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Visual Pinball contains a device called the 'Light Sequencer' (or LS
for short). What this basically does is take a Visual Pinball collection
of lights and runs a effect though the lights (in the collection) that you
would see on a commercial pinball game. The effects the Light Sequencer
has are full table effects, i.e.. It doesn't allow you to cycle though
lights but it does do the more complex effects which make a pinball look
good without coding hundreds if not thousands of script lines.
The Light Sequencer when running takes control of the lights you
specify for it to use. It does this by overlaying the effect over the
lights without affecting the true state of the light. As many scripts use
lights for game conditionals (i.e.. If light = on then award bonus and
turn light off) the Light Sequencer ensures that your script does not need
to worry about whether or not the Sequencer is currently running. It is
totally transparent to your table. Changing the value of a light while a
sequence is running will not actually turn a light on or off (or even to
blinking), but it will remember what the current state is so when the
sequence is finished, the lights will be restored to the last set
state.
Multiple Light Sequencer's can be placed on the table allowing for
different sections of the table to have its own effects if needed (such as
split playfield's) or effects which have use a different centre point
(more of this in a bit). Each Light Sequencer can have it's own collection
so you can use different Sequencer's to control different parts of the
table. A light can also exist in multiple collections so there is no
limitations about which lights can be where.
Adding a Light Sequencer to your table.
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On the left hand tool palette, you will find a
icon which looks like this. Click on it and place the element onto
the table as you would do with any of the other types of table
objects.
When you place it onto the table, it will generate
2 icons which look like this. |
The Main element of a Light Sequencer |
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The Centre point of the Light
Sequencer |
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If you click onto the main table element for the Light Sequencer.
It will bring up the options. The light Sequencer is primary script
driven so there isn't too many options to worry about in the
editor
Name :
POSITION
Table X and Y Centre:
STATE
Collection :
Update Interval :
MISC
Timer Interval :
User Value : |
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Setting Up a Collection for a Light Sequencer to use
As mentioned above the Light Sequencer uses a collection
to store the details about which lights (and bumpers) to use. If you
havn't not used 'Collections' before, don't worry. The Light Sequencer
only uses it as a list of lights and you don't need to know how to use
them at a script level.
Open up the collection manager and click on new.. Type
in the name for which to want to call the collection.
Click on 'Edit' which will bring up the following screen. In this
screen select all the Lights and Bumpers that you want Light Sequencer to
control when it performs an effect.
You don't need to select either 'Fire Events' or 'Suppress
Events' and I recommend that you don't as if you are using Bumpers in a
collection then you could accidentally turn off the hit event for
them.
Things to be Careful of!
The Light Sequencer will work with any Light/Bumper
placed onto the table (or the backglass) and will handle any width of
table but it will NOT process lights which are placed off the table (in
the table view in the editor).
The LS works by subdividing the table
into 20x20 unit cells (on a default table of 1000 x 2000 units this
gives 5000 cells). Only 1 light is handled per cell so if a single
cell contains 2 lights then only one of them will be processed. In
order to test the positioning of the lights on your table you can
set the editor grid to 20 units.
I checked a lot of tables and couldn't
find any tables which had lights that close to each other. If you do
have lights very close to each other you can always use 2 Light
Sequencer's with each light in a different collection. |
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Visual Pinball now has some editor tweaking options
which you can set. One of the these options is the ability to place
a small cross hair or cross in the centre of Lights and Bumpers. The
cross hair is only shown for circular lights as custom definable
lights already have a cross hair(or cross) which acts as the centre
of the light (where the light comes from). |
By turning on the Light Centre and the layout grid (set to 20) you can
check each light and ensure that there is no more than one 'cross hair' in
each cell of the grid.. For example..
A standard Circular Light and Bumper. You can see exactly which
grid cell it is in. |
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The custom shaped lights from my BK2K table (Knights
Helmet). As you can see each cross hair has its own grid cell and
doesn't share with another light. |
The Light Sequencer Centre Reference Point
The LS Centre Point
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The Light Sequencer has a centre reference point which
is marked by the smaller LS icon with the cross hair in it.
By centre reference I mean the point on the table
which the LS uses as the centre point to base all effects on. For
example the circle out effect will start at this point and circle
out.
Each LS can have it's own centre point to allow for
different parts of the playfield to be highlighted during an effect.
For example. BK2K will have some effects which use the very centre
of the table as a starting point whilst other effects use the
knights helmet as the start point. |
The Effects and How they Work
The Light Sequencer basically only follows fixed pattern
effects which it has been programmed with (over 50 different effects) but
each one can be tweaked slightly by specifying how fast it runs, any
pauses between effects and repeating the effect.
These effects are processed as 'Head' effects. The
'Head' effect is the main effect.. For example if you are turning all the
lights on from the bottom of the playfield and moving upwards. The point
at which the light turns on is where the 'head' of the effect is. The head
will change from frame to frame as it moves up the playfield.
Each 'Head' effect can have a 'Tail' effect which
follows the 'Head' effect and inverts the state to which the 'Head' sets a
light.. For example. If as above you are turning on lights moving up, then
the 'Tail' will turn them off. If the 'Head' turns them off, the 'Tail'
will turn them on.
The Distance at which the 'Tail' follows the 'Head' is
completely upto you or you may decide not to have a tail. The 'Tail' will
always run at the same speed as the 'Head' and the effect and not
classified as finished until both the 'Head'' & ''Tail' have both
finished.
How Do I use the Light Sequencer In My Table Script?
The actual Light Sequencer is very simple to use once
the collection has been set up. It only has 2 script methods '.Play'
and'.StopPlay', a Property ('.UpdateInterval') and one Event ('.PlayDone')
to let you know when the Sequencer has finished.
Method: .Play Effect, TailLength, Repeat, Pause
When you issue a play command. It basically puts it into a Queue.
Thus you can load up the Sequencer with a heap of effects and it will
process all of them. When the queue is empty it will let you know (by
the '.PlayDone' Event) so you can either 'refill' the Sequencer or
perform any other action your table requires. The size of the queue is
100 effects.
[Tounge Twisting Mode On] When you issue a Play command to the
Light Sequencer, it puts each light in it's collection into a special
state where it will remember its current lit state (either on, off or
blinking) but won't actually change state if you actively change it in
the script (hope that makes sense ;-). At this point only the Light
Sequencer can physically change the state of the light but any changes
made by you to the light in the script are remembered, just not carried
out. When the Light Sequencer has finished all the effects that is has
in it's queue (or you tell it to stop with the .StopPlay method) then it
will give control of the lights back to you and restore them to their
current real state as set by you in the script). Even while an effect is
running you can (in the script) get the real value of the light and not
what the Light Sequencer has set it too. This effectively means that you
don't have to worry about what the Sequencer is doing to your lights if
you use (like many people including myself) light states to control the
control logic of your code. [/Tongue Twisting Mode Off]
The Play command has 4 parameter's. Only the first one is required
(mandatory). The others don't have to be specified and/or can be skipped
if required. If you don't specify them then they will use their default
value. The parameters are as follows
Effect: (Required)
All Effects that the Light Sequencer has programmed into it are
outlined below and they all begin with 'Seq'.
TailLength: (Default Value = 0)
As mentioned above each effect has a tail which basically follows
behind inverting the effect. The value is specified in number of
frames though by a quirk of fate ;-) it can be specified as a
percentage of table. For example. A table has a height of 2000 units..
This effectively gives it a height of 100 cells once the Light
Sequencer has subdivided it up. For each frame, the Light Sequencer
moves to the next frame. As a value of 100 is really the full length
of the table then we can say that the tail length is a percentage of
the table. So setting it to 50 will cause the tail to start once the
head has traversed 50 percent of the table. A value of 200 is 2
lengths of the table.. For effects which are based around the width of
the table the Light Sequencer will adjust the TailLength so 50 is 50%
of the Width (and not 50% of the height).. Confused!.. (So am I
;-).. Play with it..
Repeat: (Default Value = 1)
This specifies how many times to process this effect. This allows
you to run the same effect several times without having to specify
multiple play commands.
Pause: (Default Value = 0)
Specifies the time to pause (in milliseconds) before moving onto
the next effect in the queue (if there is one) or repeating the
current effect again if it has to be repeated.
Examples: (These examples assume you have a Light Sequencer on your
table called 'LightSeqAttract').
Method: .StopPlay()
This command will flush the Queue and restore the lights to their
correct state as set by you in the table script. It is processed
immediately and the .PlayDone() event is not given to the script.
Property: .UpdateInterval
The .UpdateInterval is the speed at which the Light Sequencer will
process the light effect. The smaller the value the faster the effect
will run. When the .UpdateInterval has expired then the Light Sequencer
will move to the next frame of the current effect it is processing.
Values are specified in Milliseconds and valid values are positive
numbers as low as 1 millisecond allowing some very fast effects.
If you don't change the .UpdateInterval in the script, the Light
Sequencer will processes all effects at the same speed using the 'Update
Interval' property you set for the Light Sequencer in the Editor.
The .UpdateInterval property will not actively change the speed of
the current effect running. It is there so specify the speed of the next
effect queued by the .play command. This each effect in the queue can
run at different speeds, allowing you to mix fast effects with slow
effects.
Examples:
Event: _PlayDone()
When the light Sequencer has finished all the effects in the queue it
will restore all the lights in the collection back to correct state (as
per .StopPlay) and will let the script know by signalling an event for
the Light Sequencer that has finished.
Example:
What Effects are There? (this bit is LONG!)
This section details the actual effects the Light
Sequencer is capable of generating along with little graphic layouts on
how the lights change on the table. It also details any special uses for
the effect parameters and if they are used or not.
Example Layout
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On the Left you see an little graphical representation
on how the lights change on the playfield. The Darker lights are the
'head' whilst the lighter lights (grey) represent the 'Tail'. The
arrows show the direction the head moves (in this case it is towards
the centre reference point).
The light grey lines represent the centre reference
point which doesn't actually have to be in the centre of the table.
Not all effects use the reference point and some only use 1 axis of
it.
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Bring on the effects...
| Effect: ''SeqAllOn'' & ''SeqAllOff' |
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This effect will either turn On (or Off) all the lights in the
collection. This effect once processed will NOT restore the states
of the lights. It is treated as an open ended effect which never
expires. You will need to Manually call the .StopPlay method to
restore the lights to their real state.
This is very useful for Tilt mechanisms where you can turn off
all the lights if the table is tilted and only restore them when you
are ready to start a new ball. Please remember that you can still
set the lights on your table in your script but they won't take
effect until you stop the Light Sequencer (by .StopPlay)
TailLength: Not Used
Repeat: Not Used
Pause: Not Used
Example: .Play SeqAllOn |
| Effect: ''SeqBlinking' |
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N/A |
This effect will blink (turn on, pause, turn off, pause) each
light in the collection.
TailLength: Not Used
Repeat: The number of times to turn the Lights On and then
Off.
Pause: The time (in milliseconds) to pause between changing the
state of a light.
Example: .Play |
| Effect: ''SeqRandom' |
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This effect randomly turns On and Off lights in the
collection.
TailLength: The number of Lights to change per frame. For example
if you have 100 lights in your collection and you set this to 40.
Then 40 lights will change state per frame.
Repeat: Not Used
Pause: The total time to run the effect for.
Example: .Play SeqRandom,40,,4000 |
| Effect: ''SeqUpOn'' & ''SeqUpOff' |
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This effect turns On (or Off) all the lights in the collection
starting at the bottom of the playfield and moving upwards.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqUpOn, 50, 2 |
| Effect: ''SeqDownOn'' & ''SeqDownOff' |
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This effect turns On (or Off) all the lights in the collection
starting at the top of the playfield and moving downwards.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqDownOn, 50, 2 |
| Effect: 'SeqRightOn'' & ''SeqRightOff' |
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This effect turns On (or Off) all the lights in the collection
starting on the left edge of the playfield and moving towards the
right edge.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqRightOn, 50, 2 |
| Effect: 'SeqLeftOn'' & ''SeqLeftOff' |
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This effect turns On (or Off) all the lights in the collection
starting on the right edge of the playfield and moving towards the
left edge.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqLeftOn, 50, 2 |
| Effect: 'SeqDiagUpRightOn'' &
''SeqDiagUpRightOff' |
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This effect turns On (or Off) all the lights in the collection
starting in the lower left corner of the playfield and moving
upwards diagonally towards the top right corner.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqDiagUpRightOn, 25 |
| Effect: 'SeqDiagUpLeftOn'' &
''SeqDiagUpLeftOff' |
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This effect turns On (or Off) all the lights in the collection
starting in the lower right corner of the playfield and moving
upwards diagonally towards the top left corner.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqDiagUpLeftOn, 25 |
| Effect: 'SeqDiagDownRightOn' &
'SeqDiagDownRightOff' |
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This effect turns On (or Off) all the lights in the collection
starting in the top left corner of the playfield and moving
downwards diagonally towards the bottom right corner.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqDiagDownRightOn, 25 |
| Effect: 'SeqDiagDownLeftOn' &
'SeqDiagDownLeftOff' |
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This effect turns On (or Off) all the lights in the collection
starting in the top right corner of the playfield and moving
downwards diagonally towards the bottom left corner.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqDiagDownLeftOn, 25 |
| Effect: 'SeqMiddleOutHorizOn' &
'SeqMiddleOutHorizOff' |
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This effect turns On (or Off) all the lights in the collection
starting in the horizontal centre reference point and moving out
towards the side edges of the playfield.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqMiddleOutHorizOn, 50 |
| Effect: 'SeqMiddleInHorizOn' &
'SeqMiddleInHorizOff' |
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This effect turns On (or Off) all the lights in the collection
starting on the side edges and moving inwards to the horizontal
centre reference point of the playfield.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqMiddleInHorizOn, 50 |
| Effect: 'SeqMiddleOutVertOn' &
'SeqMiddleOutVertOff' |
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This effect turns On (or Off) all the lights in the collection
starting in the vertical centre reference point and moving out
towards the top and bottom edges of the playfield.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqMiddleOutVertOn, 50 |
| Effect: 'SeqMiddleInVertOn' &
'SeqMiddleInVertOff' |
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This effect turns On (or Off) all the lights in the collection
starting ot the top and bottom edges and moving inwards to the
vertical centre reference point of the playfield.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqMiddleInVertOn, 50 |
| Effect: 'SeqStripe1HorizOn' &
'SeqStripe1HorizOff' |
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This effect turns On (or Off) all the lights in the collection
starting on the side edge and moving towards the right edge of the
playfield for the top half of the playfield and towards the left
edge for the bottom half of the playfield. The vertical centre
reference point is used for the centre of the table.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqStripe1HorizOn, 25 |
| Effect: 'SeqStripe2HorizOn' &
'SeqStripe2HorizOff' |
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This effect turns On (or Off) all the lights in the collection
starting on the side edge and moving towards the left edge of the
playfield for the top half of the playfield and towards the right
edge for the bottom half of the playfield. The vertical centre
reference point is used for the centre of the table.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqStripe2HorizOn, 25 |
| Effect: 'SeqStripe1VertOn' &
'SeqStripe1VertOff' |
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This effect turns On (or Off) all the lights in the collection
starting on the bottom edge and moving towards the top edge of the
playfield for the left half of the playfield and towards the bottom
edge for the right half of the playfield. The horizontal centre
reference point is used for the centre of the table.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqStripe1VertOn, 25 |
| Effect: 'SeqStripe2VertOn' &
'SeqStripe2VertOff' |
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This effect turns On (or Off) all the lights in the collection
starting on the top edge and moving towards the bottom edge of the
playfield for the left half of the playfield and towards the top
edge for the right half of the playfield. The horizontal centre
reference point is used for the centre of the table.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqStripe2VertOn, 25 |
| Effect: 'SeqHatch1HorizOn' &
'SeqHatch1HorizOff' |
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This effect turns On (or Off) all the lights in the collection
starting with all the even cell positions and moving from the left
edge towards the right edge of the playfield and the odd cell
positions moving from the right to the left edge of the
playfield.
The overall effect will greatly depend on how lights are placed
on the playfield but should look good no mater what.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqHatch1HorizOn, 25 |
| Effect: 'SeqHatch2HorizOn' &
'SeqHatch2HorizOff' |
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This effect turns On (or Off) all the lights in the collection
starting with all the even cell positions and moving from the right
edge towards the left edge of the playfield and the odd cell
positions moving from the left to the right edge of the
playfield.
The overall effect will greatly depend on how lights are placed
on the playfield but should look good no mater what.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqHatch2HorizOn, 25 |
| Effect: 'SeqHatch1VertOn' &
'SeqHatch1VertOff' |
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This effect turns On (or Off) all the lights in the collection
starting with all the odd cell positions and moving from the top
edge towards the bottom edge of the playfield and the odd cell
positions moving from the bottom to the top edge of the
playfield.
The overall effect will greatly depend on how lights are placed
on the playfield but should look good no mater what.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqHatch1VertOn, 75 |
| Effect: 'SeqHatch2VertOn' &
'SeqHatch2VertOff' |
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This effect turns On (or Off) all the lights in the collection
starting with all the even cell positions and moving from the top
edge towards the bottom edge of the playfield and the even cell
positions moving from the bottom to the top edge of the
playfield.
The overall effect will greatly depend on how lights are placed
on the playfield but should look good no mater what.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqHatch2VertOn, 75 |
| Effect: 'SeqCircleOutOn' & 'SeqCircleOutOff' |
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This effect turns On (or Off) all the lights in the collection
starting at the centre reference point of the Sequencer and moving
outwards towards the edges.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqCircleOutOn,50
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| Effect: 'SeqCircleInOn' & 'SeqCircleInOff' |
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This effect turns On (or Off) all the lights in the collection
starting at edges of the table and moving inwards towards the centre
reference point of the Sequencer.
TailLength: Normal Use
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqCircleInOn,50 |
| Effect: 'SeqClockRightOn' &
'SeqClockRightOff' |
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This effect turns On (or Off) all the lights in the collection
starting from centre reference point and rotating clockwise (much
like a clock hand) until it reaches the start point (angle 0)
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqClockRightOn,180 |
| Effect: 'SeqClockLeftOn' & 'SeqClockLeftOff' |
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This effect turns On (or Off) all the lights in the collection
starting from centre reference point and rotating anti-clockwise
(much like a clock hand in reverse) until it reaches the start point
(angle 0)
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqClockLeftOn, 180 |
| Effect: 'SeqRadarRightOn' &
'SeqRadarRightOff' |
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This effect turns On (or Off) all the lights in the collection
starting from bottom edge horizontal centre reference point and
sweeping clockwise (much like a radar scope) until it reaches the
other side of the playfield. The entire playfield is covered by the
sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqRadarRightOn, 45 |
| Effect: 'SeqRadarLeftOn' & 'SeqRadarLeftOff' |
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This effect turns On (or Off) all the lights in the collection
starting from bottom edge horizontal centre reference point and
sweeping anti-clockwise (much like a radar scope) until it reaches
the other side of the playfield. The entire playfield is covered by
the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqRadarLeftOn, 45 |
| Effect: 'SeqWiperRightOn' &
'SeqWiperRightOff' |
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This effect turns On (or Off) all the lights in the collection
starting from top edge horizontal centre reference point and
sweeping anti-clockwise (much like a car wiper (if you have a old
car ) until it reaches the other side of the playfield.
The entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqWiperRightOn, 45 |
| Effect: 'SeqWiperLeftOn' & 'SeqWiperLeftOff' |
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This effect turns On (or Off) all the lights in the collection
starting from top edge horizontal centre reference point and
sweeping clockwise until it reaches the other side of the playfield.
The entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqWiperLeftOn, 45 |
| Effect: 'SeqFanLeftUpOn' & 'SeqFanLeftUpOff' |
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This effect turns On (or Off) all the lights in the collection
starting from left edge vertical centre reference point and sweeping
anti-clockwise until it reaches the other side of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqFanLeftUpOn, 30 |
| Effect: 'SeqFanLeftDownOn' &
'SeqFanLeftDownOff' |
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This effect turns On (or Off) all the lights in the collection
starting from left edge vertical centre reference point and sweeping
clockwise until it reaches the other side of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqFanLeftDownOn, 30 |
| Effect: 'SeqFanRightUpOn' &
'SeqFanRightUpOff' |
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This effect turns On (or Off) all the lights in the collection
starting from right edge vertical centre reference point and
sweeping anti-clockwise until it reaches the other side of the
playfield. The entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqFanRightUpOn, 30 |
| Effect: 'SeqFanRightDownOn' &
'SeqFanRightDownOff' |
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This effect turns On (or Off) all the lights in the collection
starting from right edge vertical centre reference point and
sweeping clockwise until it reaches the other side of the playfield.
The entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqFanRightDownOn, 30 |
| Effect: 'SeqArcBottomLeftUpOn' &
'SeqArcBottomLeftUpOff' |
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This effect turns On (or Off) all the lights in the collection
starting from lower left corner of the playfield and sweeping
anti-clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcBottomLeftUpOn, 90 |
| Effect: 'SeqArcBottomLeftDownOn' &
'SeqArcBottomLeftDownOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from lower left corner of the playfield and sweeping
clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcBottomLeftDownOn, 90 |
| Effect: 'SeqArcBottomRightUpOn' &
'SeqArcBottomRightUpOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from lower right corner of the playfield and sweeping
clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcBottomRightUpOn, 90 |
| Effect: 'SeqArcBottomRightDownOn' &
'SeqArcBottomRightDownOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from lower right corner of the playfield and sweeping
anti-clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcBottomRightDownOn,
90 |
| Effect: 'SeqArcTopLeftUpOn' &
'SeqArcTopLeftUpOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from top left corner of the playfield and sweeping
anti-clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcTopLeftUpOn, 90 |
| Effect: 'SeqArcTopLeftDownOn' &
'SeqArcTopLeftDownOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from top left corner of the playfield and sweeping
clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcTopLeftDownOn, 90 |
| Effect: 'SeqArcTopRightUpOn' &
'SeqArcTopRightUpOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from top right corner of the playfield and sweeping
clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcTopRightUpOn, 90 |
| Effect: 'SeqArcTopRightDownOn' &
'SeqArcTopRightDownOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from top right corner of the playfield and sweeping
anti-clockwise until it reaches the other edge of the playfield. The
entire playfield is covered by the sweep.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqArcTopRightDownOn, 90 |
| Effect: 'SeqScrewRightOn' &
'SeqScrewRightOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from centre reference point of the playfield and screwing
clockwise.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqScrewRightOn, 25 |
| Effect: 'SeqScrewLeftOn' & 'SeqScrewLeftOff' |
|
|
This effect turns On (or Off) all the lights in the collection
starting from centre reference point of the playfield and screwing
anti-clockwise.
TailLength: This is specified in degrees. Ie. A value of 90 will
follow 90 degrees behind the head effect. 0 (or not specified) means
no 'Tail'
Repeat: Normal Use
Pause: Normal Use
Example: .Play SeqScrewLeftOn, 25 |
Got Any Examples?
You can download this very simple table which implements
all of the effects that the Sequencer can perform in a long series of
animation's which also shows what using the same effect at different
speeds can do. I think it looks very impressive but I'm very biased.
Press '5' to start the show and '0' to stop the
Sequencer and reset the Lights to their real state. You will notice that
some lights are on and flashing when you start the table.. The state of
these lights is also shown in a text box on the backglass. This is updated
very regularly so you can see that the true value of the light doesn't
change even though the Sequencer is making all the lights get up and
boogie! (ooh, aaah!)
The Best way to really understand the Light Sequencer is
to play the the settings and see what happens.
Also having 2 Light Sequencer's running at the same time
with certain effects does look very nice (but this example table doesn't
go into that)
Download
Example Table (78k)
|


NCAA, Olympic qualifying has Victoria in hoops heaven
by Cleve DheensawIt’s all hoops all the time. Just like the old times when basketball ruled in Victoria in the 1980s.
It began with the Toronto Raptors training camp in 2017. The capital sets to resume its rejuvenated basketball hosting role next week with the Victoria Invitational women’s NCAA tournament on Ken and Kathy Shields Court in CARSA gym. That is a prelude to the men’s Olympic qualifying tournament for Tokyo 2020 next June at Save-on-Foods Memorial Centre.
“You can feel the Island basketball community is invigorated,” said two-time Olympian Howard Kelsey.
“It’s the perfect storm.”
The Olympic qualifying draw is next Wednesday in Switzerland, where the five national teams to join Canada at the Memorial Centre in June will be drawn from the seeded pots. Victoria is hosting one of four qualifying tournaments for Tokyo 2020.
Then comes the women’s Victoria Invitational from Nov. 28 to 30.
“Last year [when held in Vancouver], this was the top women’s NCAA tournament outside the Final Four,” said Kelsey, among the organizers.
“It’s safe to say it will be this year, too.”
Among the eight-team field is NCAA third-ranked Stanford,10th-ranked Mississippi State and 17th-ranked Syracuse.
“We’ve had an excellent response. It’s all coming together,” said Kelsey.
“We want to make Victoria a hub for major events across several sports. This is an unprecedented opportunity to further cement Victoria as a first choice destination for all types of elite events.”
Tickets for the women’s NCAA tournament are at vikestickets.universitytickets.com. Ticketing information for the men’s Olympic qualifier will be announced after the draw next week.
The Canada Basketball alumni meeting takes place at UVic next week, as well. It was pre-planned before the major hosting announcements. Kelsey is being inducted into the Canadian Basketball Hall of Fame during the alumni banquet, along with fellow-Olympian Joanne Sargent from Salmon Arm as the Class of 2019.
“That is just plain serendipity,” said Kelsey, who was UVic athletic co-ordinator from 1983 to 1990 under athletic director Ken Shields.
Twitter.com/tc_vicsports


--- layout: page title: About header-img: "img/about-bg.png" ---
Kim is elementary school teacher starting a new adventure in coding.


#include <globalplatform.h>
Public Attributes | |
| BYTE | AIDLength |
| The length of the Executable Load File AID. | |
| BYTE | AID [16] |
| The Executable Load File AID. | |
| BYTE | lifeCycleState |
| The Executable Load File life cycle state. | |
| BYTE | numExecutableModules |
| Number of associated Executable Modules. | |
| OPGP_AID | executableModules [256] |
| Array for the maximum possible associated Executable Modules. |
The structure containing Executable Load Files and their Executable Module returned by get_status().
The Executable Load File AID.
The length of the Executable Load File AID.
Array for the maximum possible associated Executable Modules.
The Executable Load File life cycle state.
Number of associated Executable Modules.


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Name
Objective
Authors
Dependencies
Assets
Persona Usability
Usability
Task Load
Countermeasure Load
Narrative


The tree finder app is one of its kind tree profiling application, it recognizes a tree from the picture taken of its leaves.
So go ahead, and take a picture of a leaf and let the backend algorithm find out which tree the leaf belongs to!
The tree finder app is one of its kind tree profiling application, it recognizes a tree from the picture taken of its leaves.
So go ahead, and take a picture of a leaf and let the backend algorithm find out which tree the leaf belongs to!
Order : xyzabc
Family : xyzabc
Genus : xyzabc
Species : xyzabc
Bionomial name : xyzabc
image : xyzabc


Before Change
z_target_tp1 = (self.z[None, :] - logprob_tp1[:, None]).detach()
// B x num_atoms
// Unsqueeze so its the same for each head
z_target_tp1 = z_target_tp1.unsqueeze(1)
atoms_target_t = rewards_t + (1 - done_t) * gammas * z_target_tp1
value_loss = [
utils.categorical_loss(
After Change
// [bs; num_atoms] -> unsqueeze so its the same for each head
// [bs; 1; num_atoms]
z_target_tp1 = (
self.z[None, :] - logprob_tp1[:, None]
).unsqueeze(1).detach()
// [bs; num_heads; num_atoms] -> many-heads view transform
// [{bs * num_heads}; num_atoms]
atoms_target_t = (


| 005:023 Khan | : |
Two men of those who feared (Allah and) on whom Allah had bestowed His Grace [they were Yusha' (Joshua) and Kalab (Caleb)] said: "Assault them through the gate, for when you are in, victory will be yours, and put your trust in Allah if you are believers indeed." |
| 005:023 Maulana | : |
Two men of those who feared, on whom Allah had bestowed a favour, said: Enter upon them by the gate, for when you enter it you will surely be victorious; and put your trust in Allah, if you are believers. |
| 005:023 Pickthal | : |
Then out spake two of those who feared (their Lord, men) unto whom Allah had been gracious: Enter in upon them by the gate, for if ye enter by it, lo! ye will be victorious. So put your trust (in Allah) if ye are indeed believers. |
| 005:023 Rashad | : |
Two men who were reverent and blessed by GOD said, "Just enter the gate. If you just enter it, you will surely prevail. You must trust in GOD, if you are believers." |
| 005:023 Sarwar | : |
Two God-fearing men on whom God had bestowed favors told them, "Proceed through the gates and when you enter the city you will be victorious. Have trust in God if you are true believers". |
| 005:023 Shakir | : |
Two men of those who feared, upon both of whom Allah had bestowed a favor, said: Enter upon them by the gate, for when you have entered it you shall surely be victorious, and on Allah should you rely if you are believers. |
| 005:023 Sherali | : |
Thereupon two men from among those who feared their Lord, on whom ALLAH has conferred HIS special favour, said 'Enter the gate advancing against them; when once you have entered it, then surely you will be victorious. And put your trust in ALLAH, if you are believers.' |
| 005:023 Yusufali | : |
(But) among (their) Allah-fearing men were two on whom Allah had bestowed His grace: They said: "Assault them at the (proper) Gate: when once ye are in, victory will be yours; But on Allah put your trust if ye have faith." |
Concepts/Themes Covered: الإيمان > الله جلّ جلاله > التوكل عليه جلّ وعلا Faith> Allah, Glory to his Majesty> Trust In Allah العمل > العمل الصالح > التوكل Action(Work)> The Good Deeds>Trust in Allah
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


moze dodac svg jako komponent
2018 space exploration technologies corp.
- flight number: {launch.flight_number}
- rocket type: {launch.rocket.rocket_type}
- fuel amount: {rocket.first_stage.fuel_amount_tons}tons
- thrust vacuum: {rocket.thrust_vacuum.kN}kN
- height: {rocket.height.meters}m
- country of origin: {rocket.country}
- launch-site: {launch.launch_site.site_name_long
- satellite mass: {launch.second_stage.payloads.payload_mass_kg}kg
- satellite orbit: "{launch.second_stage.payloads.payload_mass_kg}"
{launch.launch_site.site_name_long}


Stay connected either on the phone or the Web with the Galaxy S4 I337 from Samsung. With 16 GB of memory and a 4G connection, this phone stores precious photos and video and lets you upload them to a cloud or social network at blinding-fast speed. With a 17-hour operating life from one charge, this phone allows you keep in touch even on the go.
With its built-in photo editor, the Galaxy S4 allows you to edit photos with the touch of a finger, eliminating extraneous background items. Usable with most carriers, this smartphone is the perfect companion for work or entertainment.
- Super AMOLED capacitive touchscreen display with 16M colors
- Available on GSM, AT T, T-Mobile and other carriers
- Compatible with GSM 850 / 900 / 1800; HSDPA 850 / 1900 / 2100 LTE; 700 MHz Class 17 / 1700 / 2100 networks
- MicroUSB and USB connectivity
- Interfaces with Wi-Fi 802.11 a/b/g/n/ac, dual band and Bluetooth
- Wi-Fi hotspot to keep other devices online when a connection is not available
- SMS, MMS, email, Push Mail, IM and RSS messaging
- Front-facing camera features autofocus, an LED flash, dual video call capability and a sharp 4128 x 3096 pixel picture
- Features 16 GB memory and 2 GB RAM
- Upgradeable Jelly Bean v4.2.2 to Jelly Bean v4.3 Android OS
- 17 hours of talk time, 350 hours standby time on one charge
- Available in white or black
- Model I337
- Package includes phone, charger, battery and user manual
- Phone is 5.38 inches high x 2.75 inches wide x 0.13 inches deep and weighs a mere 4.59 oz


|
App Engine Python SDK
v1.6.9 rev.445
The Python runtime is available as an experimental Preview feature.
|
Public Member Functions | |
| def | __init__ |
| def | __str__ |
| def | append |
| def | flush |
| def | clear |
| def | should_flush |
Public Attributes | |
| items | |
Static Public Attributes | |
| int | DEFAULT_RETRIES = 3 |
A buffer that holds arbitrary items and auto flushes them when full. Callers of this class provides the logic on how to flush. This class takes care of the common logic of when to flush and when to retry. Properties: items: list of objects. length: length of item list. size: aggregate item size in bytes.
| def google.appengine.ext.mapreduce.context._ItemList.__init__ | ( | self, | |
| max_entity_count, | |||
| flush_function, | |||
timeout_retries = DEFAULT_RETRIES , |
|||
repr_function = None |
|||
| ) |
Constructor. Args: max_entity_count: maximum number of entities before flushing it to db. flush_function: a function that can flush the items. The function is called with a list of items as the first argument, a dict of options as second argument. Currently options can contain {"deadline": int}. see self.flush on how the function is called. timeout_retries: how many times to retry upon timeouts. repr_function: a function that turns an item into meaningful representation. For debugging large items.
| def google.appengine.ext.mapreduce.context._ItemList.append | ( | self, | |
| item | |||
| ) |
Add new item to the list. If needed, append will first flush existing items and clear existing items. Args: item: an item to add to the list.
| def google.appengine.ext.mapreduce.context._ItemList.clear | ( | self | ) |
Clear item list.
| def google.appengine.ext.mapreduce.context._ItemList.flush | ( | self | ) |
Force a flush.
| def google.appengine.ext.mapreduce.context._ItemList.should_flush | ( | self | ) |
Whether to flush before append the next entity. Returns: True to flush. False other.


Click to indicate which four items are most important in understanding final loan terms and closing costs.
Note {{$index + 1}} (clear this note)
You may click up to {{maxComments - comments.length}} more {{comments.length === (maxComments - 1) ? 'time' : 'times'}} before sending.


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Anilist-Node
A simple, lightweight Node.js wrapper for the AniList API.
Using Anilist-node
To install: npm install anilist-node
You may need a token for some features (ie checking favourites). A token only needs to be
generated once in order to use. To start, head to
Anilist's Developer Page and click
"Create New Client". Note the client id. Then, copy paste this URL
https://anilist.co/api/v2/oauth/authorize?client_id={clientID}&response_type=token
, replacing the {clientID}
with your client ID. It will ask you to log in and then
provide you with the token to use.
NOTE: Please store your token securely and privately! This gives access to your AniList account. It is your responsibility to maintain your token.
Example
General lookup search (no login):
const anilist = require('anilist-node');
const Anilist = new anilist();
Anilist.media.anime(21708).then(data => {
console.log(data);
});
Lookup search (login):
const settings = require('./settings.json'); //Or wherever your store your token.
const anilist = require('anilist-node');
const Anilist = new anilist(settings.token /* This being your token */);
Anilist.media.anime(21708).then(data => {
console.log(data);
});
Documentation
Documentation is provided in two locations. A static HTML site is avalible with the package under the docs directory. Or users can view the same site online here: katsurin.com/docs/anilist-node.
License and Contact
AniList-Node is licensed under the MIT License.
For issues and bugs, please use the issue tracker on the GitHub repository. For other needs, either contact me by email<EMAIL_ADDRESS>or in my Discord server in the #anilist-node channel.


Switching Funds In A Taxable Account? Use This Calculator
by Movement CapitalSummary
- It’s sometimes worth paying tax on an embedded gain to capture higher returns with a lower-cost fund.
- A lower fee fund isn’t always better, and you should measure the total impact before switching.
- Switch decisions need to factor in unique circumstances like your cost basis, time horizon, and state taxes.
Measuring the benefit of switching to a lower-cost fund is a common question from investors with taxable accounts. This post links to my calculator and shows how to use it with two real-world examples.
There are five questions to ask when evaluating a fund replacement:
1. How will the gain in the current fund be taxed?
First, check to see if it’s a short-term or long-term capital gain. Then, determine the relevant tax rate with these tables.
2. What is the cost basis of the current fund?
Most brokers will show this, but here’s a worksheet if you have to manually calculate it.
3. How long do I plan to hold the investment?
Savings depend on your time horizon. In general, if you plan to liquidate something in the next few years, it’s rarely worth a switch.
4. What are distributions like for each fund?
Distributions create a tax drag that needs to be factored in, so find current dividend yields from a site like Morningstar. If the current fund is a mutual fund, then find capital gain distribution info from the issuer’s website. You’ll also want to get data on the percentage of qualified dividends for the current and replacement funds. For example, here’s Vanguard’s 2018 qualified dividend info.
5. How does my state tax capital gains?
Most treat them as ordinary income. Nine states don’t tax them at all, and some others have unique rules for capital gains.
If you don’t need examples and just want the calculator, here’s an Excel download and an online Google Sheets version.
Example 1: Retired Investor in Active Mutual Fund
John recently retired and has a $100,000 long-term capital gain in Fidelity’s Contrafund (FCNTX). He wants to replace it with Vanguard’s passive total market U.S. stock fund (VTI).
On the existing gain, he would owe 15% in federal and 5% in state taxes, for $20,000 total. FCNTX’s expense ratio is 0.82% and VTI’s is 0.03%. The question is: How long would it take for the lower cost of VTI to make up for the $20,000 tax hit?
Only looking at expense ratios hides the true cost of owning active mutual funds like FCNTX. Mutual funds have to distribute capital gains, and switching calculations should account for this.
Annual capital gain distributions have averaged 6% for FCNTX, or $12,000 for a $200,000 investment. Since John pays a combined federal and state tax rate of 20% on long-term capital gains, this creates $2,400 in tax. Dividends also create a tax drag, but FCNTX hasn’t paid a meaningful dividend in years. VTI does pay a regular dividend, and its yield is noted below.
Here’s how the calculator looks for this example. The FCNTX and VTI columns show the after-tax value of investments in each fund. Tax data is shown to visualize the annual tax drag.
It would take seven years for a switch to VTI to break even.
Example 2: Young Investor in Passive ETF
Stephen recently invested $45,000 into the iShares MSCI EAFE ETF (EFA), an international stock fund. He noticed that the Vanguard Total International Stock ETF (VXUS) provides similar exposure at a lower expense ratio of 0.09% compared to EFA’s 0.31%.
Stephen pays 20% in long-term capital gains, lives in a state with no income tax, and has to pay the 3.8% net investment income tax. This analysis is simpler, since neither fund pays capital gain distributions.
Here’s how the calculator looks with the above inputs. The line break hides a few decades to save space:
It would take thirty-nine years for a switch to VXUS to break even.
In this example, it makes sense to stick with the EFA position, not reinvest dividends, and funnel new international exposure into VXUS. Without the tax hit on new purchases, VXUS’s lower fee makes up for its lower percentage of qualified dividends.
There’s nuance to each situation, and the above info is not tax advice. The calculator is meant to get you most of the way to making an informed decision, but ultimately, your advisor or CPA can provide the best input.
The calculator makes two assumptions that might not fit your scenario:
1. The same pre-fee return is assumed for both funds.
For example, both FCNTX and VTI were assumed to grow at 7% per year before fees. After FCNTX’s fee of 0.82%, its net total return was 6.18%. After VTI’s fee of 0.03%, its net total return was 6.97%. I made this assumption because most switching decisions I see compare a closet indexing high-fee mutual fund to an indexed low-fee ETF. In this event, I think it’s fair to assume the same gross return. You’d want to use separate return assumptions if you had a high level of conviction that one of the funds would outperform over time.
2. Positions are not allocated to or withdrawn from.
Jake pointed out it’s important to remember that with mutual funds your capital gains are more spread out over time and with ETFs they’re deferred until you sell. This is relevant for investors who plan to withdraw from taxable positions. Also, the calculator assumes all capital gain distributions are taxed at the long-term rate. This is the most common outcome, but double-check your fund issuer’s website for the exact split between long-term and short-term gains.
Summary
- It’s sometimes worth paying tax on an embedded gain to capture higher returns with a lower-cost fund.
- A lower fee fund isn’t always better, and you should measure the total impact before switching.
- Switch decisions need to factor in unique circumstances like your cost basis, time horizon, and state taxes.
Disclosure: I am/we are long VTI, VXUS. I wrote this article myself, and it expresses my own opinions. I am not receiving compensation for it. I have no business relationship with any company whose stock is mentioned in this article.
Additional disclosure: Movement Capital (MVMT Capital LLC) is a registered investment advisor. Advisory services are only offered to clients or prospective clients where Movement Capital is properly licensed or exempt from licensure. This article is solely for informational purposes. Investments involve risk and are not guaranteed. No advice may be rendered by Movement Capital unless a client agreement is in place.


(a) A settlement should compensate the contractor fairly for the work done and the preparations made for the terminated portions of the contract, including a reasonable allowance for profit. Fair compensation is a matter of judgment and cannot be measured exactly. In a given case, various methods may be equally appropriate for arriving at fair compensation. The use of business judgment, as distinguished from strict accounting principles, is the heart of a settlement.
(b) The primary objective is to negotiate a settlement by agreement. The parties may agree upon a total amount to be paid the contractor without agreeing on or segregating the particular elements of costs or profit comprising this amount.
(c) Cost and accounting data may provide guides, but are not rigid measures, for ascertaining fair compensation. In appropriate cases, costs may be estimated, differences compromised, and doubtful questions settled by agreement. Other types of data, criteria, or standards may furnish equally reliable guides to fair compensation. The amount of recordkeeping, reporting, and accounting related to the settlement of terminated contracts should be kept to a minimum compatible with the reasonable protection of the public interest.
(a) The TCO shall allow profit on preparations made and work done by the contractor for the terminated portion of the contract but not on the settlement expenses. Anticipatory profits and consequential damages shall not be allowed (but see 49.108-5). Profit for the contractor’s efforts in settling subcontractor proposals shall not be based on the dollar amount of the subcontract settlement agreements but the contractor’s efforts will be considered in determining the overall rate of profit allowed the contractor. Profit shall not be allowed the contractor for material or services that, as of the effective date of termination, have not been delivered by a subcontractor, regardless of the percentage of completion. The TCO may use any reasonable method to arrive at a fair profit.
(b) In negotiating or determining profit, factors to be considered include—
(1) Extent and difficulty of the work done by the contractor as compared with the total work required by the contract (engineering estimates of the percentage of completion ordinarily should not be required, but if available should be considered);
(2) Engineering work, production scheduling, planning, technical study and supervision, and other necessary services;
(3) Efficiency of the contractor, with particular regard to—
(i) Attainment of quantity and quality production;
(ii) Reduction of costs;
(iii) Economic use of materials, facilities, and manpower; and
(iv) Disposition of termination inventory;
(4) Amount and source of capital and extent of risk assumed;
(5) Inventive and developmental contributions, and cooperation with the Government and other contractors in supplying technical assistance;
(6) Character of the business, including the source and nature of materials and the complexity of manufacturing techniques;
(7) The rate of profit that the contractor would have earned had the contract been completed;
(8) The rate of profit both parties contemplated at the time the contract was negotiated; and
(9) Character and difficulty of subcontracting, including selection, placement, and management of subcontracts, and effort in negotiating settlements of terminated subcontracts.
(c) When computing profit on the terminated portion of a construction contract, the contracting officer shall—
(1) Comply with paragraphs (a) and (b) of this section;
(2) Allow profit on the prime contractor’s settlements with construction subcontractors for actual work in place at the job site; and
(3) Exclude profit on the prime contractor’s settlements with construction subcontractors for materials on hand and for preparations made to complete the work.
(a) In the negotiation or determination of any settlement, the TCO shall not allow profit if it appears that the contractor would have incurred a loss had the entire contract been completed. The TCO shall negotiate or determine the amount of loss and make an adjustment in the amount of settlement as specified in paragraph (b) or (c) of this section. In estimating the cost to complete, the TCO shall consider expected production efficiencies and other factors affecting the cost to complete.
(b) If the settlement is on an inventory basis (see 49.206-2(a)), the contractor shall not be paid more than the total of the amounts in paragraphs (b)(1), (2), and (3) of this section, less all disposal credits and all unliquidated advance and progress payments previously made under the contract:
(1) The amount negotiated or determined for settlement expenses.
(2) The contract price, as adjusted, for acceptable completed end items (see 49.205).
(3) The remainder of the settlement amount otherwise agreed upon or determined (including the allocable portion of initial costs (see 31.205-42(c)), reduced by multiplying the remainder by the ratio of—
(i) The total contract price to
(ii) The total cost incurred before termination plus the estimated cost to complete the entire contract.
(c) If the settlement is on a total cost basis (see 49.206-2(b)), the contractor shall not be paid more than the total of the amounts in paragraphs (c)(1) and (2) of this section, less all disposal and other credits, all advance and progress payments, and all other amounts previously paid under the contract:
(1) The amount negotiated or determined for settlement expenses.
(2) The remainder of the total settlement amount otherwise agreed upon or determined (lines 7 and 14 of SF 1436, Settlement Proposal (Total Cost Basis)) reduced by multiplying the remainder by the ratio of—
(i) The total contract price to
(ii) The remainder plus the estimated cost to complete the entire contract.
From the amount payable to the contractor under a settlement, the TCO shall deduct—
(a) The agreed price for any part of the termination inventory purchased or retained by the contractor, and the proceeds from any materials sold that have not been paid or credited to the Government;
(b) The fair value, as determined by the TCO, of any part of the termination inventory that, before transfer of title to the Government or to a buyer under Part 45, is lost or so damaged as to become undeliverable (normal spoilage is excepted, as is inventory for which the Government has expressly assumed the risk of loss); and
(c) Any other amounts as appropriate in the particular case.
(a) Promptly after the effective date of termination, the TCO shall (1) have all undelivered completed end items inspected and accepted if they comply with the contract requirements, and (2) determine which accepted end items are to be delivered under the contract. The contractor shall invoice accepted and delivered end items at the contract price in the usual manner and shall not include them in the settlement proposal. When completed end items, though accepted, are not to be delivered under the contract, the contractor shall include them in the settlement proposal at the contract price, adjusted for any saving of freight or other charges, together with any credits for their purchase, retention, or sale.
(b) Work in place accepted by the Government under a construction contract is not considered a completed item even though that work may have been paid for at unit prices specified in the contract.
(a) Subject to the provisions of the termination clause, the contractor should promptly submit to the TCO a settlement proposal for the amount claimed because of the termination. The final settlement proposal must be submitted within one year from the effective date of the termination, unless the period is extended by the TCO. Termination charges under a single prime contract involving two or more divisions or units of the prime contractor may be consolidated and included in a single settlement proposal.
(b) The settlement proposal must cover all cost elements including settlements with subcontractors and any proposed profit. With the consent of the TCO, proposals may be filed in successive steps covering separate portions of the contractor’s costs. Such interim proposals shall include all costs of a particular type, except as the TCO may authorize otherwise.
(c) Settlement proposals must be on the forms prescribed in 49.602 unless the forms are inadequate for a particular contract. Settlement proposals must be in reasonable detail supported by adequate accounting data. Actual, standard (appropriately adjusted), or average costs may be used in preparing settlement proposals if they are determined under generally recognized accounting principles consistently followed by the contractor. When actual, standard, or average costs are not reasonably available, estimated costs may be used if the method of arriving at the estimates is approved by the TCO. Contractors shall not be required to maintain unduly elaborate cost accounting systems merely because their contracts may subsequently be terminated.
(d) The contractor may use the Settlement Proposal (Short Form), SF 1438 (see 49.602-1(d) and 53.249), when the total proposal is less than $10,000, unless otherwise instructed by the TCO. Settlement proposals that would normally be included in a single settlement proposal; e.g., those based on a series of separate orders for the same item under one contract, should be consolidated whenever possible and not divided to bring them below $10,000.
(e) The Schedule of Accounting Information, SF 1439, must be submitted for each termination under a contract for which a settlement proposal is submitted, except when the Standard Form 1438 is used. Although several interim proposals may be submitted, SF 1439 need be submitted only once unless, subsequent to filing the original form, major changes occur in the information submitted.
(a) Inventory basis.
(1) Use of the inventory basis for settlement proposals is preferred. Under this basis, the contractor may propose only costs allocable to the terminated portion of the contract, and the settlement proposal must itemize separately—
(i) Metals, raw materials, purchased parts, work in process, finished parts, components, dies, jigs, fixtures, and tooling, at purchase or manufacturing cost;
(ii) Charges such as engineering costs, initial costs, and general administrative costs;
(iii) Costs of settlements with subcontractors;
(iv) Settlement expenses; and
(v) Other proper charges.
(2) An allowance for profit (49.202) or adjustment for loss (49.203(b)) must be made to complete the gross settlement proposal. All unliquidated advance and progress payments and all disposal and other credits known when the proposal is submitted must then be deducted.
(3) This inventory basis is also appropriate for use under the following circumstances:
(i) The partial termination of a construction or related professional services contract.
(ii) The partial or complete termination of supply orders under any terminated construction contract.
(iii) The complete termination of a unit-price (as distinguished from a lump-sum) professional services contract.
(b) Total cost basis.
(1) When use of the inventory basis is not practicable or will unduly delay settlement, the total-cost basis (SF 1436) may be used if approved in advance by the TCO as in the following examples:
(i) If production has not commenced and the accumulated costs represent planning and preproduction or “get ready” expenses.
(ii) If, under the contractor’s accounting system, unit costs for work in process and finished products cannot readily be established.
(iii) If the contract does not specify unit prices.
(iv) If the termination is complete and involves a letter contract.
(2) When the total-cost basis is used under a complete termination, the contractor must itemize costs incurred under the contract up to the effective date of termination. The costs of settlements with subcontractors and applicable settlement expenses must also be added. An allowance for profit (49.202) or adjustment for loss (49.203(c)) must be made. The contract price for all end items delivered or to be delivered and accepted must be deducted. All unliquidated advance and progress payments and disposal and other credits known when the proposal is submitted must also be deducted.
(3) When the total-cost basis is used under a partial termination, the settlement proposal shall not be submitted until completion of the continued portion of the contract. The settlement proposal must be prepared as in paragraph (b)(2) of this section, except that all costs incurred to the date of completion of the continued portion of the contract must be included.
(4) If a construction contract or a lump-sum professional services contract is completely terminated, the contractor shall—
(i) Use the total cost basis of settlement;
(ii) Omit Line 10 “Deduct-Finished Product Invoiced or to be Invoiced” from Section II of SF 1436 Settlement Proposal (Total Cost Basis); and
(iii) Reduce the gross amount of the settlement by the total of all progress and other payments.
(c) Other basis. Settlement proposals may not be submitted on any basis other than paragraph (a) or (b) of this section without the prior approval of the chief of the contracting or contract administration office.
Subject to the terms of the termination clause, and whenever termination inventory is involved, the contractor shall submit complete inventory disposal schedules to the TCO reflecting inventory that is allocable to the terminated portion of the contract. The inventory disposal schedules shall be submitted within 120 days from the effective date of termination unless otherwise extended by the TCO based on a written justification to support the extension. The inventory schedules shall be prepared on Standard Form 1428, Inventory Disposal Schedule.
The total amount payable to the contractor for a settlement, before deducting disposal or other credits and exclusive of settlement costs, must not exceed the contract price less payments otherwise made or to be made under the contract.
Under the termination clause, after partial termination, a contractor may request an equitable adjustment in the price or prices of the continued portion of a fixed-price contract. The TCO shall forward the proposal to the contracting officer except when negotiation authority is delegated to the TCO. The contractor shall submit the proposal in the format of Table 15-2 of 15.408.
(a) When the contracting officer retains responsibility for negotiating the equitable adjustment and executing a supplemental agreement, the contracting officer shall ensure that no portion of an increase in price is included in a termination settlement made or in process.
(b) The TCO shall also ensure that no portion of the costs included in the equitable adjustment are included in the termination settlement.


{% include head.html %} {% include nav.html %}
Technology Used: {{elearning.technology}}
{{elearning.description}}


rawSauce lan🅱uage
rawSauce is an edgy hispter programming language built with (raw) javascript during the Super Silly Hackathon.
🅱oring syntax
console.log("Man's not hot!");
let lol = 2 + 2 - 1;
function lol() {...};
ra🅱olutionary syntax
TELLHER("Man's not hot!")BOOM
TING lol = 2 + 2 - 1 BOOM
QUICKMATHS lol() {...} BOOM
Need for S🅱eed


- cacheSize - Static variable in class py4j.reflection.ReflectionEngine
-
- CALL_COMMAND_NAME - Static variable in class py4j.commands.CallCommand
-
- CALL_PROXY_COMMAND_NAME - Static variable in class py4j.reflection.PythonProxyHandler
-
- CallbackClient - Class in py4j
-
A CallbackClient is responsible for managing communication channels: channels
are created as needed (e.g., one per concurrent thread) and are closed after
a certain time.
- CallbackClient(int) - Constructor for class py4j.CallbackClient
-
- CallbackClient(int, InetAddress) - Constructor for class py4j.CallbackClient
-
- CallbackClient(int, InetAddress, long, TimeUnit) - Constructor for class py4j.CallbackClient
-
- CallbackConnection - Class in py4j
-
Default implementation of the CommunicationChannel interface using TCP
sockets.
- CallbackConnection(int, InetAddress) - Constructor for class py4j.CallbackConnection
-
- CallCommand - Class in py4j.commands
-
A CallCommand is responsible for parsing a call command and calling the
method on the target object.
- CallCommand() - Constructor for class py4j.commands.CallCommand
-
- CHAR_CONVERTER - Static variable in class py4j.reflection.TypeConverter
-
- CLASS_TYPE - Static variable in class py4j.Protocol
-
- clearImports() - Method in class py4j.JVMView
-
- closeConnection() - Method in class py4j.Gateway
-
Called when a connection is closed.
- Command - Interface in py4j.commands
-
This interface must be implemented by all commands.
- commandName - Variable in class py4j.commands.AbstractCommand
-
- commands - Variable in class py4j.GatewayConnection
-
- compareTo(Py4JMember) - Method in class py4j.model.Py4JMember
-
- computeCharacterConversion(Class<?>, Class<?>, List<TypeConverter>) - Static method in class py4j.reflection.TypeUtil
-
- computeDistance(Class<?>, Class<?>) - Static method in class py4j.reflection.TypeUtil
-
- computeNumericConversion(Class<?>, Class<?>, List<TypeConverter>) - Static method in class py4j.reflection.TypeUtil
-
- connectionError(Exception) - Method in class py4j.DefaultGatewayServerListener
-
- connectionError(Exception) - Method in interface py4j.GatewayServerListener
-
- connectionStarted(GatewayConnection) - Method in class py4j.DefaultGatewayServerListener
-
- connectionStarted(GatewayConnection) - Method in interface py4j.GatewayServerListener
-
- connectionStopped(GatewayConnection) - Method in class py4j.DefaultGatewayServerListener
-
- connectionStopped(GatewayConnection) - Method in class py4j.GatewayServer
-
- connectionStopped(GatewayConnection) - Method in interface py4j.GatewayServerListener
-
- CONSTRUCTOR_COMMAND_NAME - Static variable in class py4j.commands.ConstructorCommand
-
- ConstructorCommand - Class in py4j.commands
-
A ConstructorCommand is responsible for calling the constructors of a Java
class.
- ConstructorCommand() - Constructor for class py4j.commands.ConstructorCommand
-
- convert(Object) - Method in class py4j.reflection.TypeConverter
-
- CREATE_VIEW_SUB_COMMAND_NAME - Static variable in class py4j.commands.JVMViewCommand
-
- createArray(String, int[]) - Method in class py4j.reflection.ReflectionEngine
-
- createConnection(Gateway, Socket) - Method in class py4j.GatewayServer
-


Struct SweepAngle
A sweep angle. Typically the value of this object is between -2pi and +2pi. Used for rotation operations etc.
Implements
Inherited Members
Namespace: CADability
Assembly: CADability.dll
Syntax
[Serializable]
public struct SweepAngle : ISerializable
Constructors
| Improve this Doc View SourceSweepAngle(Angle, Angle, Boolean)
Constructs the sweep angle you need to go from From
to To
in the
direction defined by CounterClockwise
Declaration
public SweepAngle(Angle From, Angle To, bool CounterClockwise)
Parameters
| Type | Name | Description |
|---|---|---|
| Angle | From | starting angle |
| Angle | To | ending angle |
| System.Boolean | CounterClockwise | direction |
SweepAngle(GeoPoint2D, GeoPoint2D)
Constructs the sweep angle as the angle of the vector from Center to Target
Declaration
public SweepAngle(GeoPoint2D Target, GeoPoint2D Center)
Parameters
| Type | Name | Description |
|---|---|---|
| GeoPoint2D | Target | Endpoint of the vector |
| GeoPoint2D | Center | Startpoint of the vector |
SweepAngle(GeoVector, GeoVector)
Constructs the sweep angle you need to go from From
to To
.
Declaration
public SweepAngle(GeoVector From, GeoVector To)
Parameters
| Type | Name | Description |
|---|---|---|
| GeoVector | From | starting vector |
| GeoVector | To | target vector |
SweepAngle(GeoVector2D, GeoVector2D)
Constructs a sweep angle from the vector From
to the vector To
.
Declaration
public SweepAngle(GeoVector2D From, GeoVector2D To)
Parameters
| Type | Name | Description |
|---|---|---|
| GeoVector2D | From | |
| GeoVector2D | To |
SweepAngle(Double)
Constructs the sweep angle with the provided radian (which must be between -2pi and +2pi, which is not checked)
Declaration
public SweepAngle(double d)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Double | d |
SweepAngle(Double, Double)
Constructs the sweep angle with tan(sweep angle)==dy/dx
Declaration
public SweepAngle(double dx, double dy)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Double | dx | |
| System.Double | dy |
Fields
| Improve this Doc View SourceFull
The sweep angle that turns 360° counterclockwise
Declaration
public static SweepAngle Full
Field Value
| Type | Description |
|---|---|
| SweepAngle |
FullReverse
The sweep angle that turns 360° clockwise
Declaration
public static SweepAngle FullReverse
Field Value
| Type | Description |
|---|---|
| SweepAngle |
Opposite
The sweep angle that turns to the opposite directio
Declaration
public static SweepAngle Opposite
Field Value
| Type | Description |
|---|---|
| SweepAngle |
ToLeft
The sweep angle that turns 90° to the left
Declaration
public static SweepAngle ToLeft
Field Value
| Type | Description |
|---|---|
| SweepAngle |
ToRight
The sweep angle that turns 90° to the right
Declaration
public static SweepAngle ToRight
Field Value
| Type | Description |
|---|---|
| SweepAngle |
Properties
| Improve this Doc View SourceDegree
Declaration
public double Degree { get; set; }
Property Value
| Type | Description |
|---|---|
| System.Double | Zugriff auf das Gradmaß |
Radian
Declaration
public double Radian { get; set; }
Property Value
| Type | Description |
|---|---|
| System.Double | Zugriff auf das Bogenmaß |
Methods
| Improve this Doc View SourceDeg(Double)
Returns a SweepAngle that rotates by the given degrees
Declaration
public static SweepAngle Deg(double d)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Double | d | amount to rotate in degrees (-360<=d<=360) |
Returns
| Type | Description |
|---|---|
| SweepAngle | A new SweepAngle |
GetObjectData(SerializationInfo, StreamingContext)
Implements System.Runtime.Serialization.ISerializable.GetObjectData(System.Runtime.Serialization.SerializationInfo, System.Runtime.Serialization.StreamingContext)
Declaration
public void GetObjectData(SerializationInfo info, StreamingContext context)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Runtime.Serialization.SerializationInfo | info | The System.Runtime.Serialization.SerializationInfo to populate with data. |
| System.Runtime.Serialization.StreamingContext | context | The destination (System.Runtime.Serialization.StreamingContext) for this serialization. |
IsCloseTo(SweepAngle)
Returns true, if the sweep angles differ by less than 1e-12 (in radian)
Declaration
public bool IsCloseTo(SweepAngle ang)
Parameters
| Type | Name | Description |
|---|---|---|
| SweepAngle | ang |
Returns
| Type | Description |
|---|---|
| System.Boolean |
ToString()
Returns a string representation of this sweep angle in degrees
Declaration
public override string ToString()
Returns
| Type | Description |
|---|---|
| System.String |
Overrides
Operators
| Improve this Doc View SourceImplicit(Angle to SweepAngle)
Casts an angle to a sweep angle with the same value
Declaration
public static implicit operator SweepAngle(Angle a)
Parameters
| Type | Name | Description |
|---|---|---|
| Angle | a |
Returns
| Type | Description |
|---|---|
| SweepAngle |
Implicit(SweepAngle to Double)
Cast Operator, der einen Winkel in ein double umwandelt. Ergebnis ist das Bogenmaß des Winkels. Es werden keine Berechnungen vorgenommen
Declaration
public static implicit operator double (SweepAngle ang)
Parameters
| Type | Name | Description |
|---|---|---|
| SweepAngle | ang | der Winkel |
Returns
| Type | Description |
|---|---|
| System.Double | double als Ergebnis |
Implicit(Double to SweepAngle)
Cast Operator, der ein double in einen Winkel umwandelt. Es wird das modulo 2*pi berechnet
Declaration
public static implicit operator SweepAngle(double v)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Double | v | double Wert |
Returns
| Type | Description |
|---|---|
| SweepAngle | Winkel |
Multiply(Double, SweepAngle)
Returns the multiple of the sweep angle
Declaration
public static SweepAngle operator *(double d, SweepAngle s)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Double | d | factor |
| SweepAngle | s |
Returns
| Type | Description |
|---|---|
| SweepAngle |
UnaryNegation(SweepAngle)
Returns the reverse of the provided sweep angle
Declaration
public static SweepAngle operator -(SweepAngle s)
Parameters
| Type | Name | Description |
|---|---|---|
| SweepAngle | s |
Returns
| Type | Description |
|---|---|
| SweepAngle |


Hey, I am Mohammad, I work for Graphista, I am a software addict. I passionate about writing code for the web. I enjoy writing in languages such as HTML, JavaScript, Css, PHP. I love to do engineering staff. Agile is my loyal partner.
I enjoy writing back-end code with these technologies: PHP, Yii2 PHP Framework, In addition to JavaScript, jQuery for the front-end. I love writing JavaScript.


The Universal Viewer is a community-developed open source project on a mission to help you share your content with the world
Find Out MoreOpenSeadragon image zooming using the IIIF image API
YouTube-style embedding with deep links to specific pages/zoom regions.
Fork the UV theme on github to create your own.
The UV is highly configurable with an array of customisable settings.
Supports search and autocomplete service integration with overlaid search results.
Internationalised UI using transifex.com
The UV supports the IIIF Auth API, so your content can be password protected.
About the UV The wiki has information about the origins of the UV and tutorials to help you get started
Join the UV Slack This is where most of the conversation happens
Follow the UV on Twitter A good way to keep informed of notable developments
Become a backer on Open Collective This helps us to fund community support and bug fixes
Fork the UV on Github We ♥ pull requests


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CameraSettings(cameraController: CameraController)
Use to change camera settings. This object is returned by BaseCameraStreamer.cameraSettings.


---
layout: post
title: Yeats
date: '2010-06-14T23:04:00.000-04:00'
author: RyGuy
tags:
modified_time: '2010-06-14T23:05:18.557-04:00'
blogger_id: tag:blogger.com,1999:blog-2767138550438691941.post-8846128166989718420
blogger_orig_url: https://muchtoilingant.blogspot.com/2010/06/yeats.html
---
No longer in Lethean foliage caught
Begin the preparation for your death
And from the fortieth winter by that thought
Test every work of intellect or faith,
And everything that your own hands have wrought,
And call those works extravagance of breath
That are not suited for such men as come
Proud, open-eyed and laughing to the tomb.


33
Elihu Rebukes Job
1 “But now, hear my speech, O Job,
and listen to all my words.
2 Behold, I open my mouth;
the tongue in my mouth speaks.
3 My words declare the uprightness of my heart,
and what my lips know they speak sincerely.
4 The Spirit of God has made me,
and the breath of the Almighty gives me life.
5 Answer me, if you can;
set your words in order before me; take your stand.
6 Behold, I am toward God as you are;
I too was pinched off from a piece of clay.
7 Behold, no fear of me need terrify you;
my pressure will not be heavy upon you.
8 “Surely you have spoken in my ears,
and I have heard the sound of your words.
9 You say, ‘I am pure, without transgression;
I am clean, and there is no iniquity in me.
10 Behold, he finds occasions against me,
he counts me as his enemy,
11 he puts my feet in the stocks
and watches all my paths.’
12 “Behold, in this you are not right. I will answer you,
for God is greater than man.
13 Why do you contend against him,
saying, ‘He will answer none of man's words’?
14 For God speaks in one way,
and in two, though man does not perceive it.
15 In a dream, in a vision of the night,
when deep sleep falls on men,
while they slumber on their beds,
16 then he opens the ears of men
and terrifies them with warnings,
17 that he may turn man aside from his deed
and conceal pride from a man;
18 he keeps back his soul from the pit,
his life from perishing by the sword.
19 “Man is also rebuked with pain on his bed
and with continual strife in his bones,
20 so that his life loathes bread,
and his appetite the choicest food.
21 His flesh is so wasted away that it cannot be seen,
and his bones that were not seen stick out.
22 His soul draws near the pit,
and his life to those who bring death.
23 If there be for him an angel,
a mediator, one of the thousand,
to declare to man what is right for him,
24 and he is merciful to him, and says,
‘Deliver him from going down into the pit;
I have found a ransom;
25 let his flesh become fresh with youth;
let him return to the days of his youthful vigor’;
26 then man prays to God, and he accepts him;
he sees his face with a shout of joy,
and he restores to man his righteousness.
27 He sings before men and says:
‘I sinned and perverted what was right,
and it was not repaid to me.
28 He has redeemed my soul from going down into the pit,
and my life shall look upon the light.’
29 “Behold, God does all these things,
twice, three times, with a man,
30 to bring back his soul from the pit,
that he may be lighted with the light of life.
31 Pay attention, O Job, listen to me;
be silent, and I will speak.
32 If you have any words, answer me;
speak, for I desire to justify you.
33 If not, listen to me;
be silent, and I will teach you wisdom.”


{{ page.title }}
Explore the API here hands-on. Need a little help? Read our API basics to learn about datasets, concepts, and slices.
--- title: Interactive API Console ---
Explore the API here hands-on. Need a little help? Read our API basics to learn about datasets, concepts, and slices.


If this value is true, will trigger result function when time up.
Countinue when fail
ID
Immediately
Don't wait wait, run next Oper immediately.
Last Result
max retry times
Current Queue
Current retry times
Current Step
timeout time (miliseconds)
Returns the number of subscriptions.
Generic dispatch will dispatch the handlers with the given arguments.
True if the even should be executed async.
The arguments for the event.
Cleans up subs that ran and should run only once.
Clears all the subscriptions.
Push to queue
used queue, if null, use the default one.
Fault Function
Halt queue
Checks it the event has a subscription for the specified handler.
The event handler.
Subscribe once to the event with the specified name.
The event handler that is called when the event is dispatched.
A function that unsubscribes the event handler from the event.
Succeed Function
Subscribe to the event dispatcher.
The event handler that is called when the event is dispatched.
A function that unsubscribes the event handler from the event.
Subscribe to the event dispatcher.
The event handler that is called when the event is dispatched.
A function that unsubscribes the event handler from the event.
Unsubscribes the handler from the dispatcher.
The event handler.
Unsubscribes the handler from the dispatcher.
The event handler.
Generated using TypeDoc
Retry Oper


Floorplans
Extends:
A Floorplan represents a number of Walls, Corners and Rooms. This is an abstract that keeps the 2d and 3d in sync
Constructor Summary
| Public Constructor | ||
| public |
Constructs a floorplan. |
Member Summary
| Public Members | ||
| public get |
carbonSheet: * |
|
| public set |
|
|
| public |
corners: *[] |
|
| public |
floorTextures: {} |
|
| public |
metaroomsdata: {} |
|
| public |
new_corner_callbacks: *[] |
|
| public |
new_wall_callbacks: *[] |
|
| public |
redraw_callbacks: *[] |
|
| public |
roomLoadedCallbacks: *[] |
|
| public |
rooms: *[] |
|
| public |
updated_rooms: *[] |
|
| public |
walls: *[] |
| Private Members | ||
| private |
_carbonSheet: * |
Method Summary
| Public Methods | ||
| public |
|
|
| public |
findRooms(corners: *): * |
|
| public |
fireOnNewCorner(callback: *) |
|
| public |
fireOnNewWall(callback: *) |
|
| public |
fireOnRedraw(callback: *) |
|
| public |
fireOnUpdatedRooms(callback: *) |
|
| public |
floorPlanes(): * |
|
| public |
getCenter(): * Returns the center of the floorplan in the y plane |
|
| public |
getCorners(): * Gets the corners. |
|
| public |
getDimensions(center: *): * |
|
| public |
getFloorTexture(uuid: *): * |
|
| public |
getMetaRoomData(): * |
|
| public |
getRooms(): * Gets the rooms. |
|
| public |
getSize(): * |
|
| public |
getWalls(): * Gets the walls. |
|
| public |
loadFloorplan(floorplan: *) |
|
| public |
newCorner(x: *, y: *, id: *): * Creates a new corner. |
|
| public |
newWall(start: *, end: *): * Creates a new wall. |
|
| public |
newWallsForIntersections(start: *, end: *): * |
|
| public |
overlappedCorner(x: *, y: *, tolerance: *): * |
|
| public |
overlappedRoom(mx: *, my: *): * |
|
| public |
overlappedWall(x: *, y: *, tolerance: *): * |
|
| public |
removeCorner(corner: *) Removes a corner. |
|
| public |
removeWall(wall: *) Removes a wall. |
|
| public |
reset() |
|
| public |
roofPlanes(): * |
|
| public |
roomNameChanged(e: *) |
|
| public |
saveFloorplan(): * |
|
| public |
setFloorTexture(uuid: *, url: *, scale: *) |
|
| public |
update() Update rooms |
|
| public |
clear out obsolete floor textures |
|
| public |
wallEdgePlanes(): * |
|
| public |
wallEdges(): * |
Public Constructors
Public Members
public get carbonSheet: * source
public set carbonSheet source
public corners: *[] source
public floorTextures: {} source
public metaroomsdata: {} source
public new_corner_callbacks: *[] source
public new_wall_callbacks: *[] source
public redraw_callbacks: *[] source
public roomLoadedCallbacks: *[] source
public rooms: *[] source
public updated_rooms: *[] source
public walls: *[] source
Private Members
private _carbonSheet: * source
Public Methods
public assignOrphanEdges() source
public fireOnNewCorner(callback: *) source
Params:
| Name | Type | Attribute | Description |
| callback | * |
public fireOnNewWall(callback: *) source
Params:
| Name | Type | Attribute | Description |
| callback | * |
public fireOnRedraw(callback: *) source
Params:
| Name | Type | Attribute | Description |
| callback | * |
public fireOnUpdatedRooms(callback: *) source
Params:
| Name | Type | Attribute | Description |
| callback | * |
public loadFloorplan(floorplan: *) source
Params:
| Name | Type | Attribute | Description |
| floorplan | * |
public newCorner(x: *, y: *, id: *): * source
Creates a new corner.
Params:
| Name | Type | Attribute | Description |
| x | * | The x coordinate. |
|
| y | * | The y coordinate. |
|
| id | * | An optional id. If unspecified, the id will be created internally. |
Return:
| * | The new corner. |
public newWall(start: *, end: *): * source
Creates a new wall.
Params:
| Name | Type | Attribute | Description |
| start | * | The start corner. |
|
| end | * | he end corner. |
Return:
| * | The new wall. |
public newWallsForIntersections(start: *, end: *): * source
Params:
| Name | Type | Attribute | Description |
| start | * | ||
| end | * |
Return:
| * |
public overlappedCorner(x: *, y: *, tolerance: *): * source
Params:
| Name | Type | Attribute | Description |
| x | * | ||
| y | * | ||
| tolerance | * |
Return:
| * |
public overlappedRoom(mx: *, my: *): * source
Params:
| Name | Type | Attribute | Description |
| mx | * | ||
| my | * |
Return:
| * |
public overlappedWall(x: *, y: *, tolerance: *): * source
Params:
| Name | Type | Attribute | Description |
| x | * | ||
| y | * | ||
| tolerance | * |
Return:
| * |
public removeCorner(corner: *) source
Removes a corner.
Params:
| Name | Type | Attribute | Description |
| corner | * | The corner to be removed. |
public removeWall(wall: *) source
Removes a wall.
Params:
| Name | Type | Attribute | Description |
| wall | * | The wall to be removed. |
public reset() source
public roomNameChanged(e: *) source
Params:
| Name | Type | Attribute | Description |
| e | * |
public setFloorTexture(uuid: *, url: *, scale: *) source
Params:
| Name | Type | Attribute | Description |
| uuid | * | ||
| url | * | ||
| scale | * |


| DOSE: |
4800 mg |
sublingual |
Kava |
(tea) |
Having recently given up (mostly successfully) alcohol consumption, I was alarmed to find myself heading for the store to buy the bottle of wine that can usually put me in a protected place for an hour or two before I do something stupid or fall asleep.
I decided to go all out and make a strong (for me) concoction of Kava, having used it daily numerous times to help with my particular sensitivity to social situations.
As a supervisor in a coffee shop I have observed the obvious 'social enhancement' effect of a pill or two of this stuff, which helps me be nice to people in a retail position which I've occupied for six years.
I was hoping that I could achieve a marijuana-like high while listening to music.
I bought Nature's Way Kava Kava which had capsules containing 400 mg of Kava each. I took 16 capsules and emptied their contents into my favorite mug. I added a little water and a little sugared tea, just enough to make a kind of slurry. I did not have to stir the contents as the powdered stuff mixed easily. I took it to my room where I dimmed the light and set up my speakers on my bed in a configuration that in the past has allowed the best imaging. I am a musician and have loved the way marijuana opened up music to where I could hear things people had done that I never noticed before.
 Actually, the taste is not bad at all, it's the FEEL.  I had brushed my teeth previously with no toothpaste to cause the small cuts that would allow better penetration of the drug.
It was 11:15 pm and I had to be at work at 4:15 am. This whole process was chosen because I was in a bad mood and knew that if I didn't take care of myself I would be in the same mood in a few hours, when I had to work an 8 hour shift.
 I realized it would have felt a lot better with less water and more spit-- the spit perhaps would have made a kind of syrup where the water made a slurry. And the syrup would not feel so bad.
After doing this at least 5 times and feeling nothing I decided to start swallowing this stuff. My concern was that in my stomach the release to my blood stream would be slower and I would be sleepy at work but at this point I didn't care, I had to get high. My throat made a retching sound as my stomach flipped over. I don't know why this stuff is so unappealing to my body. Perhaps the pure root would be more bearable. I had a feeling that this manufactured, powdered form was an insult to a great plant.
I started to feel something about 15 minutes into my ritual. I decided whatever happened I couldn't take any more Kava. I had swallowed about half. One thing I realized is important about the ritual is that after swishing it in my mouth and spitting it out there is a good deal left in my mouth. It makes my mouth numb and so forth and seems to begin seeping into the bloodstream while I try not to retch and prepare myself for the next dose.
There seemed to be a very slight glowing quality to things that can happen with marijuana though this was less pronounced, yet it seemed to be as 'real' as the marijuana experience. I began listening to music as planned and was enjoying the music more than I expected, though I still had no feeling of 3 dimensional audio perception that I have gotten with pot.
About 30-40 minutes later I could tell that I had indeed gotten 'stoned' on Kava. Not only was I extremely mellow and relaxed and things were slightly glowing but time started to be slower like with pot (nowhere near as pronounced, though) and the music, lo and behold, started to come to me in 3d. I remember noticing little things that the musicians and producers would do, I remember not perceiving it so rationally as I always do.  This was happening now.
I was listening to Laibach's interpretation of the Beatles' 'I ME MINE' and recognizing a point where a single violin falls in pitch from a high place, a kind of beautiful waterfall 'here we go to the next place' kind of conveyence, where before my mind had only seen the technique, recognized it as a musical convention often used in neo-classical music, but never had a heard it as intended, as the beautiful catalyst that I now heard. In the Beatles' rendition of the same song, I remember hearing all this violin and organ stuff on the right side that I never noticed before, I remember perceiving the raw intention of the song, hearing the three-dimensional guitar on the left side and the well-recorded centrally stationed drums and how the whole thing was tied together. Before, I had always been like, 'That's a nice, well-done song.' I couldn't get into it, now I was definately in it in a way that I remember with pot.
While it was not as powerful as pot it was definately pleasant and mind-altering and way better than freaking wine. If only it tasted like wine!
I slept at 2, got up at 4 and went to work. I made sure to eat a hot meal with protein and vegetables and I drank a large tea-drink with 3 different kinds of ginseng. I also had a cup of coffee that morning.
I was fine, all day, got off work at 12:30, went home and slept till 3.
Kava is definately great for social anxiety, which I've had all my life. I also take St. John's Wort regularly as I have a tendency toward depression and I believe it helps keep me off the alcohol.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


Next: vector (System Class), Previous: array, Up: Arrays Dictionary
The type of an array that is not displaced to another array, has no fill pointer, and is not expressly adjustable is a subtype of type simple-array. The concept of a simple array exists to allow the implementation to use a specialized representation and to allow the user to declare that certain values will always be simple arrays.
The types simple-vector, simple-string, and simple-bit-vector are disjoint subtypes of type simple-array, for they respectively mean (simple-array t (*)), the union of all (simple-array c (*)) for any c being a subtype of type character, and (simple-array bit (*)).
Specializing.
(simple-array
{[{element-type | *} [dimension-spec]]})
dimension-spec ::=rank | * | ({dimension | *}*)
dimension—a valid array dimension.
element-type—a type specifier.
rank—a non-negative fixnum.
This compound type specifier is treated exactly as the corresponding compound type specifier for type array would be treated, except that the set is further constrained to include only simple arrays.
It is implementation-dependent whether displaced arrays, vectors with fill pointers, or arrays that are actually adjustable are simple arrays.
(simple-array *) refers to all simple arrays regardless of element type, (simple-array type-specifier) refers only to those simple arrays that can result from giving type-specifier as the :element-type argument to make-array.


You can customize switches by combining different colors and sizes. See the basic example bellow:
@@include('includes/code-examples/input-controls/toggle-switch/toggle-switch-basic.html')
You can also add outside text.
@@include('includes/code-examples/input-controls/toggle-switch/toggle-switch-text.html')
The toggle switch styles follow the contextual bootstrap colors.
@@include('includes/code-examples/input-controls/toggle-switch/toggle-switch-colors.html')
You can also customize the color transition using switch-*
and switch-to-*
.
@@include('includes/code-examples/input-controls/toggle-switch/toggle-switch-transition.html')
Add .switch-sm
for smaller switches or .switch-lg
for larger.
@@include('includes/code-examples/input-controls/toggle-switch/toggle-switch-sizes.html')
When adding the disabled boolean attribute to the input
element, the appearance changes to reflect this state.
@@include('includes/code-examples/input-controls/toggle-switch/toggle-switch-disabled.html')


Memory Game
New Game
Play Game
View Rules
Settings
How to play the Memory game
The cards are placed face down. Each card has a matching card.
For each turn, the player select two cards.
If the cards match, they are removed from the board.
If the cards don't match, they are turned face down again.
At the end of the game, the player receives a score based on the number of correct selections that were made.
Player name:
Number of cards:
48
40
32
24
16
8


StackOversight
About Project
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def hello(): x = 5 y = 7 print(x*y) def for_loop(): for i in range(5): print(i)
.