame for
Return Value
The rect containing all the views
-
Returns the rect that encapsulates just the items of a section
Declaration
Swift
open func contentRectForSection(_ section: Int) -> CGRect
Parameters
section
The section to get the content frame for
Return Value
The rect containing all the items
-
Provides he layout a chance to adjust the frame to which the collection view should scroll to show an item
The default implementation returns the value from layoutAttributesForItem(at:)
Declaration
Swift
open func scrollRectForItem(at indexPath: IndexPath, atPosition: CollectionViewScrollPosition) -> CGRect?
Parameters
indexPath
The item to scroll to
atPosition
The position at which to scroll the item to
-
Returns the index path for the next item in a given direction
Declaration
Swift
open func indexPathForNextItem(moving direction: CollectionViewDirection, from currentIndexPath: IndexPath) -> IndexPath?
Parameters
direction
The direction in which to look for the next items (up, down, left, right)
currentIndexPath
The current index path to seek from


PipelineFactory(server: ServerInstance?, string: String?)
Factory for transforming jsonLd to Pipeline.
server - Server corresponding to the Pipeline. Can be null if using this factory to just parse configuration.
server
string - JsonLd containing the Pipeline.
string


What happened backstage on CM Punk's return to WWE
by Nishant JayaramCM Punk made his return to WWE, albeit away from the ring, last week, on WWE Backstage. FOX announced that Punk would serve as an analyst on the Backstage show, and that we would see him weekly on Tuesday nights.
Ryan Satin, founder of Pro Wrestling Sheet, is now a part of WWE Backstage and has a section called The Satin Sheet. He was backstage during Punk's return, and revealed that he and a majority of the backstage personnel did not know about Punk appearing on Backstage.
Also Read: CM Punk answers if he'll return to the wrestling ring
In an interview with WrestlingInc, Satin revealed the backstage reaction to CM Punk's return. He said,
"We had a production meeting and there was no Punk talk and nothing in the rundown. There was no word from anyone and no inkling whatsoever. Then I did my segment and when I was done, somebody came up to me and rushed me out into the control room."
He said that Mick Foley, who was a part of the show, was as surprised as anyone.
"Mick Foley was in there and eating a sandwich. I was trying to post stories from my phone and right when I get the second one up, I hear [Punk's music] and my jaw dropped. I see him walk out and I'm like, 'Oh my God. Are you kidding me?'
"I turn around and ask Mick if he had any idea Punk was there. He goes, 'No, that's crazy' and goes back to eating his sandwich. Then I asked production and they had no idea. I was like, 'What the hell? That's crazy.' I had no idea and was just as surprised as anyone."
He said that he was a part of a production meeting earlier in the day and there was no talk about Punk on the show.
We want to know what you think of the matches that you see on TV! Go to our WWE page here and rate and comment what you thought of them!


Id: 101
Name: E. Coli
Status: Dead
Species: Disease
Type:
Gender: unknown
OriginName: Anatomy Park
OriginUrl: https://rickandmortyapi.com/api/location/5
LocationName: Anatomy Park
LocationUrl: https://rickandmortyapi.com/api/location/5
Image: https://rickandmortyapi.com/api/character/avatar/101.jpeg
Episode: ['https://rickandmortyapi.com/api/episode/3']
Url: https://rickandmortyapi.com/api/character/101
Created: 2017-12-01T12:03:31.433Z


"Everyday we are searching for meaning in life. Step back, notice the good things that have been occuring. Life is a made up of many small miracles, and the moment we start acknowledging them and being grateful for them, you will see a shift in your life. So take time and find your miracles"
-Kavita Kooverjee
Each moment is a miracle. Take time to notice all the miracles and take time to allow the miracles.
Finding miracles is easy, just look around you.
Breathe in, that is a miracle. Smile, that is a miracle. Finding Miracles is a place to find inspiration and be an inspiration.
You can create the life you want if you simply follow the guidelines of positive thinking and the law of attraction.


Pretend. You pretend the feelings are there, for the world, for the people around you.
Who knows? Maybe one day they will be. I like seafood.
Finding a needle in a haystack isn't hard when every straw is computerized. I'm really more an apartment person.
I feel like a jigsaw puzzle missing a piece. And I'm not even sure what the picture should be.
I'm going to tell you something that I've never told anyone before.


Fri Nov 1, 2013
Google released Kit Kat today, their latest iteration of Android, along with the Nexus 5. As a flagship nexus device, the 5 looks awesome, but I’m still not sold on LG as a manufacturer.
Let’s talk about the software side first. I must admit, I was disappointed when HTC stopped supporting upgrades for my HTC One S a mere 15 months after its release. But today Google revealed that it is on an 18-month obsolescence cycle, which isn’t much better I guess. Given that contracts are now two years in Canada, that means nexus users will be left out in the cold for about 6 months. But that’s only if you get the phone at launch.
In lieu of a full OS upgrade, I’d love to see a “Google Experience” launcher for all Android devices. Launchers are gaining some serious traction. And no, I’m not talking about the lame Facebook launcher (they had the right idea though - control the entire UI). Launchers that offer vast customization such as Themer, which is still in Beta right now, look pretty exciting. Right now, the Kit Kat launcher is for the nexus only, but bringing Google Now to everybody’s homescreen would be a big win.
On the hardware side of things, we’re still waiting for the next generation of the nexus 10. I’m seriously looking at jumping into the tablet market, so am comparing all the latest offerings right now. I’ll write something up when I’ve made my final decision.
Android can be messy, but is still the most fun you can have on a phone right now. I’m still digging mine, even though I’m stuck on 4.1.1. When the time comes to upgrade (at the end of 2015 unfortunately), I’ll be looking seriously at the nexus line instead of HTC. Even though it only buys me an extra three months.


|
Filter functions and methods | |||
Filter by: |
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Filter: |
No C/C++ source files were generated because JIT compilation was used.
| Size | 1 x :? |
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| Class | char |
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| Class | double |
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| Complex | No |
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| Class | embedded.fi |
| Complex | No |
| Signedness | Signed |
| WL | 3 |
| FL | 0 |
| Size | 625 x 1 |
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| Class | int8 |
| Complex | No |
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| Class | int8 |
| Complex | No |
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| Class | cell |
| Size | 1 x 1 |
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| Class | logical |
| Size | 1 x 1 |
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| Class | double |
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| Signedness | Signed |
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| Size | 1 x 3 |
|---|---|
| Class | char |
| Size | 1 x 1 |
|---|---|
| Class | function_handle |
| Size | 1 x 0 |
|---|---|
| Class | cell |
| Size | 1 x 1 |
|---|---|
| Class | int32 |
| Complex | No |
| Size | 1 x 1 |
|---|---|
| Class | function_handle |
| Size | 1 x 1 |
|---|---|
| Class | uint8 |
| Complex | No |
| Size | 1 x 14 |
|---|---|
| Class | char |
| Size | 1 x 1 |
|---|---|
| Class | function_handle |
| Size | 1 x 1 |
|---|---|
| Class | function_handle |
| Size | 1 x 31 |
|---|---|
| Class | char |
| Size | 1 x 3 |
|---|---|
| Class | cell |
| Size | 1 x 1 |
|---|---|
| Class | function_handle |
| Size | 1 x 1 |
|---|---|
| Class | function_handle |
| Size | 1 x 1 |
|---|---|
| Class | int16 |
| Complex | No |
| Value | 255 |
|---|
| Value | 0 |
|---|
| Value | 0 |
|---|
| Value | RoundingMethod: Nearest OverflowAction: Saturate ProductMode: FullPrecision SumMode: FullPrecision |
|---|
| Value | DataTypeMode: Fixed-point: binary point scaling Signedness: Signed WordLength: 3 FractionLength: 0 |
|---|
| MATLAB code generation attempted on: | 23-Jun-2018 23:45:19 |
| Coding target: | MEX Function |
| Number of errors: | 24 |
| Number of warnings: | 0 |
| Number of notices: | 0 |
| Tell Us What You Think |
| We value your feedback. Please take a few minutes to answer this short questionnaire regarding the Code Generation Report. |
| >>Provide Feedback |
| 1 | decompression_hdl |
44 |
This assignment writes a 'int8' value into a 'double' type. Code generation does not support changing types through assignment. Check preceding assignments or input type specifications for type mismatches. |
|
| 2 | bound_update_scalar > 1 |
8 |
This assignment writes a 'int16' value into a 'double' type. Code generation does not support changing types through assignment. Check preceding assignments or input type specifications for type mismatches. |
|
| 3 | bound_update_scalar > 1 |
11 |
This assignment writes a 'int16' value into a 'double' type. Code generation does not support changing types through assignment. Check preceding assignments or input type specifications for type mismatches. |
|
| 4 | decompression_hdl |
54 |
Function call failed. |
|
| 5 | decompression_hdl |
54 |
Undefined function or variable 'upperbound'. The first assignment to a local variable determines its class. |
|
| 6 | decompression_hdl |
54 |
Undefined function or variable 'lowerbound'. The first assignment to a local variable determines its class. |
|
| 7 | decompression_hdl |
55 |
Undefined function or variable 'upperbound'. The first assignment to a local variable determines its class. |
|
| 8 | decompression_hdl |
56 |
Undefined function or variable 'predict_x0'. The first assignment to a local variable determines its class. |
|
| 9 | decompression_hdl |
57 |
Undefined function or variable 'predict_x0'. The first assignment to a local variable determines its class. |
|
| 10 | bound_update_scalar > 2 |
8 |
This assignment writes a 'int16' value into a 'double' type. Code generation does not support changing types through assignment. Check preceding assignments or input type specifications for type mismatches. |
|
| 11 | bound_update_scalar > 2 |
11 |
This assignment writes a 'int16' value into a 'double' type. Code generation does not support changing types through assignment. Check preceding assignments or input type specifications for type mismatches. |
|
| 12 | decompression_hdl |
61 |
Function call failed. |
|
| 13 | decompression_hdl |
61 |
Undefined function or variable 'upperbound'. The first assignment to a local variable determines its class. |
|
| 14 | decompression_hdl |
61 |
Undefined function or variable 'lowerbound'. The first assignment to a local variable determines its class. |
|
| 15 | decompression_hdl |
62 |
Undefined function or variable 'upperbound'. The first assignment to a local variable determines its class. |
|
| 16 | decompression_hdl |
62 |
Undefined function or variable 'upperbound'. The first assignment to a local variable determines its class. |
|
| 17 | decompression_hdl |
62 |
Undefined function or variable 'lowerbound'. The first assignment to a local variable determines its class. |
|
| 18 | decompression_hdl |
63 |
Undefined function or variable 'upperbound'. The first assignment to a local variable determines its class. |
|
| 19 | decompression_hdl |
64 |
Undefined function or variable 'predict_x0'. The first assignment to a local variable determines its class. |
|
| 20 | decompression_hdl |
65 |
Undefined function or variable 'predict_x0'. The first assignment to a local variable determines its class. |
|
| 21 | bound_update_scalar > 3 |
8 |
This assignment writes a 'int16' value into a 'double' type. Code generation does not support changing types through assignment. Check preceding assignments or input type specifications for type mismatches. |
|
| 22 | bound_update_scalar > 3 |
11 |
This assignment writes a 'int16' value into a 'double' type. Code generation does not support changing types through assignment. Check preceding assignments or input type specifications for type mismatches. |
|
| 23 | decompression_hdl |
70 |
Function call failed. |
|
| 24 | decompression_hdl |
70 |
Error limit reached. Suppressing further error messages. |


|
The rrdFlotSupport Javascript module implements a set of commonly used functions an classes that may be used while plotting RRD files with Flot. |
This module provides two types of support:
This function extracts a specific DS from a specific RRA and returns an object that contains the data in format flot expects.
Input parameters:
|
Parameter |
Description |
|---|---|
|
rrd_file |
An object of type RRDFile or equivalent. |
|
ds_id |
Identifier of the desired DS (as accepted by RRDFile.getDS()). |
|
rra_idx |
Index of the desired RRA. |
|
want_rounding |
If not false, all timestamps will be truncated to the RRA step. |
The output is an object containing:
|
Attribute |
Description |
|---|---|
|
data |
A list of datapoints suitable to be fed to Flot. Each element is a (Timestamp in ms, value) pair.
An example of use with Flot: var fd=rrdDS2FlotSeries(...); var plot = $.plot("#myplot", [{data:fd.data}], options); |
|
label |
The DS name. |
|
min |
Min and max timestamp in ms. |
|
max |
This function extracts a list of DSs from a specific RRA and returns an object that contains the data in format flot expects.
Input parameters:
|
Parameter |
Description |
|---|---|
|
rrd_file |
An object of type RRDFile or equivalent. |
|
rra_idx |
Index of the desired RRA. |
|
ds_list |
List of DS identifiers (as accepted by RRDFile.getDS()). |
|
want_ds_labels |
Should the DS names be included as labels in the output? (If false, only the order distinguishes the requested DSs) |
|
want_rounding |
If not false, all timestamps will be truncated to the RRA step. |
The output is an object containing:
|
Attribute |
Description |
|---|---|
|
data |
A list of objects suitable to be fed to Flot. Each element is an object composed of two attributes:
An example of use with Flot: var fd=rrdDS2FlotObj(...); var plot = $.plot("#myplot", fd.data, options); |
|
min |
Min and max timestamp in ms. |
|
max |
This function extracts a list of DSs from a specific RRA, stacks them as requested and returns an object that contains the data in format flot expects.
Input parameters:
|
Parameter |
Description |
|---|---|
|
rrd_file |
An object of type RRDFile or equivalent. |
|
rra_idx |
Index of the desired RRA. |
|
ds_positive_stack_list |
List of DS identifiers (as accepted by RRDFile.getDS()) to be stacked. All values must be positive if ds_negative_stack_list is not empty. |
|
ds_negative_stack_list |
List of DS identifiers (as accepted by RRDFile.getDS()) to be stacked. All values must be negative if ds_positive_stack_list is not empty. |
|
ds_single_list |
List of DS identifiers (as accepted by RRDFile.getDS()). No stacking for these ones. |
|
want_ds_labels |
Should the DS names be included as labels in the output? (If false, only the order distinguishes the requested DSs) |
|
want_rounding |
If not false, all timestamps will be truncated to the RRA step. |
|
one_undefined_enough |
If true, a whole stack is invalidated if a single element of the stack is invalid. |
The output is an object containing:
|
Attribute |
Description |
|---|---|
|
data |
A list of objects suitable to be fed to Flot. Each element is an object composed of two attributes:
An example of use with Flot: var fd=rrdDS2FlotObj(...); var plot = $.plot("#myplot", fd.data, options); |
|
min |
Min and max timestamp in ms. |
|
max |
This function extracts a DS from a list of RRDs, using a specific RRA index, then stacks them and returns an object that contains the data in format flot expects.
Input parameters:
|
Parameter |
Description |
|---|---|
|
rrd_files |
A list of RRDs. Each element of the list contains a [rrd_id,rrd_file] pair.
|
|
rra_idx |
Index of the desired RRA. |
|
ds_id |
DS indentifier (as accepted by RRDFile.getDS()) |
|
want_rrd_labels |
Should the RRD names be included as labels in the output? (If false, only the order distinguishes the requested RRDs) |
|
want_rounding |
If not false, all timestamps will be truncated to the RRA step. |
|
one_undefined_enough |
If true, a whole stack is invalidated if a single element of the stack is invalid. |
The output is an object containing:
|
Attribute |
Description |
|---|---|
|
data |
A list of objects suitable to be fed to Flot. Each element is an object composed of two attributes:
An example of use with Flot: var fd=rrdDS2FlotObj(...); var plot = $.plot("#myplot", fd.data, options); |
|
min |
Min and max timestamp in ms. |
|
max |
Helper class to handle Flot selections.
|
Method |
Description |
|---|---|
|
reset() |
Clear the selection. (isSet() will return False) |
|
isSet() |
Was a selection set? |
|
setFromFlotRanges(ranges) |
Set the selection to ranges.xaxis. See plotselected Flot event for more info on ranges. (isSet() will return True, and getFlotRanges() can now be called.) |
|
getFlotRanges() |
Return a ranges object. See plotselected Flot event for more info on ranges. |
|
trim_flot_data(flot_data) |
Create a new Flot data object by selecting only the data points within the current selection. An example Flot data object is rrdDS2FlotObj(...).data |
|
trim_data(data_list) |
Create a new data list by selecting only the data points within the current selection. An example data list is rrdDS2FlotSeries(...).data |
Pseudo-example of use:
myplotplot.bind("plotselected", function (event, ranges) { // do the zooming selection_range.setFromFlotRanges(ranges); graph_options.xaxis.min=ranges.xaxis.from; graph_options.xaxis.max=ranges.xaxis.to; mygraph = $.plot("#mygraph", selection_range.trim_flot_data(flot_data), graph_options); });
|
This module is part of the javascriptRRD
package hosted at http://javascriptrrd.sourceforge.net.
|


I create beautiful software, independently or in teams, with good planning, testing, continuous integration, version control, and solid technical writing. I love working in entertainment and have a special focus on writing search tools.
Photo: Lora Robertson
Work: Satellite Collective presents
Rena Butler, Isaies Santamaria, Eoghan Dillon, and Elena VallsDownload current print résumé as a Word Document, or pdf.
Director of Technology, Satellite Collective
Ruby on Rails, Git, Heroku, HTML/SASS, JavaScript, jQuery, Apache, AWS S3
Software Engineer, Sony Music
PHP, Zend, MySQL, Git, AWS Redshift, AWS SQS, AWS CloudSearch, Python, Flask, JavaScript/ES6, jQuery, Node.js, npm, Gulp, Grunt, React, Jenkins, Docker
Web Developer, The Jones Group, Inc.
DemandWare, JavaScript, jQuery, HTML/CSS
Web Developer, Bandwidth Productions, Inc.
PHP, MySQL, ffmpeg
Web Developer, Big Fish Games
PHP, MySQL, Lucene, Solr, SVN
Independent Technology Consultant
PHP, MySQL, SQLite, JavaScript, jQuery, Apache, SVN
Senior Developer, ProQuest
Java, Ruby, C#, MSSQL, Perl, SVN
Owner and Application Architect, Roboticat
PHP, Python, Ruby, PostgreSQL, GD Image Library, Apache, HTML/CSS
I managed technical volunteers, architected, and built an interactive web application to store and display multimedia art works from 43 different countries and respond to traffic during peak media coverage. See the New York Times coverage of the project. View the project. I managed SEO and brand presence for the brand, putting all our properties at top 5 natural google results.
The Orchard, now Sony Music, used MySQL queries to search its vast music and film distribution catalog. I researched, designed, and contributed to a custom search microservice that took searches from seconds to milliseconds. I co-designed and contributed to BACON, the first fully automated tool for interacting with YouTube rights management, saving hundreds of hours of manual work each month. See media coverage
The Jones Group manages several eCommerce brands that generate 80 million a year using a single codebase and the popular eCommerce platform: DemandWare. The sites I worked on include: jny.com, ninewest.com, anneklein.com, us.kurtgeiger.com, rachelroy.com, and brianatwood.com. I was part of a small 5 person development team that handled all features and updates to all the sites.
I wrote the first data API in SOAP and C#.NET to serve customers raw information from the popular Ulrich's brand.
I wrote Java and Ruby programs to manage and organize Terabytes worth of information about online serials.
Teague does industrial hardware design for clients like HP and Boeing. They needed to be able to share large files up to 200MB in size and Email wasn't doing the job. I built a cutting-edge web-based file sharing application that let their customers and vendors share files with them frictionlessly.
Building a web application starts with having a problem to solve. I am skilled at researching, selecting, and prototyping the technologies best suited to solve the problem.
I am an excellent writer of technical documents. I have concise, friendly language and can author in a clean, clear style that nontechnical people can read, but technical people can still use as a specification. I am good at teasing out in a the planning phase unseen technical complexities that could cause unexpected delays during the actual development process for more accurate estimates.
The next step is interoperability. Making all the layers of technology talk to each other takes examination of code and documentation, and persistance to troubleshoot, test, and do original research when documentation isn't sufficient. Finally, bringing the pieces together to go from minimum viable product to something impressive.
The way I work best with other developers is to start out in very close communication, even pair programming, while we make sure our development workflow and goals are similar, then breaking off to work individually as people's preferences and strengths emerge.
Testing and continuous integration are what keep great products sustainable and maintainable. Many programmers can knock out an application, but applications with a good testing framework and CI stay useful, agile, extensible, and just working well for longer. I am not a TDD purist but believe in a good mix of unit testing and functional testing that runs automatically as a part of an integration workflow. No exceptions.
I love music and listen to new albums every single week. Check out my Spotify Playlists.
I take photos, especially of everyday life and scenes in New York. My instagram.
I'm working to create a program to tech basic technology literacy to ex-convicts.


This inspection reports any instances of
synchronized
statements in Groovy code having empty bodies. While theoretically this may be the semantics intended, this construction is confusing, and often the result of a typo.
Powered by InspectorGroovy


TP Examples
Graph 1 - TruePath Connections
Graph 2 - Channel Attribution Summary
Graph 3 - Channel Attribution Summary Focus
Graph 4 - Conversion Path View 1
Graph 5 - Path Length in Interactions
Graph 6 - Ad Intelligence Score


The CFD dataset provides QuoteBar and Tick objects.
QuoteBar objects have the following attributes:
Tick objects have the following attributes:


Select country:
Focus ComboBox
Set value
Custom error value state message with a
Link
.
Additionl custom error value state message with a
Link
. Extra long text used as an error message. Extra long text used as an error message - 2. Extra long text used as an error message - 3.
Items with grouping and value state:
Items with grouping:
Items with additional text:
Lazy Loading - example does not work on IE11
Lazy Loading with filter='None'
Change event testing
Changed value:
Change call count:
0
Input event testing
Input value:
Input call count:
0
Contains filter
StartsWith filter
ComboBox in Compact
Readonly ComboBox with value state
ComboBox - suggestions with same names


Pink Taco Founder Harry Morton Dead Aged 38
by Jordan PlattFounder of Pink Taco restaurant chain, Harry Morton, has been found dead aged 38.
Advertisements
The tycoon was found on Saturday afternoon at his Beverly Hills home by a family member, unresponsive, according to law enforcement sources who spoke to TMZ.
Paramedics were allegedly called, but it’s being reported that Morton was pronounced dead at the scene and transported to the coroner’s office where an autopsy is currently pending to determine cause of death.
Advertisements
Morton was also known for previously dating Lindsay Lohan in 2006 before ending their relationship.
The businessman is best known for his stake in Pink Taco, which started out in L.A. The chain has since expanded across the US. His father, Peter Morton, began the famous Hard Rock Cafe empire in 1971, and his grandfather founded Morton’s Steakhouse.
Morton recently made headlines for purchasing Elvis Presley’s former Beverly Hills estate, the same estate Presley bought the same year he married Priscilla Presley. Although sources said this is not the residence in which he was found.
As a volunteer, Morton donated his time to the sheriff’s department as a deputy in and around L.A., specifically the West Hollywood Sheriff’s Station. He’s dedicated hundreds of hours a year, according to the station.
Advertisements
RIP.
If you have experienced a bereavement and would like to speak with someone in confidence contact Cruse Bereavement Care via their national helpline on 0808 808 1677.
Jordan studied Multimedia Journalism at London South Bank University, going on to write for The Sun’s digital channels, producing content for MTV UK, and now UNILAD.


nl2br
TatUi
shorten a string if necessary. Just specify a leangth as parameter. If the string is shorten, '...' are added at the end.
{{ nl2br_expression | nl2br }}
$filter('nl2br')()


---
layout: post
title: sprintf() in PL/SQL
date: '2007-04-15T11:25:00.000-05:00'
author: Don Seiler
tags:
- oracle
- sprintf
- pl/sql
modified_time: '2010-11-19T22:48:46.814-06:00'
blogger_id: tag:blogger.com,1999:blog-7032512792942232766.post-7072412733095243804
blogger_orig_url: http://www.seiler.us/2007/04/sprintf-in-plsql.html
---
René Nyffenegger has hacked up a PL/SQL implementation of sprintf(). I haven't done too much in PL/SQL, but I didn't have much a problem with lpad() and rpad(). But who doesn't love good old sprintf() otherwise?


Days of Future Present: Marvel Comics and “the Most Intricate Fictional Narrative in the History of the World”
I. Apocalypse Later
For just over half a century, there’s been another America running alongside our own, where colorfully dressed misfits solve crimes, protect the weak, and have explosive misunderstandings. One team of those misfits is more outcast than the rest, and since 1980 they’ve been fighting to avoid a 2013 where airborne robots assassinate the state’s enemies; where scientists map the genes of fellow citizens without their permission; where New York is partially abandoned and has interment camps in South Bronx.
“In North America, in the year 2013, there are three classes of people,” the team’s most sympathetic chronicler once explained:
“H,” for baseline Human—clean of mutant genes, allowed to breed. “A,” for Anamolous [sic.] Human—a normal person possessing mutant genetic potential … Forbidden to breed. “M,” for Mutant. The bottom of the heap, made pariahs and outcasts by the Mutant Control Act of 1988. Hunted down and—with a few rare exceptions—killed without mercy. In the quarter-century since the act’s passage, millions have died. They were the lucky ones.
This pulpy self-seriousness, of course, is the world of Cyclops, Wolverine, and Storm—the mutant heroes of Marvel Comics’ X-Men, the most popular title published by America’s top-selling comic book company. This bleak 2013 was a storyline named “Days of Future Past,” created in 1980 by the writer Chris Claremont and the artist John Byrne. And from the safety of our 2013, we can breath easy, relieved that we live in a world without drones, genetic screening, and a devastated Manhattan.
Because these are just comic books, right?
II. What’s So Funny About Truth, Justice, and the American Way?
In 2012, a year when the film industry’s biggest box-office smash was Marvel’s superhero epic The Avengers, which made over $1.5 billion worldwide, it’s almost trite to consider superheroes in their original, comic book-form. Superhero comics have been over-analyzed nearly since their inception in the late 1930s, but their mainstream acceptance and deconstruction in the last fifteen years is astounding: museum exhibitions, debates over their relationship to Occupy Wall Street, even Pulitzer Prize-winning novels devoted to their emotional minutiae. Each spring and fall brings a new New York Times-reviewed narrative history of some corner of the industry—a clockwork regularity that might make even the most devoted fan, the guaranteed market for these sorts of books, say, ‘So what?’ Do we really need another paean to how a particular artist drafted Wonder Woman’s boots with both strength and sexuality?
Of course we do. Superheroes are not our modern gods, as the breathier among us claim. They’re far more complicated than that.
Superheroes were created by twentieth-century individuals we can identify and interview, yet most are owned by large corporations that sought new creators when the originals got wise. This makes them one of the strangest continuous fictional experiments ever, as if Jane Austen sold Pride and Prejudice’s Elizabeth Bennett, then was replaced by a mixture of jobbers and geniuses that kept extending her adventures into the present.
Despite that corporate ownership, superheroes on a day-to-day level are constantly being re-appropriated. Fans, taxi drivers, families, and artists refashion t-shirts, tattoos, stickers, and custom-made costumes into personal icons and alter egos. One never dared dress up as Zeus: children and adults from Rio to Rochester don the mask of the Bat. Or the smile of The Joker.
Two great histories of superhero comics came out in 2012 and they help explain how this happened: Larry Tye’s Superman: The High-Flying History of America’s Most Enduring Hero (New York: Random House, 2012) and Sean Howe’s Marvel Comics: The Untold Story (New York: HarperCollins, 2012). Look past their breathy titles—a convention of superheroes and mass-market histories—because their contents are worth considering.
Under the guise of a biography of the first and most superpowered hero, Tye’s Superman offers the moving story of the character’s creation by Jerry Siegel and Joe Shuster. Tye lays out what many already know, that Siegel and Shuster got a raw deal when they sold their red and blue Kryptonian sweetheart to National Allied Publications for $130 in 1938, but digs in deep to the ‘how’ of it all. Yet Tye also shows how corporate ownership by DC Comics ensured Superman’s greatest strength as a character and as intellectual property: endurance, the ability for new creators to step in, leave their mark, and move on, without killing him (for good). It makes Superman a creative and corporate bellwether for American history, and Tye follows him through the years.
Superman is excellent, but Sean Howe’s Marvel Comics is more free-wheeling, and has a more ambiguous ending. Thoroughly ‘unauthorized,’ Howe interviewed more than 150 individuals and their relatives who worked with Marvel between 1939 and the present, many of them disillusioned. Axes got ground, thrown, and lodged in the chests of industry greats, in the most professional, and entertaining, manner imaginable.
There are four ways to write the history of superhero comics, Howe shows, but none of them leaves Marvel, and its stewardship of its heroes, looking great. Whereas Superman and his companions at DC—Batman, Wonder Woman, the Flash—always return to their clearly defined archetypal cores, Marvel’s heroes, at least in comic books, got lost along the way.
III. Along Came a Spider
The first way of telling the history of superhero comics remains the most traditional. This is the ‘superhero genesis tale’. It begins when a cape hits it big, then unravels when the superhero’s creators and owners begin to quarrel. Legends have been staples since 1938, when those two good Jewish boys from Cleveland, Siegel and Shuster, channeled their sense of alienation, parental loss, and justice into Superman, and then sold him. The bickering began early, and by 1962 Siegel began threatening DC with a lawsuit.
The early 1960s were Marvel’s moment, however, when the company was ground zero for the creation of now famous characters like The Fantastic Four in 1961; Spider-Man and the Hulk in 1962; Iron Man, the Avengers, Doctor Strange, and the X-Men in 1963, Marvel’s annus mirabilis; and Daredevil in 1964.
It’s here that Howe’s book begins in earnest, teasing out the artistic collaborations that gave these characters life. The two central figures are the writer Stan Lee and the artist Jack Kirby, born Stanley Martin Lieber and Jacob Kurtzberg. Both were Jewish, both changed their names, both grew up poor in New York—but the resemblance ended there.
Born in 1917, Kirby had a few years on Lee, and learned how to draw and scrap in the Lower East Side slums. When he started in comic books in 1939, he came out swinging. In late 1940, a year before the United States got into World War II, Kirby and his fellow artist Joe Simon co-created the character Captain America for Timely, Marvel’s precursor. They introduced him with one of the most famous covers in comic book history: Captain America clocking Adolf Hitler in the face.
For their second issue, Simon and Kirby sent the hero and his sidekick Bucky to infiltrate a concentration camp in Germany. Howe perfectly captures Simon and Kirby’s mixture of urgency and New York snarl: “‘Don Yankee schwein vood upzet mein plans,’ Hitler worried, before Bucky kicked him in the stomach.” Kirby enlisted during the war, and attended the liberation of a small concentration camp.
Lee also began at Timely in 1939, but his job, at first, was to make sure the inkwells were filled. In his earliest days he wore a propeller beanie to the office, and tootled about on an ocarina, bugging the older artists. Lee was savvy, though, and moved on to writing, spending WWII producing copy for the army. He and Kirby both survived the comic book industry’s collapse in the 1950s by working across genres.
Lee says he was thinking about quitting when his publisher, Martin Goodman, told him to come up with a superhero team to compete with DC’s Justice League of America. He delivered the idea for the Fantastic Four, whose powers were as hideous as they were unique, and whose relationships resembled that of a very dysfunctional family. Kirby came up with the characters’ iconic designs, the exploding blocky action, and, frequently, the story’s inner beats. Lee then came up with the dialogue—a process they called ‘the Marvel Method.’
This is all the stuff of legend, and Kirby’s partisans and Lee’s defenders—of which there are fewer—fight over their contributions like Beatle fans argue over John and Paul. Howe, though, is unstintingly fair. Lee comes across as self-conscious, self-promoting, and cheerfully cornpone, but with a real knack for coming up with clear concepts that artists would then give life: the Fantastic Four, the Hulk, the Avengers, and the X-Men with Kirby, the jittery, fragile Spider-Man with the Ayn Rand-obsessed Steve Ditko, and Daredevil with Bill Everett.
Kirby comes off as the most inspired, especially as he pushed his art toward increasingly futuristic galactic epics and the other side of doomsday. Lee worked him hard, however, and did little to disabuse the public of the notion that he, Lee, was the flame. It’s hard not to feel that Kirby, the exhausted, cigar-smoking workhorse, got a pretty bum deal before he left Marvel in 1969 for DC—the Distinguished Competition, in fanboy terms. Kirby cut loose with a whole raft of more cosmic characters, and it was clear that Marvel had nurtured him, then held him back. Yet the characters were so aggressively weird that many readers couldn’t relate. That was what Lee had contributed: accessibility and that buzzword, ‘relevance.’
IV. Marvel-ous Mystery Tour
‘Relevance’ is the second way into the history of comics, and it’s also the second oldest: what are all these superheroes really about, and why do so many fans care whether they live or die? When one Cornell student gushed to Esquire in 1965 that “Marvel often stretches the pseudoscientific imagination far into the phantasmagoria of other dimensions, problems of time and space, and even the semi-theological concept of creation,” did he mean it?
Howe poses the question, but knows better than to fully throw himself into the answer. Academics and critics have been pulling their hair out about comics since the 1940s, when an otherwise well-meaning liberal psychiatrist named Frederic Wertham launched a crusade against comic books’ purported antisocial revenge fantasies, delusions of grandeur, and homosexual subtexts.
That story is well told elsewhere and Howe lingers just long enough to set the stage for Marvel. He recaps how Wertham’s witch-hunt destroyed careers and turned the industry to self-censorship. The latter turn wasn’t all bad, given that several of the comics under scrutiny were indeed violently misogynistic, but it muzzled creativity, and led to the most milquetoast era in comic book history. Superman was very popular.
The early 1960s, by contrast, were exactly the right moment for outsider heroes, atomic and cosmic origins, and literary pretensions. Readers loved Marvel’s creations, and so did critics and ‘real’ artists. Federico Fellini (a keen cartoonist himself) stopped by the office, Roy Lichtenstein swiped Kirby’s art for his paintings, and columnists at the Village Voice considered Peter Parker’s insecurities amidst “phallic-looking skyscraper towers.” Lee got hip to the college crowd and re-branded Marvel as a “Pop Art Production.”
Howe shows that Lee got the joke. Academics working on any sort of pop culture should read Stan Lee’s response to a question from one reader as to whether—in Howe’s words—“the Galactus saga was a justification for Vietnam, with Galactus as the Viet Cong, the Fantastic Four as South Vietnam, and the Silver Surfer as America … right?”
Lee deflected: “Two’ll getcha ten that our next mail contains a whole kaboodle of letters from equally imaginative fans who are utterly convinced that Galactus represented Robert McNamara, while the Silver Surfer was Wayne Morse—with Alicia symbolizing Lady Bird!”
Howe affirms that most Marvel stories were “beyond metaphor,” but also makes it clear that Lee learned to pepper his scripts with “token liberal signifiers and general trippiness.” Iron Man began as a true cold warrior but cut back on the Red Scare talk as the decade progressed. The X-Men played out as a liberal’s Civil Rights parable, with one group of superpowered mutants fighting to win humankind’s trust and respect, and another fighting for separatism and domination. Doctor Strange explored the cosmos from the comfort of his Greenwich Village pad.
Readers turned on, tuned in and dropped money for 40 million copies in one year alone.
Business was worse in the 1970s, but it allowed even wilder experimentation. Howe’s enthusiasm for this under-appreciated era is infectious. Under an editor name Roy Thomas, a new guard of young writers and artists sent the characters on even weirder trips, and “smuggled countercultural dispatches into the four-color newsprint that found its way onto drugstore spinner racks.”
Howe spends a fair amount of time on the Black Panther—the first black superhero, whose creation in 1966 preceded the U.S. political organization’s formation in Oakland by three months. Until 1973, the character had been little more than a noble, stereotypical foil for white heroes. That year, though, the character got his own book, and a writer named Don McGregor and artists Rich Buckler and Billy Graham, an African-American, set off flying. McGregor sent the Black Panther back to Africa, to the technologically advanced kingdom he ruled, to fight rumors that he’d become a sellout. “It was the only mainstream American comic book to feature an all-black cast,” Howe notes, and McGregor sent the character through an epic thirteen-part story as politically ambitious as it was dense.
The 1970s through the early 1980s seem to have been the cultural high-water mark of Marvel, which makes it even sadder that Howe must move on to the late 1980s through 1990s, when the comic industry and most of its characters went—there is no honest way to put this politely—in the shitter.
V. Secret Wars
It’s compelling though, because this is where the book really digs into the history of Marvel as a corporation. This is the third way to tell the history of comics, and here Howe shines: this is comics as an industry, a web of competitive businesses that take risks to incubate their employee’s ideas, while simultaneously squeezing them—and their cape-wearing avatars—for profit.
Much like Gerard Jones’s Men of Tomorrow, Marvel Comics: The Untold Story excels as a labor history. It explains how a series of publishers and owners lived for so long off artists, writers and editors that signed away their daydreams for a paycheck: it paid well, in the good times; it was hard to predict which character might one day be worth billions; and working out your obsessions with colorful avatars of mass destruction was subversive fun.
It was also awful, however. Howe’s book is full of creators warning youngsters against going into comics and resenting Marvel for their treatment. Kirby was especially jaded. When Marvel tried to get him to sign an agreement that restricted his usage rights for what little artwork they agreed to return, he refused. “I wouldn’t cooperate with the Nazis, and I won’t cooperate with them,” he said. “If I allow them to do this to me, I’m allowing them to do it to other people.” As Howe points out, even the company man Lee said, “I would tell any cartoonist who has an idea … think twice before you give it to a publisher.”
This began to look particularly attractive in the 1980s, when Marvel’s editor-in-chief, Jim Shooter, began micromanaging what had been a series of independent fiefdoms. He built massive crossovers around toy promotions, disrupting individual creators’ long-simmering storylines.
The stories sold extraordinarily well, though, helping to build the American network of specialty comic book stores that became ground zero of the comic book market’s explosion in the early 1990s. For a short while, comics became insanely collectible, and Marvel figured out how to cash in. Stories and writing were sacrificed for tie-ins, surface and style. The most popular characters were violent, surrounded by scantily dressed supporting characters. Hotshot artists like Todd McFarlane, Jim Lee and Rob Liefield attained unbelievable sales numbers, then walked off to found new companies—but not before more thoughtful longtime writers and editors had quit. Marvel competed by setting the market into a speculative frenzy over gimmicky hologram covers and pseudo-cataclysms. New incentives meant that one editor of the popular X-books walked away with $85,000 each month.
But when readers realized that not everyone’s copy of 1991’s X-Men # 1, mint with gatefold cover, would pay for a college education, the market crashed. Marvel went bankrupt and was bought out by a toy company. Countless artists, editors, and writers were out of a job. Small towns that had had three comic book stores suddenly had none.
It’s at this point that Howe’s narrative becomes suitably cynical, detailing the suits and countersuits between the company’s owners and debtors that led to Marvel’s solvency in the 2000s, and its fairly successful attempt to regain relevance with ‘mature’ content (read: sex and violence). Marvel’s aggressiveness has paid off, never more so than last summer, when their Avengers movie franchise took over the world.
Howe lets the quotes speak for themselves: creator after creator left out in the cold by Marvel and Lee, who’s happy to wave to the cameras.
Still, even if Howe is restrained, his readers don’t have to be. It’s sad that Howe only passingly mentions that “DC signed a group of black comic creators—many of whom had worked for Marvel—to produce a number of new series for the publisher, under the name Milestone.” It’s especially unfortunate given that one of those creators, Dwayne McDuffie, was one of Marvel’s cleverest critics.
In one famed internal tongue-in-cheek memo from 1989, McDuffie noted that “25% of all African-American superheroes appearing in the Marvel Universe possessed skateboard-based superpowers.” He proposed “Teenage Negro Ninja Thrashers,” a team whose every member was “a black guy on a skateboard.”
McDuffie also came up with one of the cleverest titles in superhero history. This was Damage Control, a mini-series co-created with Ernie Colón about a company that cleaned and rebuilt New York and the world for cash after every superhero’s doomsday battle.
This was good satire. Damage Control resembled Marvel itself, whose comic book strategy seemed to have become: take the beautiful world that Lee, Kirby, Ditko, Simon, and Everett created; tear it apart; re-build it as ‘brand new’ and ‘same as it ever was’; make tremendous amounts of money; repeat.
But if you were a fan of these characters—if your heart ever skipped a beat when Peter Parker discovered his powers, or a mutant found acceptance with the X-Men—Damage Control pointed at something rather unsettling. Whether or not the real world, our world, is the safest it has ever been, as some claim, the Marvel Universe was experiencing Hiroshima-scale events thrice yearly. And why would anyone want to escape to a world like that?
VI. Webspinners
The answer is the fourth way of writing about superhero comics, and Howe is brave to include it, given that it usually bores non-fans to tears: the “history” of a particular company’s fictional universe.
As Howe explains, fans love Marvel because just about every appearance of a character “counts.” In Spider-Man’s case, that means fifty years of monthly, even tri-monthly appearances in which hundreds of creators have tried to maintain his character while spinning new threads of mythos. Howe claims—rightly—that it makes Marvel the “most intricate fictional narrative history of the world.”
Too intricate, perhaps. Stan Lee once ordered that the “stories should have only ‘the illusion of change’ … lest their portrayals conflict with what licensees had planned for other media.” This was conservative, but its alternative is upsetting in other ways.
For example, Peter Parker, the awkward sixteen-year-old bitten by a radioactive arachnid, no longer exists in the comics. He is now Peter Parker, a late-twenty-something who accidentally killed the love of his life while saving her; whose best friend has repeatedly gone insane; who has fought his own forgotten clones; who lost his unborn child to an archenemy’s poison; who got mystically divorced by the Devil; who has seen his beloved Aunt die and return to life over and over and over …
Taken individually, some of these plot points were powerful. But cumulatively, they suggest that the Marvel Universe at some point became a torture chamber. Friedrich Nietzsche asked his readers to imagine how they’d feel if a demon snuck into their loneliness and told them they would have to live their life over and over again. DC might be a little more staid, but you can imagine Superman smiling and saying ‘Yes.’ Spider-Man might weep.
Howe’s Marvel Comics never gets that heavy, but it hints that the company didn’t have to go as far as it did. Superhero comics have been in the personal and universal Armageddon business ever since Krypton exploded. At first, Marvel only continued the trend, if on a more personally responsible level: Peter Parker selfishly failed to prevent the death of his uncle, for example. And if the hazards Marvel heroes then faced felt more ‘real’ than in DC—“a red-skied New York City in flames, its screaming citizens dropping belongings and falling on one another”—then so did their victories. “Armageddon was nigh,” but it was always averted.
What changed all that was the X-Men.
VII. The Phoenix Effect
Writers love the X-Men for its easy central metaphor: good people persecuted by society for what they cannot change about themselves. It works as well for marriage equality today as it did for Civil Rights in the 1960s. The team comes complete with a ready-made rivalry between Charles Xavier, a white, bald Martin Luther King, Jr. analogue, and Magneto, Marvel’s (white, mutant) version of Malcolm X with, yes, magnetic powers. And since 1975, it has featured one of the most international casts of characters in comics, with heroes of just about every color: black, white, yellow, red … blue.
During the late 1970s and early 1980s, the X-Men made some very adult questions of responsibility and guilt manageable for teenagers. The new team grappled with the death of one of its members during their second mission. Afterwards, the writer Chris Claremont and artist John Byrne merged one of the X-Men’s nicer heroes, Jean Grey, with the Phoenix, a cosmic entity that drove her to snuff out another galaxy’s sun, annihilating a nearby planet.
Claremont’s plan was that Grey would atone for her crimes, but his editor-in-chief, Jim Shooter, was apoplectic: Jean Grey needed to die. “Having a character destroy an inhabited world with billions of people,” he fulminated, “wipe out a starship and then—well, you know, having the powers removed and being let go on Earth … it seems to me that that’s the same as capturing Hitler alive at the end of World War II, taking the German army away from him and letting him go to live on Long Island.”
Claremont was furious, but when the moment came he had Jean take her own life, in a moment of clarity. Claremont and Shooter’s struggle made for sad, powerful pop art … and even better sales: the death of Jean Grey was one of Marvel’s most popular issues of all time.
It’s hard to read Howe’s book and not feel that what happened next was the beginning of the end. Hoping to reproduce the success of Jean Grey’s death, Shooter looked for more heroes to kill, and interfered more often with writers’ plots.
Claremont, meanwhile, made redemption the X-Men’s next great theme. He tried to give Jean Grey’s lover, Cyclops, some peace. He introduced a young new teenager member, Kitty Pryde, who happened to be Jewish and was soon thrust into the potential 2013 of Claremont and Byrne’s “Days of Future Past” storyline. In that future, Charles Xavier and Cyclops are dead and Magneto, the X-Men’s former archenemy, keeps the X-Men’s hopes alive in a mutant concentration camp in the South Bronx.
It was all prelude to Claremont’s next big revelation, back in the X-Men’s present, in 1980: Magneto, who had never been much more than a megalomaniacal foil before, was not only also Jewish himself, but a survivor of Auschwitz.
“Search throughout my homeland, you will find none who bear my name,” the villain rages, the next time he fights the X-Men. “Mine was a large family and it was slaughtered—without Mercy, without Remorse. So speak not to me of grief, boy. You know not the meaning of the word!” Magneto surrenders, however, when he thinks that he has killed Kitty Pryde, a fellow Jew. Over the rest of the decade, Claremont nudged Magneto’s towards a complete transformation: the Holocaust survivor turned angry villain would become a teacher, the head of the X-Men. It was really very moving.
It didn’t work. Howe explains how Shooter threw the new “compelling, possibly noble” Magneto under the bus. In Marvel’s new crossover schedule, the villain was no more than a “violent ideologue,” fighting for mutants as a new master race. Jean Grey was resurrected, Cyclops abandoned his new wife and child, and Claremont eventually left Marvel, exhausted. The characters further deteriorated, killing and resurrecting each other in various ways. At one point after September 11th, Magneto killed Jean Grey, ordered his followers to march New Yorkers into extermination chambers, and then was decapitated by Wolverine. Howe suggests that the event’s writer, Grant Morrison meant it as a commentary on Marvel’s absurd cycles of profitable death and re-birth. “Was there any doubt that everyone would come back?”
Of course, one could argue that Marvel’s great theme, and its appeal, is actually ‘resurrection.’ One lovely example is from Mark Waid and Mike Wieringo’s Fantastic Four, in which a teammate has died, and the other three seek him in Heaven. They meet their God, who happens to be Jack Kirby, and return their friend to life. But who rescues someone from Heaven?
It is unclear what any of this mess is a metaphor for, except something supremely non-heroic: the world damages us with holocausts large and small, and when we are given power we are doomed to damage it back, then die, and then come back again. There is no rest.
It’s little coincidence that the very next X-Men movie coming out, in 2014, is borrowing Claremont and Byrne’s “Days of Future Present” storyline. The irony, though, is that instead of trying to avoid a terrible future, the plot—which is being used in the comics, as well—seems to have the X-Men trying to change the present by reaching back to their ‘purer’ selves of the 1960s. The Marvel Universe no longer needs a dystopic future for one of its flagship teams: it can’t imagine anything worse than the one it has today.
VIII. Magneto in Chains
To be fair, Marvel is still making some great comics, and Howe’s book is a love song to the creators that keep them going. This is, in fact, an excellent book, and should be read by Marvel fans and haters alike. It’s a good explanation of how one company can be responsible for so much excitement and beauty, as well as so much loyalty, pain, and penury on the part of its employees.
Ultimately, though, Marvel Comics is an act of great sympathy, making it clear just whose ghosts have been watching readers as they turn the pages and get lost in the panels. Close Pride and Prejudice, and you don’t really have to worry about Jane Austen or your beloved Eliza Bennett any longer. But you do have to worry about Magneto and Spider-Man, and the men and women who have cared for them. As Howe writes,
At a certain point—it’s impossible to locate precisely—decades of continuity exceed the capacity of the human brain. So the Marvel Universe chugs forward, and backtracks, and takes detours. The movie adaptations mix and match from various past interpretations of the Marvel characters, add their own inventions, and, in reaching larger audiences, ultimately supplant the “official” versions of the mythologies. Multiple manifestations of Captain America and Spider-Man and the X-Men float in elastic realities, passed from one temporary custodian to the next, and their heroic journeys are, forever, denied an end.


Pat’s Salmon Cookies Data Output
Home Page
Needed Cookie Supply for Seattle
Total
Needed Cookie Supply for Tokyo
Total
Needed Cookie Supply for Dubai
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Needed Cookie Supply for Paris
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Needed Cookie Supply for Lima
Total


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In every moment a choice exists. We can cling to the past or embrace the inevitability of change and allow a brighter future to unfold before us. Such an uncertain future may call for even more uncertain allies. Either way, a new day is coming whether we like it or not. The question is will you control it, or will it control you? - Klaus


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Last updated: 9 November 2015


Hello! This is Ali Kaan from Izmir / Turkey. I have been interested in embedded systems and software development.
I have developed many electronics hardware and software design since my undergraduate years.
I have about 6 years of experience on embedded systems as a professional.
I have worked on every process of an embedded system, such as hardware design, software development, testing, debugging, prototyping, manufacturing.
Based on my business experience, I have learned that documentation (such as version control or README) is very important. I always take care about using version control tools(git) and MD files on my works.
The industry I have work on is not just business to me, Also it is my passion. So, I always ready to try, learn and develop technological, cool stuff.
I publish this page on AWS. It uses S3, CodePipeline, Route 53 and Github services. This page is used as portfolio.
Applying hardware abstraction methods. Architecture design for linux, RTOS and bare-metal based embedded systems. Managing and guiding embedded software team. Applying agile software development methods. Searching and implementing new technologies. Guiding team to use best programming practices. Implementing automated tests for embedded systems. Continuously development by using C, C++, C#, Bash programming languages. Database design for linux based embedded systems.
Embedded firmware developed for many communication modules such as EDGE, UMTS, LTE CAT1,NB IoT, RS485, Modbus. Multiplatform, reusable, maintainable, modular embedded firmware design and development by using C and C++ programming languages. Developed many desktop tools to use in field and production for embedded devices by using C# language. Electronics Circuit and Layout Design by using Autodesk EAGLE CAD. Follow-up of product production and certification processes. Currently works on embedded linux system development with buildroot, bootloader, busybox, bash scripts, upper-layer C applications
Worked in a project called "Fiber City Transformation". This project's main aim is to increase a users internet speed by shortening the distance between the switchboard and user. Learned how network systems work.
Worked as an intern engineer at a coal power plant which has 2X210 MW installed power. Learned how do power plants work and also analyzed how to fix electrical failures in power plants.


Brooke K Sassi
Democrat
I am a reading interventionist at Calhan Elementary School in Calhan, Colorado (2018-present) Reading Interventionist, private practice (2016-May 2020) Manager, Tranquil Space Yoga (Washington, DC 2007-2010) Massage therapist; Virginia, Washington DC, Colorado (2005-2016)
I have a bachelor's degree in English from the University of Colorado, a master's degree in teaching from Colorado College, and I am currently a 2nd year doctoral student in the Educational Leadership and Policy program at the University of Denver.
80831
I am a vociferous advocate for dyslexia awareness and legislation through my professional organizations and through local organizing in my county and my school district; I help coordinate a monthly food and clothing drive for neighbors experiencing homelessness; I run a monthly discussion group about racial and social justice; I knock on doors and phone bank for local candidates; I have been a state-level campaign manager.
I have been active with the Democratic party since 2015. I have canvassed for all presidential candidates and local races in every election year since then. In 2018 I served as the volunteer campaign manager for Asia Zanders, a woman who ran against Tim Geitner for Colorado House District 19. I have been the Democratic precinct captain for my precinct since 2018. I have donated small amounts when possible (I am a teacher) to the campaigns of Bernie Sanders and Hillary Clinton in the past.
Democratic precinct captain, precinct 443; Academic Language Therapy Association, member; International Dyslexia Association, member; American Dialect Society, member; University Council for Academic Administration, member; Showing Up for Racial Justice, volunteer; Spreading Smiles and Sandwiches, volunteer; University of Denver ELPS Student Association, student representative.
I would like to serve on this commission to bring the voting districts of this state up to date with our changing demographics. I grew up in Colorado Springs, moved away for a decade to live in east coast cities, and now live and work in a rural school district. I've been witness to the shifts in population in this state, and would value the chance to deliberate with other Coloradans over what changes should be made and why.
We have all been witness to a lack of ability to work toward consensus from the highest levels of government to our own neighborhoods in recent years. One of my greatest talents is listening; while I enjoy formulating and defending my own opinions, I value learning about the life experiences and insights that come from others who have come to differing opinions than mine. Negotiation is a dying art, but I am in favor of resurrecting its use in all spheres, public and private.
I have spent the last several years in school and in my work analyzing data and research for my profession and for course work. Some of the most engaging course work I have been privy to in the past year and a half is critical qualitative and quantitative analysis. I know that there is always more to a story or research piece than numbers present. The ability to turn a critical eye to context and what discourse is being left out of any discussion has become a passion of mine in my work and problem-solving in general.
Female


<EMAIL_ADDRESS>051 377378
051 376468
School Roll Number: 64930I
School Address:
Mount Sion CBS Secondary School,
Barrack Street,
Waterford City.


### But what about
- TCP handshake (1 round trip)
- TLS negotiation (2 round trips)
- DNS fetch (1 round trip)
It will likely take 3-4 rounds trips for EACH resource...
### So what should we focus on first?
1. Asynchronous fetching
2. Reduce the number of resources
3. Client side JS performance (If client side rendering)
### These are also important
- More performant image formats
- Client side JS performance
- Reduce the size of resources
- Reduce the size of the document
## Measuring Web Performance
## Making things asynchronous


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BASE jumper's body found in Jurupa Valley rock quarry; death investigated as suspicious
by ABC7.com staffJURUPA VALLEY, Calif. (KABC) -- A BASE jumper was found dead Sunday morning in a rock quarry in Jurupa Valley, authorities said.
The unidentified man's body was discovered by two hikers shortly before 7:30 a.m. on private property near Sierra Avenue and 30th Street, according to the Riverside County Sheriff's Department.
The agency said the death was being investigated as suspicious, but did not immediately disclose any other details.
The man is believed to have died sometime Saturday evening, a sheriff's spokesperson said.
An employee of the quarry said he met the man who died the previous day after he was kicked off the site and appeared to be scouting it out for a jump.


Direct Aid For Homeless is a 501(c)(3) nonprofit organization, with the mission to build low barrier
shelters for people experiencing homelessness. Our current outreach program provides resource cards, food,
water, clothing, shoes and hygiene items to people in need.
Be not afraid of greatness. Some are born great, some achieve greatness,
and
others have greatness thrust upon them


for
To meet WCAG AA, you must tick all of the boxes for the 33 criteria in the checklist that apply to your web app or site. Below are your results.


public class ScriptingUtilities
extends java.lang.Object
implements au.gov.asd.tac.constellation.views.scripting.ScriptingModule
| Constructor and Description |
|---|
ScriptingUtilities() |
| Modifier and Type | Method and Description |
|---|---|
SGraph |
copyGraph(SGraph graph)
Create an in-memory copy of the given graph.
|
void |
executePlugin(SGraph graph,
java.lang.String pluginName)
Lookup a plugin by name and execute it with default parameter values.
|
void |
executePlugin(SGraph graph,
java.lang.String pluginName,
java.util.Map<java.lang.String,java.lang.String> pluginParameters)
Lookup a plugin by name and execute it with custom parameter values.
|
java.lang.String |
getName() |
java.util.Map<java.lang.String,SGraph> |
getOpenGraphs()
Provide a map of graph name to graph for every graph currently open in
Constellation.
|
java.lang.String |
openFile(java.lang.String dirKey)
Provide a NetBeans open file dialog box that remembers where it was last
opened.
|
public java.lang.String getName()
getName
in interface au.gov.asd.tac.constellation.views.scripting.ScriptingModule
public java.lang.String openFile(java.lang.String dirKey)
dirKey
- A key to where the dialog box was last opened.public java.util.Map<java.lang.String,SGraph> getOpenGraphs()
SGraph
.public SGraph copyGraph(SGraph graph)
SGraph
.public void executePlugin(SGraph graph, java.lang.String pluginName)
graph
- The graph on which to execute the plugin.pluginName
- The name of the plugin to execute.public void executePlugin(SGraph graph, java.lang.String pluginName, java.util.Map<java.lang.String,java.lang.String> pluginParameters)
graph
- The graph on which to execute the plugin.pluginName
- The name of the plugin you wish to execute.pluginParameters
- A map of parameters to their values for use with
the plugin you wish to execute.


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Time:
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Coding Quiz Challenge
Answer the following question within the time limit.
Remember that incorrect answers will reduce your time by ten seconds.


Characteristics of Matter
All matter share these characteristics: they occupy space and have mass and weight.
Matter Occupies Space
When you place a book on a table, the book occupies space on the table. The space that it occupies is called volume. You can determine the volume of the book by multiplying its length (l), width (w), and height (h), or v = l × w × h.
You have to use measuring containers like beakers and graduated cylinders to get the volume of liquids. The readings on the beakers and cylinders show the volume of the liquids.


Headings
Headings
Heading through class
h1. Bootstrap heading
h2. Bootstrap heading
h3. Bootstrap heading
h4. Bootstrap heading
h5. Bootstrap heading
h6. Bootstrap heading
Muted text example
Display texts
Class lead
Paragraph with class as lead : Vivamus sagittis lacus vel augue laoreet rutrum faucibus dolor auctor. Duis mollis, est non commodo luctus.
This is a normal paragraph
Basic text formating
You can use the mark tag to highlight text.
This line of text is meant to be treated as deleted text.
This line of text is meant to be treated as no longer accurate.
This line of text is meant to be treated as an addition to the document.
This line of text will render as underlined
This line of text is meant to be treated as fine print.
This line rendered as bold text.
This line rendered as italicized text.
Block quote
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer posuere erat a ante.
Text alignment
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer posuere erat a ante.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer posuere erat a ante.