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Udacity Reflection Part II
What is grid based design?
Grid based design is how many, if not all webpages, are layed out. From the design side a page is divided into a grid of rectangles of varying size in which is put content. Code-wise, this is acheviced by creating a row class which spans the width of the page, and 12 column classes, each spanning 1/12th of the width. 12 is chosen as these can be used to make a grid with divisons which can handle different sizes more easily.
Whats all the hype about responsive webpages?
People view the internet on computers and devices of varying screen size or resolution, and responsive webpages are a way to ensure websites look good on all of them, by using code that changes how they look when necessary.
Semantic structure
Semantic structure refers to how code is written, specifically its' clarity and readabilty. Code with good semantic structure should allow a developer to have a pretty good idea of how it will look as a webpage without opening it in a browser. This can be done by using indentation to make the structure clear, as well as tags that describe the meanging of an element, such as <img>, <main>, or <nav>, rather than just <div> or <span>.


Skills & Experience
Main area of my expertise are front end and back end development and everything related with this side of web. HTML, CSS, JS (ES5,ES6), building small & medium Web Apps, React.js, building features rich contents, animations and just coding layouts. I work as a full-stack developer – in Node.js, the MERN(MongoDB Express JS, React.js, Node.js) stack, LAMP environment, PHP and open source CMS’s like (WordPress, Drupal, Joomla etc...) I also have some experience with, Go(Golang), Java and Android studio.
My Works
ADPS Constructions Limited
ADPS is a construction and architectural company, the company works to provide innovative, high quality, superior and cost effective services that brings overall growth to their clients. The firm prides herself on the quality of services and products she renders to her numerous clients.
Omnifood
Omnifood is a food delivery website application template, although it's not a fully functional web application at the moment, I'm considering adding some more features to it.
If you like it, and you're looking for something in this category, please send me a message Here ⟶
Node.JS Chat App
This is a simple Node.JS chat app, hosted on Heroku, I developed it using Socket.io, Express.JS, Pug, Mustache. It uses cookie-parser to detect session, and detect different room for different users, not populating messages that are meant for a specific room to the users of other rooms.
Although I'm still adding some more features to it, it's not feature rich at the moment.


⛪
Join the Church of Chiko
Doctrine of the Church of Chiko
Doctrine of the Church:
Nothing matters and existence is futile, Only Chiko is forever
Anything is possible through Chiko
Worship of Chiko:
Meditate on The Word of Chiko
The Word of Chiko:
"Chiko"


| Top |
| gboolean | search-mode-enabled | Read / Write |
| gboolean | show-close-button | Read / Write / Construct |
GObject ╰── GInitiallyUnowned ╰── GtkWidget ╰── GtkContainer ╰── GtkBin ╰── GtkSearchBar
GtkSearchBar is a container made to have a search entry (possibly with additional connex widgets, such as drop-down menus, or buttons) built-in. The search bar would appear when a search is started through typing on the keyboard, or the application’s search mode is toggled on.
For keyboard presses to start a search, events will need to be
forwarded from the top-level window that contains the search bar.
See gtk_search_bar_handle_event()
for example code. Common shortcuts
such as Ctrl+F should be handled as an application action, or through
the menu items.
You will also need to tell the search bar about which entry you
are using as your search entry using gtk_search_bar_connect_entry()
.
The following example shows you how to create a more complex search
entry.
GtkWidget *
gtk_search_bar_new (void
);
Creates a GtkSearchBar. You will need to tell it about
which widget is going to be your text entry using
gtk_search_bar_connect_entry()
.
Since: 3.10
void gtk_search_bar_connect_entry (GtkSearchBar *bar
,GtkEntry *entry
);
Connects the GtkEntry widget passed as the one to be used in this search bar. The entry should be a descendant of the search bar. This is only required if the entry isn’t the direct child of the search bar (as in our main example).
Since: 3.10
gboolean
gtk_search_bar_get_search_mode (GtkSearchBar *bar
);
Returns whether the search mode is on or off.
Since: 3.10
void gtk_search_bar_set_search_mode (GtkSearchBar *bar
,gboolean search_mode
);
Switches the search mode on or off.
Since: 3.10
gboolean
gtk_search_bar_get_show_close_button (GtkSearchBar *bar
);
Returns whether the close button is shown.
Since: 3.10
void gtk_search_bar_set_show_close_button (GtkSearchBar *bar
,gboolean visible
);
Shows or hides the close button. Applications that already have a “search” toggle button should not show a close button in their search bar, as it duplicates the role of the toggle button.
Since: 3.10
gboolean gtk_search_bar_handle_event (GtkSearchBar *bar
,GdkEvent *event
);
This function should be called when the top-level window which contains the search bar received a key event.
If the key event is handled by the search bar, the bar will
be shown, the entry populated with the entered text and GDK_EVENT_STOP
will be returned. The caller should ensure that events are
not propagated further.
If no entry has been connected to the search bar, using
gtk_search_bar_connect_entry()
, this function will return
immediately with a warning.
1 2 3 4 5 6 7 8 9 10 11 12 13 |
static gboolean on_key_press_event (GtkWidget *widget, GdkEvent *event, gpointer user_data) { GtkSearchBar *bar = GTK_SEARCH_BAR (user_data); return gtk_search_bar_handle_event (bar, event); } g_signal_connect (window, "key-press-event", G_CALLBACK (on_key_press_event), search_bar); |
GDK_EVENT_STOP
if the key press event resulted
in text being entered in the search entry (and revealing
the search bar if necessary), GDK_EVENT_PROPAGATE
otherwise.
Since: 3.10
“search-mode-enabled”
property“search-mode-enabled” gboolean
Whether the search mode is on and the search bar shown.
Flags: Read / Write
Default value: FALSE
“show-close-button”
property“show-close-button” gboolean
Whether to show the close button in the toolbar.
Flags: Read / Write / Construct
Default value: FALSE


Fire up the dev tools and click on the buttons:
If you need more context, read the README of the project.


Press Keys to make sounds! No other UI just yet. Z is C4, Comma is C5, if you know a piano keyboard you can probably extrapolate the rest. If not, um, wait for the UI.


Setup:
    ✅   Upload this page to your Wi-Fi module.
    ✅   Open this page from http://your-wi-fi-module's-ip/files/page-controls-light.html.
    ✅   Run "Page Controls light Host.bs2" with your BASIC Stamp 2 module.
    🕮   More info at http://learn.parallax.com/pbasic-wx-wi-fi.html.


*** out of ****
Year: 1999. Starring Denzel Washington, Vicellous Reon Shannon, Deborah Unger, Liev Schreiber, John Hannah, Dan Hedaya, Debbi Morgan, Clancy Brown, David Paymer, Harris Yulin, Rod Steiger. Screenplay by Armyan Bernstein and Dan Gordon. Directed by Norman Jewison. Rated R.
There are times when the success of a particular film depends entirely on one actor's effort. Often a single performance can turn what might have been a rather mediocre movie into something worthwhile. When one of these comes along, I usually try to think about how many other people put work into the movie, that there is no way one person could possible carry the entire project on his shoulders. But sometimes there is simply no other explanation, and such is the case with "The Hurricane." This biopic about falsely convicted boxer Rubin "Hurricane" Carter would normally be called "Norman Jewison's 'The Hurricane,'" as per the tradition of referring to a film "belonging" to a director. But though he does decent work, Jewison cannot claim ownership of "The Hurricane," because there is one reason this film works at all, and his name is Denzel Washington.
Washington plays Carter, a boxer who in 1967 was convicted of a late-night shooting in a bar. Jailed for 20 years, he maintained that he had never committed the crimes, but remained in jail after a second trial and countless appeals. The situation changed when a group of Canadians moved to Washington and worked on freeing Carter. Through the efforts of that group and Carter's lawyers, he was eventually freed when their case was heard in federal court and the judge ruled that Rubin Carter had been unfairly convicted. The film details Carter's childhood, which had him in and out of jail because of the efforts of a racist cop (Dan Hedaya). When he finally got out of prison for good, Carter became a rising star as a middleweight pro boxer, seemingly having his career on track, until the police framed him for multiple homicide. Despite the efforts of political activists and celebrities, he remained imprisoned. Flash forward to 1983, when Lesra (Vicellous Reon Shannon) a young African-American boy, living with a group of Canadian tutors, reads the book Carter wrote while in prison. The book, entitled "The Sixteenth Round," opens young Lesra's eyes to the injustice that was Carter's life, and he vows to help free the incarcerated boxer. Lesra convinces his Canadian friends (Deborah Unger, Liev Schreiber, John Hannah) to work with him towards his goal.
"The Hurricane" leans on Denzel Washington. He must carry virtually every scene by sheer force of will, and he does so brilliantly. It's probably accurate to say that Washington does not embody Rubin Carter, because he plays a character far stronger and nobler than any real person could hope to be. It would perhaps be more accurate to say that Washington embodies the character of Rubin Carter--a fictional personality invented solely for the film. The actor's work is masterful; Washington throws himself into every moment, refusing to keep the audience at arm's length. We feel everything he feels: the humiliation of having to return to prison after fighting so hard to make something of his life, the pain of having to order his wife to give up the fight, and the utter despair he feels when coming to the conclusion that all hope is lost. Washington's is a performance of weight and emotional depth. He doesn't merely play angry, happy, or sad; he feels it at the deepest level. His work is masterful, and for half of this film I realized that the scene I was watching would not have been nearly as affecting as it was if it had been in the hands of another actor.
Norman Jewison directs the film, doing a reasonably good job of pacing and shot selection. "The Hurricane" moves quickly, with no scene drawn out much further than necessary and the narrative galloping along nicely. Jewison handles his multiple flashbacks well; the audience is always aware of just what the time and place of each scene is, and nothing is terribly confusing. His boxing scenes, constructed with clear inspiration from "Raging Bull," get inside the action very well, and they are believable as real sports footage. Jewison puts together a particularly nice scene by utilizing a pretty cool trick: Carter is sent to solitary confinement for 90 days when he refuses to wear a prison uniform, and Jewison, assisted by some wonderful acting from a game Washington, shows how Carter gradually starts to lose his mind during the constant solitude, and eventually we get three Rubin Carters arguing with each other in one cell. Jewison's best achievement in "The Hurricane" is succeeding at showing how Carter becomes an embittered man during his hard-knock life, and how he is able to break out of that bitterness and learn to trust people again.
Sadly, though, the film's chief failures lie with the screenplay, as with most of the good-but-not-great efforts to round the pike this winter. There is much to interest a viewer in "The Hurricane," but it seems that every time the film gets a chance to take the most clichéd route possible, it does. Take a look at the supporting characters, for example, who are drawn up as either entirely good or entirely evil.  The Canadians are good. The cops are bad.  Much of the dialogue comes off as rather hokey ("Hate put me in prison. Love's gonna bust me out."), and the big courtroom climax during which everyone gets to make an impassioned speech could have been lifted from a made-for-TV Lifetime special. It's too bad. The cast is game, the director does his job, and the subject matter is interesting, but the script takes the safer, slightly more boring route far too often. I wanted a real reason for the cop to hold a grudge against Carter other than "he's a racist pig." I wanted more evidence that these Canadians are real people with faults and virtues instead of a bunch of saintly crusaders looking for justice. In short, I wanted to see the film through a less distorted lens.
Criticism has been levied against the liberties "The Hurricane" takes with the truth of what really happened to Carter, and much of it is deserved. For example, the film gives us a boxing scene showing Carter pummeling defending champ Joey Giardello, only to be screwed by the judges, who ruled Giardello the winner. Most accounts of the fight, however, have Carter losing fairly. Furthermore, much of Carter's criminal past is conveniently left out of the film, and just why he was convicted again in his second trial is never really explained. Of course, "The Hurricane" works mainly as a fable, so digressions from the truth can be excused at least partially, but even dismissing such issues don't remove one fact: "The Hurricane" is a highly flawed film. Only one actor could have made a schmaltzy, predictable picture like this work as well as it does, and it's a good thing "The Hurricane" has that actor. Carter has been quoted as saying, "Denzel Washington is making me look good," but he's not the only one. Washington makes this film look good. Denzel Washington's "The Hurricane." Sounds pretty good to me.
-reviewed by Shay Casey
For more reviews, go to http://www.geocities.com/Hollywood/Land/4252/movies.html
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


|
FP-GAme User Library
|
Exposes the APU interface to the user. More...
#include <stdint.h>
Go to the source code of this file.
Macros | |
| #define | APU_BUF_MAX 512 |
| The maximum number of samples which may be given by a callback. | |
| #define | APU_SAMPLE_RATE 32000 |
| The sampling rate of the APU. | |
Functions | |
| int | apu_enable (void(*callback)(const int8_t **buf, int *buf_size)) |
| Enables the APU. More... | |
| void | apu_disable (void) |
| Disables the APU. More... | |
| void | apu_callback_enable (void) |
| Re-enables the APU callback function. More... | |
| void | apu_callback_disable (void) |
| Disables the APU callback function, temporarily. More... | |
Exposes the APU interface to the user.
The APU interface consists of two functions. The first enables the APU and registers a callback function to enq more buffer data whenever necessary. The second disables the APU.
Note that the first function will run the callback in a signal handler. The user must manage the SIGRTMAX signal if they need to disable the APU callback, though this may result in silence for the user.
Additionally, it is important to note that only one process may hold access to the APU at a given time. The APU is released from this lock on a call to disable, or when the program is closed.
| void apu_callback_disable | ( | void | ) |
Disables the APU callback function, temporarily.
Note that, as this is akin to disabling an interrupt, it should be done only sparingly and briefly.
| void apu_callback_enable | ( | void | ) |
Re-enables the APU callback function.
Note that, on program start, the callback is "enabled" but will not occur until the APU is enabled.
| void apu_disable | ( | void | ) |
Disables the APU.
After the current buffer finishing playing, the APU will be silenced.
Calling this function makes the APU available to other processing running on the system.
It is illegal to call this function if the APU is not currently enabled and owned by the calling process.
| int apu_enable | ( | void(*)(const int8_t **buf, int *buf_size) | callback | ) |
Enables the APU.
Enables the APU, starting audio playback. The APU will be locked, and thus only available to the current process.
Whenever new samples are needed, the provided callback function will be called. The callback must then fill the buf pointer with a buffer that contains no more than APU_BUF_MAX samples. The size of the given buffer must be placed inside of buf_size.
Note that the samples provided by the callback function will not be played immediately. The APU will attempt to maintain a "queued" buffer while it plays the samples in its active buffer. Therefore, there will be up to a 16ms delay between the callback supplying the samples and the samples being played.
Fails if the APU is already owned by another process. It is illegal to provide this function with an invalid callback.
The caller of this function must call apu_disable before program exit to prevent resource leaks.
| callback | The callback function to be called for more samples. |


⊷ The spy: Will try to guess the round's location. Infer from others' questions and answers.
⊶ Other players: Figure out who the spy is by asking questions.
Each round will be of 10-15 minutes.
Game ends if either the clock runs out, SPY guesses the location CORRECTLY, OR the spy is identified by others.
⊶ The location: The round starts, each player is given a location. The location is the same for all players (e.g., Bank) except for one player, who is randomly given the 'SPY' card. The spy does not know the round's location.
⊷ Questioning: The game host (person who started the game) begins by questioning another player about the location.
⊶ Answering: The questioned player MUST answer. No follow up questions allowed. After they answer, it's then their turn to ask someone else a question.  You MUST choose someone else.
At any time, a player can try to indict a suspected spy by putting that suspect up for vote. They must say "I'd like to put player X up for vote." Then go one by one clockwise around the circle, and each player much cast their vote if they're in agreement to indict. If any player votes no, the round continues as it was. Each person can only put a suspect up for vote once per round. Use it wisely! If a player is indicted ONLY BY EVERYONE, they must reveal whether or not they are the spy and the round ends.
At any time, the spy can reveal that they are the spy and make a guess at what the location is. The round immediately ends.


---
layout: post
title: made it to the top now comes the fun part
date: '2011-03-31T23:37:32+02:00'
tags: []
tumblr_url: http://dotmr.tumblr.com/post/4250682557/made-it-to-the-top-now-comes-the-fun-part
---
Made it to the top. Now comes the fun part - down.


textacy: NLP, before and after spaCy¶
textacy is a Python library for performing a variety of natural language processing (NLP) tasks, built on the high-performance spaCy library. With the fundamentals — tokenization, part-of-speech tagging, dependency parsing, etc. — delegated to another library, textacy focuses primarily on the tasks that come before and follow after.
Features¶
Convenient entry points to working with one or many documents processed by spaCy, with functionality added via custom extensions and automatic language identification for applying the right spaCy pipeline
Variety of downloadable datasets with both text content and metadata, from Congressional speeches to historical literature to Reddit comments
Easy file I/O for streaming data to and from disk
Cleaning, normalization, and exploration of raw text — before processing
Flexible extraction of words, ngrams, noun chunks, entities, acronyms, key terms, and other elements of interest
Tokenization and vectorization of documents, with functionality for training, interpreting, and visualizing topic models
String, set, and document similarity comparison by a variety of metrics
Calculations for common text statistics, including Flesch-Kincaid Grade Level and multilingual Flesch Reading Ease
… and more!
Links¶
Download: https://pypi.org/project/textacy
Documentation: https://chartbeat-labs.github.io/textacy
Source code: https://github.com/chartbeat-labs/textacy
Bug Tracker: https://github.com/chartbeat-labs/textacy/issues
Maintainer¶
Howdy, y’all. 👋
Burton DeWilde<EMAIL_ADDRESS>- Installation
- Quickstart
- API Reference
- Changes
- 0.10.0 (2020-03-01)
- 0.9.1 (2019-09-03)
- 0.9.0 (2019-09-03)
- 0.8.0 (2019-07-14)
- 0.7.1 (2019-06-25)
- 0.7.0 (2019-05-13)
- 0.6.3 (2019-03-23)
- 0.6.2 (2018-07-19)
- 0.6.1 (2018-04-11)
- 0.6.0 (2018-02-25)
- 0.5.0 (2017-12-04)
- 0.4.2 (2017-11-28)
- 0.4.1 (2017-07-27)
- 0.4.0 (2017-06-21)
- 0.3.4 (2017-04-17)
- 0.3.3 (2017-02-10)
- 0.3.2 (2016-11-15)
- 0.3.1 (2016-10-19)
- 0.3.0 (2016-08-23)
- 0.2.8 (2016-08-03)
- 0.2.5 (2016-07-14)
- 0.2.4 (2016-07-14)
- 0.2.3 (2016-06-20)
- 0.2.2 (2016-05-05)
- 0.2.0 (2016-04-11)
- 0.1.4 (2016-02-26)
- 0.1.3 (2016-02-22)
- License


GO NOW
A Film Review by James Berardinelli
Rating: ***1/2 out of ****
United Kingdom, 1996 U.S. Release Date: beginning 5/15/98 (limited) Running Length: 1:26 MPAA Classification: R (Mature themes, profanity, sex) Theatrical Aspect Ratio: 1.85:1 Shown at the Philadelphia Festival of World Cinema, 5/8/97 & 5/10/97
Cast: Robert Carlyle, Juliet Aubrey, James Nesbitt, Sophie Okonedo, Darren Tighe, Berwick Kaler, Sean McKenzie, John Brobbey, Sara Stockbridge Director: Michael Winterbottom Producer: Andrew Eaton Screenplay: Paul Powell and Jimmy McGovern Cinematography: Dafydd Hobson Music: Alistair Gavin U.S. Distributor: Gramercy Pictures
Few screen romances are as touching, as tragic, and as life affirming as the one shared by Nick (Robert Carlyle) and Karen (Juliet Aubrey) in director Michael Winterbottom's GO NOW. While the film is ultimately about the effects of multiple sclerosis upon both a body and a relationship, GO NOW is not the exercise in depression the material might make it seem to be. Winterbottom, who took an equally unsentimental approach to his adaptation of Thomas Hardy's JUDE THE OBSCURE, avoids numerous melodramatic pitfalls on the way to making Nick and Karen's experiences with the disease real, believable, and manipulation-free. By including a copious amount of lowbrow humor and occasionally using black-and-white freeze-frames with amusing captions, Winterbottom never allows GO NOW to become too much of a downer.
The film starts at the beginning -- the beginning of Nick and Karen's relationship, that is. They meet one night at a pub while Nick, a construction worker with a passion for soccer, is out having drinks with his best friend, Tony (James Nesbitt), and Karen is in the company of her roommate, Paula (Sophie Okonedo). While Tony aggressively pursues sex with Paula, Nick and Karen connect in a quieter, more meaningful way. After a few chance meetings on the street following their initial encounter, they start dating. The relationship quickly becomes serious, and the two move in together. Only then does Nick's disease begin to assert itself. In this way, Winterbottom allows us to get to know the characters before introducing complications.
It starts slowly, with minor symptoms: double vision, numbness of the hands, and a lack of bladder control. Nick goes for tests and is diagnosed to have MS. GO NOW doesn't use a didactic, "movie of the week" approach to the subject. It doesn't explain what MS is, why people get it, or how they can live with it. Instead, the film concentrates on showing the condition's debilitating effects on Nick, and, equally important, on his perfectly-healthy partner. It's rare for any motion picture about a disease to take such a blunt, uncompromising look at how it can erode the foundation of even the most loving relationship. Sunk in frustration and self-pity, Nick frequently lashes out at Karen, torn between wanting her to leave him alone in his misery and needing her to help him. For her part, Karen loves Nick dearly, but his moodiness threatens to drive her into the arms of another man, if only for a brief respite from Nick's rancor.
Another interesting aspect of GO NOW is how it addresses the quandary that Nick's friends find themselves in after he has been stricken. They're caught between walking on eggshells and trying too hard to make it seem like he's still just "one of the guys." None of them walks the line adeptly, and one of Tony's jests cuts Nick deeply. Still, the difficulties Nick's friends have adjusting to his condition are minor compared with the conflicted emotions that Karen experiences.
The acting in GO NOW is superlative. Robert Carlyle, who was good in THE FULL MONTY and TRAINSPOTTING, is amazing here, using body language, facial expressions, and vocal intonations to convey his character's experience to the audience. Juliet Aubrey (Dorothea Brooke in the 1994 BBC version of MIDDLEMARCH, with a small role in Winterbottom's WELCOME TO SARAJEVO), whose portrayal of Karen is just as forceful and multi-faceted, never allows herself to be eclipsed by Carlyle. Even in the most dramatically powerful scenes, she stands toe-to-toe with him. Members of the supporting cast, especially James Nesbitt (JUDE, HEAR MY SONG), are no less solid.
With its rich and varied emotional texture, GO NOW is a movie that you feel deep in the heart, with a pair of characters, Nick and Karen, who are so vivid that they stay with you long after the theater lights have gone on. Coupled with JUDE (which was made after this film), Go Now illuminates the director's keen, unerring insight into the complexity of emotions and situations that movies too often reduce to familiar clichés. Wrenching, passionate, and unforgettable, GO NOW hardly makes a misstep from beginning to end.
Copyright 1997, 1998 James Berardinelli
- James Berardinelli e-mail<EMAIL_ADDRESS>Now with more than 1400 reviews... The ReelViews web site: http://movie-reviews.colossus.net/
"My belief is that no movie, nothing in life, leaves people neutral.
-- David Puttnam
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


|
|
Newsgroups are discussion groups where people can get answers to their
questions from people with similar interests. They work like
electronic bulletin boards -- with people posting and responding to
messages.
You also might want to get on a mailing
list.
You do not have to "sign up" to read a newsgroup. Just
"visit" the newsgroup by following one of the references,
below.
You also do not have to "sign up" to post a message.
However, it is customary to read the newsgroup for a week or so to get
a feel for what sort of things are expected.
A compendium of answers to Frequently
Asked Questions (FAQ) about Lisp and related topics from the
comp.lang.lisp and compl.lang.clos newsgroups is maintained at the CMU
Common Lisp Repository. Please check this out before posting any
questions.
Also, please look at this site. If you
don't find what you're looking for, consider letting us know so that we can
add the information.
While a FAQ is an edited listing of Frequently Asked Questions, an
archive holds all the messages posted to a particular newsgroup, or
all the messages since a certain date. The archives of some of the
newsgroups below are maintained at CMU The newsgroup comp.lang.lisp is also archived on
ftp.gmd.de:/usenet/comp.lang.lisp/
by month, from 1989 onward. Individual files are in rnews format.
(They contain articles prefixed by a header line "#! rnews
<nchars> archive" where <nchars> is the number of
characters in the article following the header. That format is
convenient for various news processing programs (e.g. relaynews) and
is rather easy to process from a lisp program too.) A copy of the GMD
archives for comp.lang.lisp is available on cambridge.apple.com:/pub/comp.lang.lisp/.
- comp.lang.lisp
- Everything
about Lisp.
- comp.std.lisp
- For discussion of emerging standards for
the Lisp language, including "de facto" standards.
Moderated by Brad Miller<EMAIL_ADDRESS>Submissions should be sent to
<EMAIL_ADDRESS>Archived on
ftp.cs.rochester.edu:/pub/archives/lisp-standards/
Gatewayed to a mailing list (send mail to
<EMAIL_ADDRESS>to join).
- comp.org.lisp-users
- Discussions related to Association of Lisp Users.
Gatewayed to the ALU mailing list. This is an
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technical forum.
- comp.lang.clos
- The Common Lisp Object System. Discussion related to CLOS, PCL, and
object-oriented programming in Lisp.
Gatewayed to<EMAIL_ADDRESS>(or equivalently<EMAIL_ADDRESS>- comp.lang.lisp.franz
- Discussion of Franz Lisp, an earlier dialect of Lisp.
(Note: not Franz Inc's Allegro.)
- comp.lang.lisp.mcl
- Discussions related to Macintosh
Common Lisp. This newsgroup is
gatewayed
to the<EMAIL_ADDRESS>mailing list and archived on cambridge.apple.com.
- comp.lang.lisp.x
- Discussion of XLISP, a dialect of
Lisp, and XScheme. (Note: not the X window system.)
- comp.lang.scheme
- The Scheme dialect of Lisp.
- comp.lang.scheme.c
- comp.lang.scheme.scsh
- The Scheme Shell.
- comp.lang.dylan
- The Dylan programming
language.
- comp.lang.logo
- The Logo programming language.
- comp.sys.newton.programmer
- NewtonScript and more.
- comp.sys.xerox
- Discussions related to using Medley (name exists
for historical reasons, and is likely to change
soon). Gatewayed to the info-1100 mailing list.
- comp.cad.autocad
- AutoCAD utilizes AutoLisp.
- comp.emacs
- For elisp, the dialect used in
the Emacs editor.
- comp.text.interleaf
- For the Lisp dialect used in the Interleaf publishing system.
- comp.sys.xerox
- Discussions related to using Medley (name exists
for historical reasons, and is likely to change
soon). Gatewayed to the info-1100 mailing list.
Sometimes Xerox Lisp machines are for sale.
- comp.sys.ti.explorer
- The TI Explorer Lisp machine.
- info.slug
- For users of Symbolics Lisp machines.
- comp.lang.functional -
Functional Programming.
- comp.object
- Object-oriented Programming.
- FAQ,
mirror,
.
- comp.object.logic
- Combining OOP and
Logic Programming.
- comp.ai
- Issues related to Artificial Intelligence. Several subgroups such as...
- comp.ai.shells
- Various AI shells.
- comp.windows.garnet
- The Garnet UIMS.
- sci.math.symbolic
- Some of the leading Computer
Algebra programs are written in Lisp.
- comp.text.interleaf
- Interleaf's publishing solution, extensible with Lisp.
- comp.emacs
- The famous editor.
- comp.emacs.xemacs
- An emacs variant.
- comp.cad.autocad
- AutoCAD utilizes AutoLisp.
|


--- layout: post title: Storyboards Sketchbooks date: '2017-09-16T11:30:13+02:00' categories: - Storyboards - Sketchbooks picture_url: https://film-Storyboards.tumblr.com/post/165403986907/Storyboards-Sketchbooks ---


--- title: "Rebloom My Pretties" date: "2020-09-02 00:00:00 -06:00" categories: - whats-blooming layout: "post" blog-banner: "whats-blooming-now-summer.jpg" post-date: "September 2, 2020" post-time: "12:00 AM" blog-image: "2020-09-02-wbn.jpg" published: true ---
I took a walk throught the Garden today and was completely surprised by how many roses are reblooming. There are so many different roses blooming that if you missed the first flush, you should really get up here to see this one.
Creamy white double flowers adorn this beautiful shrub.
These salmon-colored beauties give off a lovely sweet scent.
As they open, the flowers are light pink and darken with age.
Small five-petaled flowers cover this shrub throughout the season.
Just as one flush of blooms end, another one takes its place.
This hybrid tea rose produces flowers up to five inches across.
The temperatures have cooled slightly, so come check out this second flush of roses before the next wave of heat arrives.
Something magical is brewing in the Garden. To find out more click HERE!


Escargots (snails)
Escargots (snails) is a Green food. Green foods are safe to eat as a regular part of a diet.
Category Quotes
Guideline related quotes related to Meat-Exotic and Green throughout Geoff Bond's publications.
Examples of one serving include 3 oz (size of a deck of cards) cooked meat or poultry; 3 oz grilled fish; 1 egg. ~Paleo in a Nutshell p.95
For the meat, poultry, eggs, and fish group, Preferably consume two servings a day of “Green-Green” foods. If unavailable, you can consume two servings a day of “Green” foods. ~Paleo in a Nutshell p.102
For the meat, poultry, eggs, and fish group Restrict total food group servings per session to one. ~Paleo in a Nutshell p.102
For the meat, poultry, eggs, and fish group, Restrict total food group servings per day to two. ~Paleo in a Nutshell p.102
Additional Quotes
Specific references to Escargots (snails) throughout Geoff Bond's publications.
Creatures such as alligator, ostrich, emu, kangaroo, frogs' legs, and escargots (snails). All correspond very well to the kind of animal matter that our Pleistocene ancestors ate all the time. Other exotic foods are making their appearance, particularly bush tucker from Australia, which corresponds to the food traditionally eaten by the Australian Aboriginal. ~Paleo in a Nutshell p.69
Our ancestors were not alone in the savanna. They shared the land with a wide variety of creatures: giraffe, lion, elephant, warthog, rhinoceros, hyena, antelope, gazelle, zebra, baboons, chimpanzees, vultures, eagles, flamingos, and many more. In addition, there were snakes, porcupines, crocodiles, lizards, tortoises, snails, grasshoppers, and a myriad of small mammals, reptiles, and insects. The lakes, streams, and waterholes teemed with many species of freshwater fish, shellfish, frogs, toads, ducks, geese, and other aquatic creatures. ~Deadly Harvest p.13
For Aborigines, The animal food collected would be eggs, turtles, snakes, shellfish, crabs, caterpillars (e.g., the witchety grub and the bogong moth), land snails, and the goanna (a giant lizard). Sweet foods were very rare but much prized. Disproportionate amounts of time were spent on finding a bees' nest to smoke out. Other sweetmeats were the honey ant, gorged with nectar, and "lerp," a sweet insect secretion on eucalyptus leaves. In times of scarcity, grass seeds were collected, winnowed, and ground between two handheld stones. The drudgery of this task was viewed with such distaste that it was only done very rarely. ~Deadly Harvest p.19
At the U.S. Department of Agriculture (USDA), meat is the term applied to the flesh of domesticated mammals, such as cattle, pig, and sheep. More conventionally, this is known as "red meat," which is the designation used here. Similarly, "game" refers to the flesh of any wild land animal, such as wild boar or pheasant. "White meat" refers to flesh taken from domesticated birds, such as chickens, and "seafood" refers to fish and shellfish. We will look at both wild and domesticated sources of animal products. The USDA does not include certain classes of animal foods that were common in our ancestors' diet— the "exotic" categories of reptiles, worms, insects, and gastropods (snails and slugs). ~Deadly Harvest p.58
Many primitive societies eat snails and their shell-less cousins, the slug. The idea to some minds seems grotesque, yet they are a valuable, easily collected source of food. In fact snails have been commonly raised and eaten in the Middle East and Europe for thousands of years. The French, of course, have made a national dish out of snails: "escargots" cooked in garlic and butter are even considered a delicacy. Snail and slug flesh conforms to the Savanna Model, although the French recipe is not ideal nutritionally. ~Deadly Harvest p.63


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23
Balaam's First Oracle
1 And Balaam said to Balak, “Build for me here seven altars, and prepare for me here seven bulls and seven rams.”
2 Balak did as Balaam had said. And Balak and Balaam offered on each altar a bull and a ram.
3 And Balaam said to Balak, “Stand beside your burnt offering, and I will go. Perhaps the LORD will come to meet me, and whatever he shows me I will tell you.” And he went to a bare height,
4 and God met Balaam. And Balaam said to him, “I have arranged the seven altars and I have offered on each altar a bull and a ram.”
5 And the LORD put a word in Balaam's mouth and said, “Return to Balak, and thus you shall speak.”
6 And he returned to him, and behold, he and all the princes of Moab were standing beside his burnt offering.
7 And Balaam took up his discourse and said,
“From Aram Balak has brought me,
the king of Moab from the eastern mountains:
‘Come, curse Jacob for me,
and come, denounce Israel!’
8 How can I curse whom God has not cursed?
How can I denounce whom the LORD has not denounced?
9 For from the top of the crags I see him,
from the hills I behold him;
behold, a people dwelling alone,
and not counting itself among the nations!
10 Who can count the dust of Jacob
or number the fourth part of Israel?
Let me die the death of the upright,
and let my end be like his!”
11 And Balak said to Balaam, “What have you done to me? I took you to curse my enemies, and behold, you have done nothing but bless them.”
12 And he answered and said, “Must I not take care to speak what the LORD puts in my mouth?”
Balaam's Second Oracle
13 And Balak said to him, “Please come with me to another place, from which you may see them. You shall see only a fraction of them and shall not see them all. Then curse them for me from there.”
14 And he took him to the field of Zophim, to the top of Pisgah, and built seven altars and offered a bull and a ram on each altar.
15 Balaam said to Balak, “Stand here beside your burnt offering, while I meet the LORD over there.”
16 And the LORD met Balaam and put a word in his mouth and said, “Return to Balak, and thus shall you speak.”
17 And he came to him, and behold, he was standing beside his burnt offering, and the princes of Moab with him.
Has he said, and will he not do it?
Or has he spoken, and will he not fulfill it?
20 Behold, I received a command to bless:
he has blessed, and I cannot revoke it.
21 He has not beheld misfortune in Jacob,
nor has he seen trouble in Israel.
The LORD their God is with them,
and the shout of a king is among them.
22 God brings them out of Egypt
and is for them like the horns of the wild ox.
23 For there is no enchantment against Jacob,
no divination against Israel;
now it shall be said of Jacob and Israel,
‘What has God wrought!’
24 Behold, a people! As a lioness it rises up
and as a lion it lifts itself;
it does not lie down until it has devoured the prey
and drunk the blood of the slain.”
25 And Balak said to Balaam, “Do not curse them at all, and do not bless them at all.”
26 But Balaam answered Balak, “Did I not tell you, ‘All that the LORD says, that I must do’?”
27 And Balak said to Balaam, “Come now, I will take you to another place. Perhaps it will please God that you may curse them for me from there.”
28 So Balak took Balaam to the top of Peor, which overlooks the desert.
29 And Balaam said to Balak, “Build for me here seven altars and prepare for me here seven bulls and seven rams.”
30 And Balak did as Balaam had said, and offered a bull and a ram on each altar.


--- permalink: /haemorasis-umap layout: none ---
In this work, we have developed methods that detect and characterize millions of WBC and RBC in peripheral blood smears across different conditions; with this vast collection of cells, we were able to developed methods for weakly supervised learning which allowed us to 1) infer computational morphotypes (visually cohesive groups of cells) and 2) use these to predict different diseases.
Here, cells are colloured according to their computational morphotype and divided according to their cell type. Since our disease predictions are heavily tied with the stability of computational morphotypes (i.e. their reproducibility across multiple cross-validation folds), we also provide the option to inspect only the stable computational morphotypes.
Clicking on a point will highlight all cells belonging to the same computational morphotype.


{%- include head.html -%}
{%- include header-full-nav.html -%}
Contact
Us
Windsor
6930 6th Conc N
Amherstburg, ON, N9V 2Y9
<EMAIL_ADDRESS>519.726.6388
London
6112 Colonel Talbot
London, ON, N6P 1J1
<EMAIL_ADDRESS>519.520.2311
Get In Touch
Name
Phone
Email
Message
Contact Us
{%- include footer-simple.html -%}


{% extends 'base.html' %} {% block meta_title %} 404 - Page not found {% endblock %} {% block content %}
The page you requested was not found.


SocketStream sends all the static HTML, CSS and client-side code your app needs the first time a user visits your site (all automatically compressed in production
mode).
From then on all application data is sent and received via the websocket (or websocket fallbacks), instantly established when the client connects and automatically re-established if broken. Normally this will be in JSON RPC format, but SocketStream 0.3 allows you to use different Request Responders (message handlers) depending upon the task at hand.
All this means no more connection latency, HTTP header overhead, polling, or clunky AJAX. Just true bi-directional, asynchronous, 'streaming' communication between client and server.
SocketStream is a perfect fit for all manner of modern applications which require realtime data (chat, stock trading, location monitoring, analytics, etc). It's also a great platform for building realtime HTML5 games.
However, it would make a poor choice for a blog or other content-rich site which requires unique URLs for search engine optimization.
More code examples to follow.
SocketStream 0.3 supports multiple ways to send messages to and from the server. The most common of which, JSON-over-RPC, is included by default. An RPC call can be invoked on the server by calling ss.rpc()
in the browser.
For example, let's write a simple server-side function which squares a number:
// in /server/rpc/app.js
exports.actions = function(req, res, ss){
// return list of actions which can be called publicly
return {
square: function(number){
res(number * number);
}
}
}
Restart the server and then invoke this function from the browser's command line:
ss.rpc('app.square', 25)
You'll see the answer 625
logged to the console by default. The eagle-eyed among you will notice ss.rpc('app.square', 25)
actually returned undefined
. That's fine. We're only interested in the asynchronous response sent from the server once it has processed your request.
You may be wondering why app.square
? Because we're invoking the square
action/function in the app.js
file. If you had written a resize
action in /server/rpc/image/processor.js
you'd call it with ss.rpc('image.processor.resize')
. This naming convention allows you to create as many sub-directories as you wish to organize your code.
Now let's write some code in the client to do more with this response:
// client/code/app/demo.js
// define the number to square (vars are local to this file by default)
var number = 25;
ss.rpc('app.square', number, function(response){
alert(number + ' squared is ' + response);
});
Once you save the file, the browser will automatically reload and you'll see an alert box popup with the following:
25 squared is 625
More examples coming soon!


{% extends "simple.html" %} {% block content %}
Click Activate to get a token for a login server.
After activating, you can open a connection by entering the displayed ssh command in a terminal window. You'll need a token to login. Click Copy Token to copy the token to the clipboard.
Click Logout to prevent further use of these tokens.
When you click Logout, any current ssh sessions will remain open, but
new ssh connections using these tokens will be refused.
Tokens will remain active for two days unless you click Logout, even if you close
this browser window.


General William Booth
Some highlights of William Booth's life
William Booth, founder and first general of The Salvation Army, is an inspiration to many people of his day and today. This is not only because of his work in his evangelistic work, he is also remembered for his numerous works in helping people overcome moral and societal failures. His work has helped people overcome alcohol adiction, prostitution, homelessness, poverty, discrimination among other ills of his time.
- 2 July, 1865: William was born in Sneinton, Nottingham, UK to Samuel and Mary Booth
- 1842: Left school to become a pawnbroker apprentice
- 1844: Booth was converted to Methodism. Started reading the bible extensively and engaging in evangelism
- 1849: Moved to London to work with a pawnbroker and continue with evangelistic, lay preacher, work
- 10 April, 1852: Leaves pawnbroking job to become a full-time preacher with the Methodist Reform Church
- 16 July 1855: Married his fiance Catherine Mumford.
- 1865: Booth and his wife Catherine opens Christian Revival Society in East End of London, which they later renamed to East London Christian Mission
- May 1878: Renames East London Christian Mission to The Salvation Army
- 1878 - 1912 Salvation Army expansion beyond England to Europe, Americas, Africa, Aisia and other continents. Booth also travelled extensively during this period to strengthen the army's work. He also engaged in a large number of humanitarian projects and wrote a number of books concerning the army's rules and conduct.
- 20 August, 1912


Some of our work.
Let’s go on an adventure together! Are you interested in a collaboration, partnership or do you just want to come by and say hello?


Social
struct Social
Brand identity color of popular social media platform.
-
red: 59, green: 89, blue: 152
Declaration
Swift
public static let facebook: Color
-
red: 0, green: 182, blue: 241
Declaration
Swift
public static let twitter: Color
-
red: 223, green: 74, blue: 50
Declaration
Swift
public static let googlePlus: Color
-
red: 0, green: 123, blue: 182
Declaration
Swift
public static let linkedIn: Color
-
red: 69, green: 187, blue: 255
Declaration
Swift
public static let vimeo: Color
-
red: 179, green: 18, blue: 23
Declaration
Swift
public static let youtube: Color
-
red: 195, green: 42, blue: 163
Declaration
Swift
public static let instagram: Color
-
red: 203, green: 32, blue: 39
Declaration
Swift
public static let pinterest: Color
-
red: 244, green: 0, blue: 131
Declaration
Swift
public static let flickr: Color
-
red: 67, green: 2, blue: 151
Declaration
Swift
public static let yahoo: Color
-
red: 67, green: 2, blue: 151
Declaration
Swift
public static let soundCloud: Color
-
red: 44, green: 71, blue: 98
Declaration
Swift
public static let tumblr: Color
-
red: 252, green: 69, blue: 117
Declaration
Swift
public static let foursquare: Color
-
red: 255, green: 176, blue: 0
Declaration
Swift
public static let swarm: Color
-
red: 234, green: 76, blue: 137
Declaration
Swift
public static let dribbble: Color
-
red: 255, green: 87, blue: 0
Declaration
Swift
public static let reddit: Color
-
red: 74, green: 93, blue: 78
Declaration
Swift
public static let devianArt: Color
-
red: 238, green: 64, blue: 86
Declaration
Swift
public static let pocket: Color
-
red: 170, green: 34, blue: 182
Declaration
Swift
public static let quora: Color
-
red: 247, green: 146, blue: 30
Declaration
Swift
public static let slideShare: Color
-
red: 0, green: 153, blue: 229
Declaration
Swift
public static let px500: Color
-
red: 223, green: 109, blue: 70
Declaration
Swift
public static let listly: Color
-
red: 0, green: 180, blue: 137
Declaration
Swift
public static let vine: Color
-
red: 0, green: 175, blue: 240
Declaration
Swift
public static let skype: Color
-
red: 235, green: 73, blue: 36
Declaration
Swift
public static let stumbleUpon: Color
-
red: 255, green: 252, blue: 0
Declaration
Swift
public static let snapchat: Color
-
red: 37, green: 211, blue: 102
Declaration
Swift
public static let whatsApp: Color


No webcam found.
To use this demo, use a device with a webcam.
Train me first!
Append "action"
0
Append "idle"
0
Train
Loss: N/A


{% extends "appbuilder/base.html" %} {% block content %}
{{_('Your user is activated you can now proceed to login')}}


7. God Blesses Jacob
As the boys grew up, Jacob loved to stay at home, but Esau loved to hunt. Rebekah loved Jacob, but Isaac loved Esau.
One day, when Esau came back from hunting, he was very hungry. Esau said to Jacob, "Please give me some of the food you have made." Jacob responded, "First, give me your rights as the oldest son." So Esau gave Jacob his rights as the oldest son. Then Jacob gave him some food.
Isaac wanted to give his blessing to Esau. But before he did, Rebekah and Jacob tricked him by having Jacob pretend to be Esau. Isaac was old and could no longer see. So Jacob put on Esau's clothes and put goatskins on his neck and hands.
Jacob came to Isaac and said, "I am Esau. I have come so that you can bless me." When Isaac felt the goat hair and smelled the clothes, he thought it was Esau and blessed him.
Esau hated Jacob because Jacob had stolen his rights as oldest son and also his blessing.
But Rebekah heard of Esau's plan. So she and Isaac sent Jacob far away to live with her relatives.
Jacob lived with Rebekah's relatives for many years. During that time he married and had twelve sons and a daughter. God made him very wealthy.
After twenty years away from his home in Canaan, Jacob returned there with his family, his servants, and all his herds of animals.
Jacob was very afraid because he thought Esau still wanted to kill him. So he sent many herds of animals to Esau as a gift. The servants who brought the animals said to Esau, "Your servant, Jacob, is giving you these animals. He is coming soon."
But Esau had already forgiven Jacob, and they were happy to see each other again. Jacob then lived peacefully in Canaan. Then Isaac died, and Jacob and Esau buried him. The covenant promises God had promised to Abraham now passed on from Isaac to Jacob.
A Bible story from: Genesis 25:27-33:20


I’ve been studding in the Information Retrieval laboratory in DUT for two months, and I made a Search Engine in Java, which processed 2GB documents to a dictionary file and an inverted index file for searching based on VSM (Vector space model). My codes were commended by the senior students in the lab for good logical structure.
I got named as "Excellent Graduates", because of being rewarded the excellent study scholarship for successive 5 years, and outstanding performance in the extra-curricular activities.
As the leader of the team, I got rewarded as "DUT Excellent Social Practice Individual", and our team got the First Prize from near 500 teams. Also our activities got reported on the Province News Website and the City Newspaper.


If you look at a map of Cambridge, you will notice that the historic centre of the city is not in the geographical centre, but much further to the west, with vast suburbs mushrooming out to the east. My guess as to why this is would be primarily because the lands to the west of the city are largely College owned and so in some respects are protected green belt. Secondly because of the presence of the M11 which tightly skirts the western edge. Most students in the city seldom venture east, so I decided to take a look, and found some interesting sites…
 I apply this technique on Cherry Hinton Road, which is my travelator into Eastern Cambridge. I emerge in the suburb of Cherry Hinton, one of the numerous villages swallowed up by Cambridge’s relentless march east.
Here is the source of the Cherry Hinton Brook (later Coldham’s Brook). Although Cambridge is often ridiculed for being flat, it is actually based at the foot of a chalk escarpment (lying to the south east), the very same which runs all the way through the Chilterns (Icknield Way) and down to the south coast (Ridgeway). As the chalk hits the impermeable clay of the low lands, water is forced out in springs such as this one.
The chalk has a secondary purpose here - building material. Another thing you’ll notice about Eastern Cambridge is that large chunks of it are missing. The whole areas is pocked with chalk pits, some now filled with water. Several of the colleges were built from this very chalk - material taken from the east to build the west. The largest is located close to the spring.
Stepping into the chalk pit is like stepping back in time 150 million years. In the chalk you can see coloured strata, successive eras being laid down on top of each other. Recent excavations revealed iron-age settlements here. Standing in the middle of the pit is slightly horrifying; I’m feeling like a pterodactyl might swoop down and carry me off at any moment…
Re-entering the present day on Limekiln Road, I decide to follow the Cherry Hinton Brook north through the Eastern Fringe. This takes me past two more huge chalk pits, disguised as great lakes. A lone Holiday Inn sparkles on the other side.
The Brook laces through suburbs and darts into an ever-narrowing allyway. Eventually I stumble out behind a Sainsbury’s Superstore building and follow the brook through the carpark and onwards to Coldham’s Common - a vast array of football and rugby pitches, the Hackney Marshes of Cambridge. Peering suspisciously over the bushes is a science park - this specie is ubiquitous on the Cambridge fringes; they radiate a paranoid energy into the landscape.
From the scrub in the north part of the common, I emerge into the car park of the Abbey Leisure Complex - a sublime piece of liminal architecture. In the words of Iain Sinclair “since when did leisure become so complex?”.
The brook continues past the Cambridge United Stadium - I contemplate the footfall of hundreds of supporters on the little footbridge over the brook, unaware of the water and its chalky history, passing slowly below them. About a year after this walk, in a very rare event, top dogs Manchester Utd were invited to play against Cam Utd. It was a classic David vs Goliath moment - I don’t remember who won, but I do remember the town swelling with Man-U fans on a Friday evening. I played pool with some of them in the Emporer on Hills Rd.
The brook now forms a buttcrack of green corridor between Barnwell and East Barnwell, which holds one of the jewels of the city: the Leper Chapel, founded 1125, one of Cambridge’s oldest buildings. Today this sits on the busy A1134, Newmarket Road. It gave rise to Stourbridge fair on neighbouring Stourbridge common, which was one of the largest fairs in Medievel Europe.
Just before sunset I reach the confluence of the brook with the River Cam, a magical place to end a magical day.


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Rune Transcriber: The Hobbit, Orcrist
Font
Rune
C50
C29
C18
C29
C39
C35
C8
Phoneme
O
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Language
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Print Projects
The following are projects managed and developed during Tim’s tenure as Vice President of Product Delivery and Technology.
Sing, Spell, Read & Write
This is a multi-sensory, phonics-based reading program that supports all five key components of reading instruction called for by the Reading First Initiative. A unique 36-step learning-to-read curriculum, Sing, Spell, Read & Write utilizes carefully sequenced, systematic, explicit phonics instructional strategies to build fluent, independent readers. Created all aspects of this multi-part program including storyboards, workbooks, posters, cards, teacher editions, oversized manipulatives and labels. Also, created Spanish Edition.
Explore More!
Created non-fiction leveled readers and associated teacher support for 48 titles on science and social studies topics tied to the standards for grades 4-6. Created series using three design formats that were applied in multiple color palettes across all 48 titles to achieve visual variety, and protect the "program look," while reducing the need for high per-book design budgets.
Summer School Program
Explicit instruction and practice exercises to improve both standardized test scores and classroom performance while, boosting students' confidence through built-in assessment opportunities, reading-writing connections, strategies for ESL/ELL instruction, ample writing practice.
Created writing practice books, reading practice books, and Teacher Editions. This project was done as part of Phoneix Results Process. Wee adapted and leveraged materials from existing client-owned content assets and added new writing process materials and a new design. We created a new teacher's guide to accompany the retooled student materials.
Spotlight on Music
Creation of new edition of this program, spanning grades K through 8. Sole developer for this program delivered in a 10-month schedule from prototyping to final file delivery. 4,500 new pupil pages and 4,900 new teacher edition pages.
Web Projects
The following are academic projects developed during Tim’s studies in Information Architecture at the Illinois Institute of Technology. Project details and artifacts are in the process of being formatted and will be posted soon.
Apparel Product Development
Created the user interface for a mobile project management application on the Apple iPhone and iPad. The project goal is to simplify complex management concepts and allow for waterfall and agile approaches depending up on project needs. Currently developing application using Apple Software Development kit.
Butterfield Tattoo Studio
Created the user interface for a mobile project management application on the Apple iPhone and iPad. The project goal is to simplify complex management concepts and allow for waterfall and agile approaches depending up on project needs. Currently developing application using Apple Software Development kit.
Academic Lab: TALK
Created the user interface for a mobile project management application on the Apple iPhone and iPad. The project goal is to simplify complex management concepts and allow for waterfall and agile approaches depending up on project needs. Currently developing application using Apple Software Development kit.
Fine Arts Building Studios
Created the user interface for a mobile project management application on the Apple iPhone and iPad. The project goal is to simplify complex management concepts and allow for waterfall and agile approaches depending up on project needs. Currently developing application using Apple Software Development kit.
Academic Projects
The following are academic projects developed during Tim’s studies in Information Architecture at the Illinois Institute of Technology. Project details and artifacts are in the process of being formatted and will be posted soon.
Mobile Project Management
Created the user interface for a mobile project management application on the Apple iPhone and iPad. The project goal is to simplify complex management concepts and allow for waterfall and agile approaches depending up on project needs. Currently developing application using Apple Software Development kit.
Rich Content Publishing: A Rich Foundation for the Visual Display of Interactive Information
Currently developing a masters project exploring effective content development and delivery models. The project assesses the current content management landscape and explores the efficiency of content strategies for print, web and mobile media. Content is single-sourced and built in a modular fashion to facilitate efficient delivery to multiple platforms and devices. End products will demonstrate nimble content development and distribution.
Information Seeker’s Use and Interpretation of Social Cues
Conducting a research study, exploring user-generated reviews on Amazon and IMDB to explore how users interpret, value and assimilate the opinions of others. We traced user search behaviors and their assessment of social review constructs such as “helpfulness,” reviewer profiles, statistics, and rating systems.
Instructional Design & Interactive Learning Systems
Utilizing instructional design theory, my team developed program indoctrination materials to provide a baseline of understanding for a technical communications curriculum. We developed interactive instructional materials which simplified web development techniques and assessed mastery of basic XHTML and CSS concepts. Content was then translated into video demonstrations using Adobe Captivate.


Electric motor, front, with two-speed transmission
Petrol engine, rear, with six-speed automatic
transmission and Sport mode Safety and Technology
Adaptive LED Headlights
Cruise control with braking function
Electronic display of drivetrain information,
battery range and temperature
Head-up Display including telephone and
entertainment lists
Park Distance Control (PDC) front and rear Rain sensor with automatic headlight activation
Exterior equipment
Carbon-fibre reinforced plastic (CFRP) roof
Dihedral doors
Exterior mirrors – folding, automatically dimming Sophisto Grey metallic paintwork with contrast accent
Seats
Child seat ISOFIX attachment, two in rear Seat adjustment – front, electric
Seat heating, front
Interior Equipment
Ambient interior lighting
Armrest, front
Automatic air conditioning with auxiliary function and
extended features
Extended storage
Fuel tank, 42 litres
Instrument panel, leather
Interior and exterior mirrors with automatic anti-dazzle function
Interior trim, Amido metallic
Interior world, Neso
Mobility kit
Multi-function controls for steering wheel Power sockets, 12V, two
Sport multi-function leather steering wheel with gearshift paddles, Black with Satin Silver accent Tailgate release button
Velour floor mats, Anthracite
Welcome lights, LED
Windows, heat-insulated, green tinted all round Windscreen washer jets, heated
Contact
form
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Orginally from Pasadena, CA, I am a recent graduate from Tufts University, from where I received my B.S. in Engineering Psychology/Human Factors in 2017. Peoples' interactions with technology in their everyday and professional lives fascinate me, and I enjoy thinking about the UI/UX design aspects that go into creating those technologies. I am interested in taking problems people encounter and designing user-centered solutions that provide an answer to those problems. I take pride in having the opportunity to help others, and have found that the field of UI/UX design gives me an opportunity to do just that.
I am focused on obtaining an entry-level or internship position as a UI/UX designer at an organization where I can continue to design user experiences that not only look visually appealing, but also serve a practical purpose for the end user.
Contact Info:
<EMAIL_ADDRESS>857-258-2230
Tufts University, Medford, MA
Bachelor of Science in Engineering Psychology/Human Factors, May 2017
IncluDe Innovation, Boston, MA
User Experience Designer, June 2016 - Present
Tufts Technology Services, Medford, MA
Customer Service Representative, July 2015 - Present
Software: Illustrator, Sketch, Photoshop, UXPin, InVision, MS Office, AutoCAD, Inventor, Revit, 3ds Max Design
Programming/Markup Languages: Knowledge of HTML, CSS, Javascript, C++
Languages: Fluent in Spanish, knowledge of Portuguese


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Buy and sell used items
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Welcome to Quotes world, a unique world here for you to explore. Quotes Blog has added such value to my life, and I love having the opportunity to share my passions and thoughts with my loyal readers. Read on, and enjoy..
A website for best motivating quotes...
Hear It From Me and get to know about me For months, I have served as a useful source to those seeking inspiration, help, or advice. I finally decided to own that role and be intentional about it. I started writing about my passions, my thoughts, and curious wonderings about our world. I founded Quotes Blog with a mission to give others a taste of what goes on in my mind, and I have been at it ever since. Take some time to explore the blog, read something interesting, and feel free to reach out if you would like to collaborate on a project together.please support me. .
WEB DEVELOPER,PRAGRAMMER,GRAPHICS DESIGNER
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No matter what you're going through, there's a light at the end of the tunnel.
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"It is our attitude at the beginning of a difficult task which, more than anything else, will affect its successful outcome."
Learn MoreJust don't give up trying to do what you really want to do. Where there is love and inspiration, I don't think you can go wrong."
Learn MoreYou don't always need a plan. Sometimes you just need to breathe, trust, let go, and see what happens.
Learn MoreSome people look for a beautiful place. Others make a place beautiful.but ensure that you are the one who make.
Learn MoreInspiration comes from within yourself. One has to be positive. When you're positive, good things happen.

KANPUR,UTTAR PRADESH,INDIA


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| Draggable |
Makes a DOM Element draggable. NOTE: This is a stand-alone implementation. The jbeeb.utils.Draggable class is used for jbeeb objects. Whereas this class can be used on any DOM element (outside of jbeeb). |
| delimiter |
Platform environment PATH delimiter. Example of how PATH appears on Windows: 'C:\Windows\system32;C:\Windows;C:\Program Files\node\' Example of how PATH appears on POSIX systems (Mac Unix): '/usr/bin:/bin:/usr/sbin:/sbin:/usr/local/bin' Read the PATH with Node: console.log(process.env.PATH) Windows = ; POSIX = : |
| du |
access to the underlaying directory utility class for access to additional methods that are not so common. |
| fu |
access to the underlaying file utility class for access to additional methods that are not so common. |
| path |
access to the underlaying path utility class for access to additional methods that are not so common. |
| sep |
The kind of seperator used in paths. Windows = \ or POSIX = / |
Adds a trailing slash from path (if doesn't exist).
| path |
path |
alias for addSlash
alias for name
npath.basename("/foo/bar/bob.txt") --> "bob.txt" npath.basename("/foo/bar/bob.txt", ".txt") --> "bob"
| path |
The full path |
| ext |
Lops off the extension if it matches. |
The last portion of a path, generally the "filename".
Normalizes slashes by converting double \ to single \ and / to \ or \ tp / based on the current platform requirements.
| arg |
arg |
Copies a file or folder from one location to another.
Alias for fu.copy
| src |
The source file path. |
| dest |
The destination to copy the source to. |
| binary |
Is this a binary file? (We assume it's a text file.) |
alias for copy
Copies the entire folder's heirarchy folder from one location to another. If the other location doesn't exists, it will be constructed.
Alias for du.copydir
| from |
The source folder |
| to |
The destination folder (get's created if not exist) |
Returns current working directory.
| tack |
Appends or (resolves)[resolve] additional context to the current working directory as needed. var example = myfs.cwd("../"); // will back up one folder var example = myfs.cwd("foo/bar"); // will tack onto the end /system/path/to/foo/bar |
The resolved path.
alias for dirname
Duplicates a file "in place" by appending a "copy N" to the base file name.
Example:
myfs.copy("somewhere/foo.txt"); ... will make "somewhere/foo copy.txt" ... will auto increment multiple copies: "somewhere/foo copy.txt" "somewhere/foo copy 1.txt" "somewhere/foo copy 2.txt" "somewhere/foo copy 3.txt"
| src |
The source file path. |
The file path to the newly duplicated file.
Duplicates a file "in place" by appending a "copy N" to the base file name.
__Alias__ for [fu.dupe](myfs.fu.dupe)
| src |
The source file path. |
The file path to the newly duplicated file.
Recursively empties a folder of all it's contents (and all the sub-folder's contents), but leaves the source folder.
Alias for du.empty
| who |
The source folder |
| dryRun |
Prevents actual deletion, but still allows the return list to display what "will" be deleted. |
An array containing a list of paths to files and folders that we're deleted (or will be deleted when dryrun is true)
alias for exists (plural)
Returns the bare, base extension (no dot).
| Vpath |
The path to parse. |
The extension
alias for basename
The opposite of path.parse().
Combines the elements of an object into a string.
Example:
{ root : "/", dir : "/home/user/dir", base : "file.txt", ext : ".txt", name : "file" } ... is converted to /home/user/dir/file.txt
| obj |
The object containing some of the required keys to formulate a path. |
The string representaiton of the object.
Determines if path is an absolute path.
| Vpath |
The path to parse. |
Checks the extension against a list of known binary files.
NOTE: This is not a fail-safe evaluation -- only a fast check.
| src |
The source file path. |
| manual |
Used interally to see if the user actually set a value. |
alias for isFolder
Validates if a file exists AND that it's not a folder. If the src is a folder, this method will yeil false.
| src |
The source file path. |
FYI: dirUtils.exists only validates true on folder, if src is file and exists, will STILL return false. In other words, du.exists doesn't conduct a global "exists" (Note that fileUtils.exists does).
Joins path segments and resolves relativity.
path.join('/foo', 'bar', 'baz/asdf', 'quux', '..') Returns: '/foo/bar/baz/asdf'
| paths... |
All arguments are evaluated as paths for construction |
description description
A file launcher. Opens stuff like websites, files, executables. Cross-platform.
Using opn
| target |
The URI to open. Example: "/path/to/track.mp3" will open the MP3 in the default media player. |
| opts |
Options - See [opn.js[myfs.opn] for details |
Read a folder and returns an object containing a "files" array and a "dirs" array with full system paths.
{ files : [ "/path/to/file1.txt", "/path/to/file2.txt", "/path/to/file3.txt" ], dirs : [ "/path/to/folder1", "/path/to/folder2", "/path/to/folder3" ] }
Alias for du.copydir
| from |
The path to the folder to read. |
| filter |
A custom filter funciton should return boolean for inclusion. The function will be set arguments fo the following signature: filter( isFolder [boolean], file [URI string], stats [instance of Node's statSync] ); // See Node's statSync : https://nodejs.org/api/fs.html#fs_class_fs_stats |
| recursive |
Should we retrieve sub-folders too? |
| store |
Used internally to store recursive findings. |
An object containing a list of "files" and "folders"
(as properties of the returned list), where each is an array.
var contents = readdir("/path/to/folder", null, true); // yeids contents { // files : [ // "/path/to/folder/1.foo", // "/path/to/folder/2.bar", // "/path/to/folder/3.png", // "/path/to/folder/sub1/1.foo", // "/path/to/folder/sub2/2.bar", // "/path/to/folder/sub3/3.png" // ], // dirs : [ // "/path/to/folder/sub1", // "/path/to/folder/sub2", // "/path/to/folder/sub3" // // ] // }
alias for list
Creates a folder at the specified location. The sub-folder heirarchy is constructed as needed.
Alias for du.makedir
| destination |
destination |
Moves (or renames) a file or folder.
Alias for rename
| from |
The source file path. |
| to |
The destination file path. |
npath.name("/foo/bar/bob.txt") --> "bob"
| path |
The full path |
The last portion of a path, generally the "filename" but without the extension.
Resolves ".." and "." portions of a path.
Reduces double slashes to single (e.g. // -> / )
Forces back-slashes to forward slashes (e.g. \ -> / )
Retains trailing slash if exists.
npath.normalize("/foo/////bar") --> "/foo/bar" npath.normalize("/foo/bar/../boob") --> "/foo/boob" npath.normalize("./foo/") --> "/current/working/dir/foo/"
| Vpath |
The path to parse. |
alias for read
Returns the path to the parent folder that the item resides within.
npath.parent("/foo/bar/bob.txt") --> "/foo/bar" npath.parent("/foo/sally/yoyo/boob") --> "/foo/sally/yoyo"
| Vpath |
The path to parse. |
The path to the file/folder.
Extracts basic path and file parts.
| Vpath |
The path to parse. |
An object containing the following properties:
path.parse('/home/user/dir/file.txt') // Yeilds: { // (traditional node proerties) root : "/", dir : "/home/user/dir", base : "file.txt", ext : ".txt", name : "file" // additional "for my brain" labels: ext2 : "txt" // no dot extension : "txt" // alias to above basename : "file" filename : "file.txt" parent : "/home/user/dir" path : "/home/user/dir/file.txt" // the original source path string src : "/home/user/dir/file.txt" // same as above }
Reads the data out of a file.
Alias for fu.read
| src |
The source file path. |
| binary |
Is this a binary file? (We assume it's a text file.) |
Alias for du.readExt
Collects files from a folder based on the specified extension (or
extensions). Can be used to search recursively through all sub-folders, and can
search multiple extensions.
NOTE: Extension filtering is case-insensative, so files with both upper and lower-case extensions will be captured.
Provided as shortcut for readdir with your own extension-checking filter.
| from |
The path to search |
| exts |
The extension to look for (e.g. "jpg"). To search for multiple extensions, use an array e.g. ["jpg", "png", "gif"]. |
| recursive |
Find all matching files in all sub-folders. |
| filter |
A function to filter items on. The signature for this function's arguments is: |
The resulting array contains only files that mathc the
specified extension(s).
Collects files from a folder based on the specified extension (or
extensions). Can be used to search recursively through all sub-folders, and can
search multiple extensions.
NOTE: Extension filtering is case-insensative, so files with both upper and lower-case extensions will be captured.
Provided as shortcut for readdir with your own extension-checking filter.
| from |
The path to search |
| exts |
The extension to look for (e.g. "jpg"). To search for multiple extensions, use an array e.g. ["jpg", "png", "gif"]. |
| recursive |
Find all matching files in all sub-folders. |
| filter |
A function to filter items on. The signature for this function's arguments is: |
The resulting array contains only files that mathc the
specified extension(s).
Creates a relative path between
fromadn
to.
path.relative('/data/orandea/test/aaa', '/data/orandea/impl/bbb') // Returns: '../../impl/bbb'
| from |
When null, the cwd is used for this value. |
| to |
When null, the cwd is used for this value. |
The relative path between
fromand
to
Deletes a file from the system.
__Alias__ for [fu.remove](myfs.fu.remove)
| src |
The source file path. |
Removes a trailing slash from path (if exists).
| path |
path |
alias for removeSlash
Moves (or renames) a file or folder.
Alias for rename
| from |
The source file path. |
| to |
The destination file path. |
Generates an absolute path based on the provided arguments.
Path construction occurs from right < to < left
resolve("/a", "b", "c"); // yields: "/a/b/c"
If an absolute path is resolved during construction, the items to the left are ignored.
resolve("a", "/b", "c"); // yields: "/b/c" ("a" is ignored)
If an absolute path is not resolved after constructing all arguments, the CWD is inserted.
resolve("a", "b", "c"); // yields: "/current/working/dir/a/b/c"
Relative paths are automatically resolved:
resolve("/a", "../b", "c"); // yields "/a/c"
| path... |
All arguments are evaluated as paths for construction. |
__Alias__ for [remove](#remove)
| src |
The source file path. |
Recursively removes a folder and all of it's sub-folders as well.
Alias for du.copydir
| who |
The path to the folder |
| dryRun |
Prevents actual deletion, but still allows the return to return the list of items that "will" be deleted. |
An array of all the items that were deleted (or "will be" deleted if dryrun is true.
alias for write
Changes a path's extension. Can apply to a basic filename or a full path.
| path |
The original path. |
| newExt |
The new extenion to use. |
The new path.
Creates or updates the timestamp on a specific file or folder.
To specify that you want to touch a directory, include a trailing slash on the path, or set the isFolder argument to true, otherwise we assume your toughing a file.
| path |
The file or folder path. |
| isFolder |
Whether your trying to touch a folder. A trailing slash on the path is assume isFolder=true |
| date |
To specify a specific date, use a Date object, otherwise time "now" is used. |
Saves text or binary data to a file. Overwrites entire file with provided data.
Alias for fu.write
| src |
The source file path. |
| data |
The text data to save. |
| binary |
Is this a binary file? (We assume it's a text file.) Honors the string "binary" or just use a boolean. If you use a string, only "binary" is recognized, anything other than "binary" will default down to "UTF-8". |


LiftSocial
Social Network Application Template
Welcome to LiftSocial
LiftSocial enables you to customize your social networking sites easily. You can simply download a social network template, upload your own graphics, add htmls or texts, change the logo and arrange web pages.
LiftSocial is developed in Scala/Lift technology and even allows you to add 3rd party widgets, Google Adsense and other banner ads, Google Analytics, Flash, and videos. You can also customize the look and feel, change colors, font size, background, and other CSS elements.
With our social network solution, you can start your own version of Facebook and MySpace clone easily. The social networking template includes all CSS design elements for creating your own social networking site. Our implementation of comet technology inspires action and creates rich user experience.


WITNESS LIST
Appropriations - S/C on Articles VI, VII, & VIII Committee
February 16, 2011 - 7:00 AM
House Budget Recommendations
Against:
Reed, Cyrus (Sierra Club, Lone Star Chapter)
Willman, James (Texas Nurses Association)
On:
Alonzo, Janie (Tx St Bd of Podiatric Medical Examiners)
Ames Jones, Elizabeth (Railroad Commission of Texas)
Beck, Deeia (Office of Public Insurance Counsel)
Bordelon, Rod (Division of Workers Compensation; Dept. of Insurance)
Branaman, Tim (Texas State Board of Examiners of Psychologists)
Ditucci, Frank (Texas Board of Professional Land Surveying)
Dodson, Gay (Texas State Board of Pharmacy)
Fenner, Mark (Texas Racing Commission)
Geeslin, Mike (Department of Insurance)
Harris-Curtsinger, Shelley (Texas Racing Commission)
Kloeris, Chris (Texas Optometry Board)
Kuntz, William (Texas Department of Licensing & Regulation)
Lee, Sherry (Texas State Board of Examiners of Psychologists)
Makan, Hemant (Texas State Board of Podiatric Medical Examiners)
Maline, John (Executive Council of PT/OT Examiners)
Matson, Arthur (Executive Council of PT/OT Examiners)
Maxwell, Robert (Board of Plumbing Examiners)
Oldmixon, Douglas (TREC & TALCB)
Robinson, Mari (Texas Medical Board)
Thomas, Katherine (Texas Board of Nursing)
Tintera, John (RRC)
Trout, Chuck (Texas Racing Commission)
Van Hoy, William (Texas Propane Gas Association)
Waggener, Jeanne (TX State Board of Pharmacy)
1


About Me
"Creative health nut turned curious developer
eager to inspire and change the world
one line of code at a time."
Who am I?
I'm a down to earth, fun loving, hardworking type of guy -- who's bright, energetic, and almost always the happiest guy in the room. Forever curious at heart, I solve problems by constantly exploring new persepctives of the bigger picture. I pride myself on having high emotional intelligence and using that to help others. All in all, I enjoy wearing many hats and will never stop chasing my best self.
Inspiration
Losing over 120 pounds and keeping it off. What an incredible difference it's made in my life! I hope some of my work will help enable others acheive the same results and happiness. My desire to help people lose weight has turned into a passion for helping others in any way I'm able.
Why coding?
I graduated from the University of Iowa in 2014 with a degree in Health & Human Physiology. Up until this point, I had been mainly interested in the nutrition and sciences, particularly for my own well-being. I developed a strong passion for helping others achieve the same happiness I had found by taking control of my health. Unsure of how to utilize my degree and achieve positive change in the world, my post college plan was to work my way up in my fields of interest. I spent two summers as an outdoor adventure camp counselor accompanying kids on overnight trips around the Midwest. I spent time in numerous restaurant settings while taking personal training classes. Nothing stuck. Disillusioned, I knew I needed a change. That's when I found The Creative Circus in Atlanta, GA.
My summer in Atlanta was an unforgettable experience. This creative advertising school exposed me to the field of Interactive Development, all the while teaching me not to be afraid of putting my ideas out there. I learned to become very comfortable being uncomfortable - an essential in the field of programming. The lessons I learned there were what drove me to Dev Bootcamp less than a year later.