Centrefold-Video
Brainbows Karin Fisslthaler
Renowned alumni of the University of Art and Design Linz produce a work of art for wall hanging specially for splace. For this issue we invited the artist Karin Fisslthaler.
> read article
Logbook Karin Bruns & Gerhard Umhaller
Film Noir: media Explorations of the Night
A documentation about the wintry Helsinki and Tallinn
> read article
Lost in Hotel Heike Schnotale, Daniela Poschauko, Julia Romana Potocnik, Photoseries 2015, Photo: Heike Schnotale, Daniela Poschauko, Julia Romana Potocnik
Interview Ute Ploier
Fashion Is a Well-Told Story
On the shifting of viewing habits and the liberation of role models
> read article
Daily Way Home Katharina Diezl, Photo: Elfie Semotan das ende der welt, Marie Stoiser, 2014, Photo: Elfie Semotan bark, Miriam Kohlhofer, 2013 – 2014, Photo: Elfie Semotan
Fashion Is a Well-Told Story Theres Duschlbauer, Seth Rickard
Film Noir Barbara Perndl, Matthias Steinbauer
The white \splace gallery with selected works by students.
Team Issue 02 – Colour:
Sabine Kienzer (editorial management), Tina Frank, Marianne Pührerfellner, Matthias Steinbauer, Ismail Khalil, Lukas Leitner, Stefan Ehrenmüller, Elisabeth Egger-Mann, Katharina Mayrhofer, Nataša Sienčnik, Victoria Tanczos
Editorial office: Martina Aichhorn, Translation: Jonathan Quinn, Nataša Sienčnik, David Westacott
Authors
Sabine Kienzer, Karin Bruns, Gerhard Umhaller, Martin Reinhart, Helmut Lethen, Monika Wagner, the next ENTERprise - architects, Tina Frank, Ton Matton, Karin Harrasser, Gudrun Rath, Hubert Lobnig, Thomas Raab
Producers – Landscape Version:
Fashion Is a Well-Told Story Theres Duschlbauer, Seth Rickard
Film Noir Barbara Perndl, Matthias Steinbauer
A Difficult Birth Martin Ruprecht, Marjan Moradhasel, Michael Schinninger
The Stone Age of Evidence Hannes Rettenbacher, Matthias Steinbauer
Art History in Black and White Iryna Lubiana, Matthias Steinbauer
Why Do Architects Wear Black and Build in Grey and White? Zheng Xian, Michael Weingartner
Brainbows Karin Fisslthaler, Matthias Steinbauer
Anything is possible Tina Frank, Matthias Steinbauer
Doubt Marianne Pührerfellner, Sabine Pils, Matthias Steinbauer
Zombies RIP, Felix Huber, Video 2:30
Who’s afraid of Red and Blue Dominika Michalkova, Dominik Prilmüller
Meditation on Baker-Miller-Pink Wolfgang Hauer, Shahir Salama, Mostafa Aly"


After watching Shareef's Fireside Chat, I feel confident in the structure and philosophy they have established here at Dev Bootcamp. I thought his point about us living our lives as consumers was very accurate. We so often look at the outcome of an action before it has even started, completely missing the fact that the process is more important than the outcome.
In many ways it only reaffirms what I was drawn to in Dev Bootcamp, as I was surveying all the other programs out there. Culture and community here are important. Or me let say (because every school will say that), the culture and community are ESSENTIAL in learning this stuff in a matter of weeks. They have made it very clear that our cohort is in this together, and it's up to us to make it great.
I have felt in many ways through my learning experiences in high school and college that the structure in place is flawed. It doesn't promote inspired learning. It goes like this:
1. Study what's on the test2. Get a good grade
3. Move on to the next subject
4. Forget everything you learned, because you only took this class because your friend told you colleges/ grad schools want to see you completed it.
It doesn't force you to take learning into your own hands. DBC believes that you have to want to learn something in order to learn it, and you have to have a voracious and passionate attitude about it. It's the reason they have accepted us into this program, which most people would find crazy.
I'm very excited to meet all of you in person, outside of the cyber world. I know were going to learn a lot, and I'm excited for what's in store!


TODO
Calculates a set of Temperature values given some initial conditions and calculated constants.
| Parameters: |
|
|---|
Models the rate of cooling of coffee over time.
| Parameters: |
|
|---|
TODO
Segments and visualizes the model output based on the value of ‘split’.
| Parameters: |
|
|---|---|
| Legend: | An optional list of labels for a legend. |
Plots temperature as a function of time; using output from an internal model.
| Parameters: |
|
|---|---|
| Legend: | An optional list of labels for a legend. |
Plots temperature as a function of time; using output from an external source.
| Parameters: |
|
|---|---|
| Legend: | An optional list of labels for a legend. |
TODO
Configures the plot with the specified parameters.
| Parameters: |
|
|---|
Plots the specified X,Y data and applies settings. If no ‘custom’ plotting function is defined, all (x,y) in zip(X,Y) are plotted on seperate subplots.
| Parameters: |
|
|---|


The Spanish media really aren't happy with Gareth Bale playing for Wales this week and he finds it all 'hilarious'
Wales' talisman laughed off criticism from the Spanish press ahead of Wales' clash with Azerbaijan
by Ian MitchelmoreGareth Bale admits he finds the Spanish media's reports of an apparent club v country row involving him "hilarious" ahead of Wales' crunch Euro 2020 qualifier with Azerbaijan.
The 30-year-old has not played a single minute of action since the 1-1 draw with Croatia in Cardiff last month.
Despite his lack of game time for Real Madrid, Bale was called up for international duty this week and is set to feature against Azerbaijan in Baku.
The Welshman's availability for Wales following his absence for his club riled many of those in the Spanish capital.
Ex-Madridista Pedja Mijatovic recently stuck the boot into Bale, criticising the Cardiff-born star's love of golf.
In a column for Spanish media outlet AS, he wrote: "The first thing he thinks about is Wales, then golf and after that, Real Madrid."
It prompted one member of the Red Wall to add the slogan "Wales. Golf. Madrid. In that order" to a Welsh flag.
One newspaper also carried the headline "Triple Bogey" on the front page along with a picture of Bale playing golf.
But Bale simply laughed off the criticism of the Spanish press ahead of Wales' clash with Azerbaijan at the Bakcell Arena.
“They have their own opinion of me. It’s just one of those things. Whether it’s good or bad, it’s about me so I must sell papers," he said.
“I’ve heard some stories but I don’t really take notice. My friends tend to send me some funny pictures or whatever they write. I’ve tried to get back as quick as I can.
“I find it hilarious to be honest, especially some of the pictures and stuff my friends send me. On one it said triple bogey and I’ve never had a triple bogey! At least give me an albatross! It’s funny.
"Some of the things I have seen, people don’t understand and don’t know what they’re on about, so I just find it quite funny.
"If there had been a Real Madrid game this week, I would’ve been fit and training to play.
"Maybe to them it doesn’t look great but it’s just a kind of coincidence that the national team comes around this week and I’ve returned to full training.
"If I’m fit, no matter where I am, I’m going to try and play, whether it be for Wales or Madrid.
"For me, it was a no-brainer: if I’m fit to play, then I’ll give it my all."
Bale was left limping on the pitch in the latter stages of the draw with Croatia in October.
And he has featured just seven times in all competitions for Real Madrid to far this term, scoring twice.
But Bale admits he's done everything in his power to be fit and firing for Wales in their crucial double header with Azerbaijan and Hungary.
“We understand how big the games are," he added.
"My fitness, I’ve done my rehab, done four weeks training.
"Obviously there are two big games and I’m not sure if I’ll play the two whole 90 minutes but I’ll do my best to play as much as I can.”
“I fully understand the position I’m in. I’ve done as much as I can in terms of trying to get back as quick as I can.
"I’ve done four weeks’ training and we’ve done 11 v 11 to try and get some match fitness in me. I’m as prepared as I can be. The only thing I can do is give my best, which I always do.”


Eileen Cho is a student studying Cognitive Science with specialization in HCI at UC San Diego (Go Tritons!).


Prior to joining Carnegie Mellon, I worked in the Engineering and Systems Development department at Systemantics. At Systemantics, with support from Accel Partners, Blume ventures and HBS Alumni Angles, we are proud of our data driven approach to make cost effective, safety-first, easy to use robotic manipualtors for factory floor automation.
As part of my undergraduate thesis, I worked with Dr. Rajan Vaish (Stanford) and Prof. James Davis (UCSC) for developing a computation model that takes advantage of human ability to reason and processing time of computers.
During my final year at VIT I had the opportunity to work with hundreds of student innovators as the co-lead of Creation Labs in our mission to build the library of affordable healthacre technologies.
I spent a summer as a research intern at the Laboratory of Computational Intelligence in UBC (Vancouver), where I was working on the collaborative control of a powered wheelchair as part of the Canadian Smart Powered Wheelchiar project
You can reach me at
email: karthikpaga (at)gmail (dot) com,
email: kpaga (at) andrew (dot) com (dot) edu
tel: (+1)<PHONE_NUMBER>
mail: 4000b Newell Simon Hall, The Robotics Institute, Carnegie Mellon University, Pittsburgh, PA, 15213 USA


Midnight in Savannah
(1997, seen on A&E on cable TV)
This two-hour documentary actually does the stories of Savannah much more justice than the theatrical release *Midnight in the Garden of Good and Evil*.
Two things make this documentary superior to the forementioned movie. First, the facts are much more interesting than their dramatization. Second, more facets of the book are covered than the movie does.
In real life, and in the book, the trial of Jim Williams was actually four trials that covered eight years. Apparently, no murder trail has gone four rounds. In the end, Williams gets off on a technicality, with legal maneuvers that blame the policework--the forerunner of the OJ Simpson defense.
We also get to see a variety of points of view. Not just the other real people behind the characters in the novel, but also other Savannah citizens and their opinion of the book that has put their town on the map and made it a tourism center. Many old-time Savannah residents resent the negative effects of schlocky gift shops and trolley-style tour buses running around the old part of town.
Also, the documentary also does a better job of showing how beautiful the old part of town is. One would have hoped Clint Eastwood would have shown more of this in the theatrical movie.
If you have a chance to see the documentary, do. It is a nice counterpart to the book, which is also worth experiencing.
More movie reviews by Seth Bookey, with graphics, can be found at http://www.geocities.com/Athens/2679/kino.html
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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Built for PNNL's Project 8 to determine the mass of a neutrino using a cyclotron and phased antenna array.
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"Fight Club" Review by Fontaine Lien WARNING: You do NOT want to know the ending to this movie. Stop reading NOW if you have NOT seen the movie yet!
Wow. Just when I thought all hope was lost for the fall movie season of 1999 (well, I had high hopes for "American Beauty" but my stupid friend ruined my plans by telling me the ending). "Fight Club" is a stylish, testosterone-charged look at the mind of a man gone haywire, complete with thought-provoking commentaries on modern society. I'm more appreciative now than ever that the folks who made the trailer did not leave any hints as to what the movie was really about; it would have ruined everything.
It starts with an explosion of sound and neurotransmissions and leads right into the conclusion of the film, like plunging us all into ice cold water without forewarning. Everything else is flashback from there. Without wasting any time at all we are introduced to the character of Jack (Edward Norton), a white-collar yuppie slowly wasting away due to insomnia. We're drowning in his poetic narrative and some of the best dialogue to come out of Brad Pitt in years. The scenes are like the ebb and flow of the tide; some are overwhelmingly powerful and some seem to exist for none other than stylistic reasons.  Shiftng out of focus and shivering. Freezing in place and moving abruptly forward. The "Matrix" and some other things. For example, I love the shot in the very beginning where camera moves down to the van parked in the basement. Impressive camerawork overall. The all-out effects delicately balanced out Norton's narrative, giving it just enough oomph but not taking effect away from it. I mentioned that Norton's voice-over was like poetry; in fact the entire film is Homeresque in its scale and beauty. It's not afraid to do things that haven't been done before, to laugh at itself with its twisted sense of humor (yes, it *is* very funny).
Pitt and Norton prove a superb duo (in a movie that is all about the interaction between Jack and Tyler); it's nice to see Pitt and Helena Bonham Carter throw away their images and throw themselves into their eccentric roles. Norton, however, holds up the bulk of the movie and proves that he earned that Oscar nomination. If "The People vs. Larry Flynt" and "Rounders" didn't make him a star, this movie will. Don't be fooled by Pitt's top billing. It's all about Ed this time.
One friend, deceived by the film's title (as I was), claimed that if he wanted to go see a film about men fighting, he'd see a Jean-Claude Van Damme movie. Well, as anyone who's see "Fight Club" can tell you; the "Fight" has nothing to do with the theme, at least not directly. Yes, there are a lot of fights, but all staged to illustrate a central theme. The beauty of "Fight Club" is when you look back, when the movie is winding down to a halt, at everything that happened, you realize that all parts coalasce to become a whole, and everything clicks into place. Without all of its individual parts the tale would not be whole. It's intriguing, and it makes you want to watch the entire movie again just to see its genius and foreshadowing at work. "The Sixth Sense," anyone (I haven't actually seen the movie yet, I just read an article in Entertainment Weekly :)? It's like one of those riddles that give you a crime scene and ask you to find out how the victim died.
I've heard the aforementioned EW doesn't like this movie. They say it's senselessly violent. I think they're missing the point. Yes, there is a lot of violence in this movie, and I wouldn't recommend it to young children; but is it senseless? Is the movie rendered pointless because in the end, we find out that Tyler never even existed? That he was just Jack's alter- ego in his fantasies? Some say by writing Jack into a lunatic you destroy the whole purpose of the movie. I say it only adds layers of meaning. It's about a man's struggle with his inner voice and his ideas that are being suffocated by upper-middle-class monotony. On the outside, his suits are crisp, clean, white as snow; his behavior impeccable, his choice in furniture excellent. Inside, as the film shows us, he is turbulent. And this is where the violence comes in. It is terrible, but it is definitely not senseless. It serves to illustrate a point, to develop Jack's character.
I cannot help but wonder, however, if the film wouldn't be better if it had just ended with Jack dying. That ending would've felt more in tune with the rest of the movie. This one feels fine too; I couldn't have asked for anything more beautiful and poignant.  In the end we're not only shaken by the look into our materalistic lives but we've also gotten a haunting and penetrating look into the mind of an "ordinary man."
Rating: A (First viewing, 10/23/99)
* The only reason I didn't give the movie an A+ is because they blew up Apple computers. Hey, stop snickering!
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Across: 1. I develop service which may cause the earth to move! (9 6) 9. A room we trash in testing place! (7) 10. Splash the cash for rubbish gulpers (7) 11. Zero decay around base of plant (4) 12. Fool returns carrying halter-top garment (5) 13. Belgian city expels hot fellow (4) 16. Controller may be inside (7) 17. Understood Italian director (7) 18. Present contents of perspex po under the bed (7) 21. Greek character left in gloom with scavenger (7) 23. Yes, run round quietly and see (4) 24. Clever sheep is seen back in street (5) 25. Make keen wrestler have extra training initially (4) 28. Speech about Ontario (7) 29. Drifting lilo carries you and I left into shaft! (3 4) 30. Are badly stunted services the result of this? (15) Down: 1. Delta King? (6 3 6) 2. Push for vehicle check at end of June (7) 3. Ruin does produce poems (4) 4. Confused when making paninis? (2 1 4) 5. Reduce sofa fee? (4 3) 6. Meatless local sausage cafe ends up with fish! (4) 7. Countryman in serial I rewrite (7) 8. Let Circe order pens and boilers (8 7) 14. Dawdle about, topless, in part of Kent (5) 15. Pleased with energy put into clearing (5) 19. Scandinavian father's trees? (7) 20. Evil mice nod off (7) 21. I get no stuff back from inventor (7) 22. Articles left inside with Lawrence Thrower, say (7) 26. Complain about storyteller (4) 27. Gel tube oddly contains gum (4)


A web application is a collection of all resources needed for an application to run in Nginious. This includes Java class files for generating dynamic content, XSP template pages and all static content like html, css and image files. A web application is bound to a base path so that any requests to a sub path of the base path is served by the web application.
A web application has a predefined directory structure which makes it possible for the server to distinguish between files and assign functionality to specific directories. The table below describes the web application layout.
| Name | Description |
| WEB-INF/classes | Contains compiled classes. |
| WebContent/WEB-INF/lib | Contains jar libraries with compiled classes. |
| WEB-INF/xsp | XSP templates. |
| WebContent/* | Any other directories created within the web application are regarded as static content and served as static content by the server. |
The table below includes the most important classes and annotations needed for developing dynamic functionality for web applications.
| Name | Description |
| Controller | Annotation for annotating a class as a controller. The annotation marks a class as willing to accept HTTP requests for a sub path. |
| Request | Annotation for annotating methods in a controller class. The annotation marks a method a willing to accept HTTP requests with a specific HTTP method. |
| Message | Annotation for annotating methods in a controller class. The annotation marks a method a willing to accept web socket operations. |
| HTTPRequest | Encapsulates all parts of a HTTP request. |
| HTTPResponse | Used to set all parts of a HTTP response to be sent to a client. |
| Service | Annotation for annotating a class as a service. The annotation marks a class as a service which publishes an API or runs threaded services in the background. See chapter 8. Services for more information. |
Nginious implements several mechanisms to detect class and resource changes in order to reload them. The main part of this functionality is a flexible class loader which reloads classes and jar files as soon as changes are detected. The server assigns a class loader to each published web application. The class loader is responsible for loading classes and resources from the web applications archive or directory structure.
The following table describes the actions taken by Nginious when changes are detected for resources.
| Name | Description |
| Controller | A controller class is reloaded on the first request to the controller if the class file has been modified. Any serializer or deserializer classes used by the controller are discarded and recreated. See the 6. RESTful controllers chapter for more information about serializer and deserializer classes. |
| Service | A service class is reloaded when accessed if the class file has been modified. |
| Java classes | Java classes are reloaded by the class loader on the next creation of an instance of the class and the class file has been modified. |
| Jar libraries | A jar library is reloaded by the class loader on the next creation of an instance of a class in the Jar library of the Jar file has been modified. |
| XSP templates | If a XSP template file is modified it is parsed and recompiled by the server the next time it is invoked. |
Controllers are arbitrary classes which are annotated with the Controller annotation. They provide the main building block for handling dynamic content in web applications. There is no need to inherit from any specific base class or implement any specific interface for controllers like in servlet based systems. Instead controller classes are inspected runtime where annotations define how controller methods should be called.
A controller is mapped to a path and handles requests from HTTP clients and messages from web socket clients. This includes all the
main HTTP methods, GET
, POST
, PUT
and DELETE
as well as all web socket operations.
Below is an example controller class which implements a doGet
method to handle HTTP GET
method requests to
the path /example/controller
from clients.
@Controller(path = "/example/controller")
public class ExampleController {
@Request(methods = { HttpMethod.GET })
public void doGet(HttpRequest req, HttpResponse resp) throws HttpException, IOException {
resp.setContentType("text/plain");
resp.setCharacterEncoding("utf-8");
resp.setContentLength(13);
PrintWriter writer = resp.getWriter();
writer.println("Hello world!");
}
}
Controller methods can be divided into three categories
| Category | Description |
| HTTP |
Methods for handling HTTP requests. These are methods which are annotated with the
Request annotation where the
methods attribute contains one or more of the values HttpMethod.GET ,
HttpMethod.POST , HttpMethod.PUT and HttpMethod.DELETE .
See section 5.6 HTTP controller methods for additional information.
|
| REST | Methods for handling HTTP requests with added REST semantics. These methods are annotated in the same way as methods handling pure HTTP requests with the addition that they either take one bean object as argument or return a bean object as argument which is annotated with the Serializable annotation. See chapter 6. RESTful controllers for additional information. |
| WebSocket |
Methods which handle web socket sessions and messages. These methods are annotated with the
Message annotation where the
operations attribute contains one ore more of the value WebSocketOperation.OPEN ,
WebSocketOperation.CLOSE , WebSocketOperation.TEXT and WebSocketOperation.BINARY .
See chapter 7. WebSocket controllers for additional information.
|
The following is a list of possible method annotations for controller methods that handle HTTP requests.
| Type | Description |
| HTTP GET |
A method with any name which is annotated with the Request
annotation where the methods attribute contains the value HttpMethod.GET . The method will be called
for every HTTP GET request to the path that the controller is bound to.
|
| HTTP POST |
A method with any name which is annotated with the Request
annotation where the methods attribute contains the value HttpMethod.POST . The method will be called
for every HTTP POST request to the path that the controller is bound to.
|
| HTTP PUT |
A method with any name which is annotated with the Request
annotation where the methods attribute contains the value HttpMethod.PUT . The method will be called
for every HTTP PUT request to the path that the controller is bound to.
|
| HTTP DELETE |
A method with any name which is annotated with the Request
annotation where the methods attribute contains the value HttpMethod.DELETE . The method will be called
for every HTTP DELETE request to the path that the controller is bound to.
|
The rules for controller methods that handle HTTP requests are flexible since controllers are inspected runtime where rules are constructed for how to call each controller method with the correct parameters. This is possible since controllers don't inherit from any base class or implement any specific interface. Below is a table that the describes the possible parameter and return types.
The following is a list of parameter types that a controller method can accept
| Parameter type | Description |
| HttpRequest | An instance of HttpRequest used for accessing information about the HTTP request. |
| HttpResponse | An instance of HttpResponse used for constructing a HTTP response to the client. |
| HttpSession | An instance of HttpSession. If a session does not exist one is created. |
| Service | Any object annotated with the Service annotation. |
| java.lang.Boolean | boolean | A boolean object or primitive type annotated with the Parameter annotation. The parameter annotation maps the method parameter to a HTTP request parameter. |
| java.lang.Byte | byte | A byte object or primitive type annotated with the Parameter annotation. The parameter annotation maps the method parameter to a HTTP request parameter. |
| java.lang.Short | short | A short object or primitive type annotated with the Parameter annotation. The parameter annotation maps the method parameter to a HTTP request parameter. |
| java.lang.Integer | int | An integer object or primitive type annotated with the Parameter annotation. The parameter annotation maps the method parameter to a HTTP request parameter. |
| java.lang.Long | long | A long object or primitive type annotated with the Parameter annotation. The parameter annotation maps the method parameter to a HTTP request parameter. |
| java.lang.Float | float | A float object or primitive type annotated with the Parameter annotation. The parameter annotation maps the method parameter to a HTTP request parameter. |
| java.lang.Double | double | A double object or primitive type annotated with the Parameter annotation. The parameter annotation maps the method parameter to a HTTP request parameter. |
The following is a list of return types that a controller method can return
| Return type | Description |
| String |
A controller method can return a string whereby it is inspected. If the string is a path that ends with
.xsp it is intepreted as a dispatch to a XSP page. Otherwise the string is added as content
to a HTTP response with content type text/plain and sent in the response.
|
| void |
If a controller method does not return anything it is responsible to add any response it wants to send
to a client through a HttpResponse instance which it may accept as a parameter.
|
Web applications get the same name and base path as the web application archive file name or directory
once published. The exception to this rule are web application archives with name root.war
or web application directories with name root/
. These are mapped to the root base path. The
table below provides some examples of names and base paths.
| File/directory name | Name | Base path | Description |
| test.war | test | /test |
A web application archive with file name test.war is named test and mapped to
the /test base path.
|
| example/ | example | /example |
A web application directory with name example/ is named example and mapped to
the /example base path.
|
| root.war | root | / |
A web application archive with file name root.war is named root and mapped to
the / base path.
|
There are several ways in which a web application can be published.


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maniksinghsethi/translation_check.py
Great job. Please see my comments below.
"""
@author: Manik Singh Sethi
help recieved from Joey Maalouf
"""
import pickle
import unicodedata
from pattern.web import *
import difflib
import os.path
cantosE = [] #initialize lists for use in later functions
cantosInEn = [] #initialize lists for use in later functions - will store english formatted
translatedcopy = [] #will hold translated copy
input_file_I = open('DC_Orig_Italian','r') #load up italian version
DC_Original_I = pickle.load(input_file_I)
input_file_E = open('DC_Orig_English','r') #load up english version
DC_Original_E = pickle.load(input_file_E)
abridged_DC_E = DC_Original_E[DC_Original_E.find("is by Giotto.")+20:] #remove excess
abridged_DC_E = abridged_DC_E[:abridged_DC_E.find("INDEX ")]
abridged_DC_I = DC_Original_I[DC_Original_I.find("Al Haines.")+20:] #remove excess, format accented characters for use
abridged_DC_I = abridged_DC_I[:abridged_DC_I.find("PURGATORIO")-20]
abridged_DC_I = unicode(abridged_DC_I, "UTF-8")
abridged_DC_I = unicodedata.normalize('NFD', abridged_DC_I).encode('ascii', 'ignore')
It's generally poor form to perform functionality outside of functions because it'll run on load no matter where you load this file from. This sort of thing should happen in the if __name__ == "__main__" block. This sort of preprocessing can also happen in a different script.
combinecount = 0
fulltext = []
def prelimInfo():
'''
This function serves almost as a main function so key processes are run from here.
This includes calls to reformatting the english version and translating the Italian version
'''
Elist = [abridged_DC_E, abridged_DC_E.find("In middle[160]"),abridged_DC_E.find("It was the close"), abridged_DC_E.find("Through me to"), abridged_DC_E.find(" Resounding thunder broke"),
abridged_DC_E.find("From the First Circle"), abridged_DC_E.find("When I regained"), abridged_DC_E.find("Pape Satan"), abridged_DC_E.find("I say, continuing"), abridged_DC_E.find("The hue which cowardice"),
abridged_DC_E.find("And now advance"), abridged_DC_E.find("We at the margin"), abridged_DC_E.find("The place of our"), abridged_DC_E.find("Ere Nessus landed"), abridged_DC_E.find("Me of my native place"), abridged_DC_E.find("Now lies[454"), abridged_DC_E.find("Now could I hear the water"),
abridged_DC_E.find("'Behold the monster"), abridged_DC_E.find(" Of iron colour,"), abridged_DC_E.find("O Simon Magus!"), abridged_DC_E.find("Now of new torment must my"), abridged_DC_E.find("Conversing still from bridge"), abridged_DC_E.find("Horsemen I've seen in"), abridged_DC_E.find("Silent, alone, not now"), abridged_DC_E.find("In season of the"),
abridged_DC_E.find("The robber,"), abridged_DC_E.find("Rejoice, O Florence"), abridged_DC_E.find("Now, having first"), abridged_DC_E.find("Could any, even"), abridged_DC_E.find("The many folk and wounds"),
abridged_DC_E.find("Because of Semele"), abridged_DC_E.find("The very tongue that"), abridged_DC_E.find("Had I sonorous rough"), abridged_DC_E.find("His mouth uplifting"), abridged_DC_E.find("Towards where we are")]
#create the start of each canto and gives the abridged text
There must be a better way to write this. Notice you are calling the same functions over and over again. Use a simple list of strings and maybe a mapping function to perform the function to everything in the list. That way the code is more readable.
Ilist = [abridged_DC_I, abridged_DC_I.find("Nel mezzo del cammin"),abridged_DC_I.find("Lo giorno"), abridged_DC_I.find("Per me si va ne"), abridged_DC_I.find("Ruppemi lalto sonno"),
abridged_DC_I.find("Cosi discesi del cerchio"), abridged_DC_I.find("Al tornar de la"), abridged_DC_I.find("Pape Satan"), abridged_DC_I.find("Io dico, seguitando"), abridged_DC_I.find("Quel color che"),
abridged_DC_I.find("Ora sen va per un"), abridged_DC_I.find("In su lestremita"), abridged_DC_I.find("Era lo loco"), abridged_DC_I.find("Non era ancor di"), abridged_DC_I.find("Poi che la carita"),
abridged_DC_I.find("Ora cen porta"), abridged_DC_I.find("Gia era in loco onde"), abridged_DC_I.find("Ecco la fiera con"), abridged_DC_I.find("Luogo"), abridged_DC_I.find("O Simon mago"),
abridged_DC_I.find("Di nova pena mi"), abridged_DC_I.find("Di nova pena mi conven"), abridged_DC_I.find("Cosi di ponte in"), abridged_DC_I.find("Io vidi gi"), abridged_DC_I.find("Taciti, soli"),
abridged_DC_I.find("In quella parte del"), abridged_DC_I.find("Al fine de le"), abridged_DC_I.find("Godi, Fiorenza, poi"), abridged_DC_I.find("Gia era dritta in"), abridged_DC_I.find("Chi poria mai pur"),
abridged_DC_I.find("La molta gente e"), abridged_DC_I.find("Nel tempo che Iunone"), abridged_DC_I.find("Una medesma lingua"), abridged_DC_I.find("Sio avessi le rime aspre"), abridged_DC_I.find("La bocca sollev"), abridged_DC_I.find("Vexilla regis prodeunt")]
#create the start of each canto and gives the abridged text
officialenglishversion = makeListofCantos(Elist) #creates english version for analysis
accessiblesentances = makeListofCantos(Ilist) #allows sentances in cantos to be accessed individually
if os.path.exists('TranslatedItalian'): #check if a file already exists with the translated italian text
f = open('TranslatedItalian', 'r')
finalItalian = f.read() #if there is, use that file
f.close()
else: #if not, make go through the process to make a file with the translated text
translated = translate(accessiblesentances) #call to translate the sentances individually
finalItalian = combinestrings(translated)
f = open('TranslatedItalian', 'w')
f.write(finalItalian)
f.close()
officialenglishversion = combinestrings(officialenglishversion) #have the english version as one long string
print finalItalian
print officialenglishversion
print compare(finalItalian, officialenglishversion)
Usually, you also want to store the results somewhere. Future use / archival purposes
def compare(Italian, English):
'''
compares the two strings too each other and returns a metric between 0 and 1 where 0 is nothing alike and 1 is the exact same text
function found from http://avrilomics.blogspot.com/2014/01/calculating-similarity-measure-for-two.html
'''
score = difflib.SequenceMatcher(None, Italian, English).ratio()
return score
def combinestrings(listname):
'''
combine the list of lists of strings or list of strings into oen long sting for comparision
'''
if len(listname[0][0]) > 1: #checks if there is a string or list in the primary list. If the latter case, there will be a full word in the first index
for cantos in xrange(0, len(listname)):
listname[cantos] = ' '.join(listname[cantos]) #join together the lists in the list so there is a list of strings overall
listname = '. '.join(listname) #join all the strings together to one string. add a period to differentiate sentences
else:
listname = ' '.join(listname) #join the list of strings in english to be a long string
return listname
def SendtoList(DC_Original, start):
'''
takes in the full Italian text and each start point to remove any special formatting or characters and stores as sentances
note: canto variable could better be named "sentance"
'''
Canto = DC_Original[start:] #each start is given
if Canto == DC_Original[184684:]: #in special case - last case, the word Canto is not used immediately
end = Canto.find("PURGATORIO")-2
else:
end = Canto.find("Inferno Canto")-2 #otherwise, Inferno Canto is between canto
Canto = Canto[:end]
Canto = " ".join(Canto.split("\r\n")) #remove escapes
Canto = " ".join(Canto.split()) #add spaces
Canto = "".join([c for c in list(Canto) if c.isalpha() or c == " " or c == "."]) #remove anything but alphabet, space, and periods
Canto = Canto.replace(" ", "%20") #format for url use
Canto = Canto.replace(".", "%2E") #format for url use
Canto = Canto.split("%2E") #split into sentances
Using the same variable name is generally bad form. Variable names should help reader infer what the data being stored is. If it's so mutable, things become hard to read. You can string a lot of these functionalities together.
cantosE.append(Canto) #creat list of sentances
return cantosE
def formattingEn(DC_Original, start):
'''
removes special characters, makes easier comprehension
'''
Canto = DC_Original[start:] #defined start
end = Canto.find("FOOTNOTES") - 2 #at end of each canto
Canto = Canto[:end]
Canto = " ".join(Canto.split("\r\n")) #remove escapes
Canto = " ".join(Canto.split())
Canto = "".join([c for c in list(Canto) if c.isalpha() or c == " " or c == "."]) #remove anything but alphabet, space, and periods
cantosInEn.append(Canto)
return cantosInEn
def makeListofCantos(listed):
'''
determines which function is used depending on language
'''
if listed[0] == abridged_DC_I: #if italian version -
for i in range(1, len(listed)): #send each canto to SendtoListfunction
ans = SendtoList(listed[0], listed[i])
else: #else if english
for i in range(1, len(listed)): #send each canto to formattingEn function
ans = formattingEn(listed[0], listed[i])
return ans
def translate(cantos):
'''
Calls to website API to make translations sentance by sentance
input is full text split into formatted sentances
note: website cannot take in full canto at a time. must go sentance by sentance
'''
translatedcopy = [] #create destination
for numbercantos in range(0, len(cantos)): #access each canto
translatedsentences = [] #temp destination
for numsentances in range(0, len(cantos[numbercantos])): #access each sentance of each canto
sentence = cantos[numbercantos][numsentances] #creates url accessable end to link
standardurl = "https://translate.googleapis.com/translate_a/single?client=gtx&sl=it&tl=en&dt=t&q=" #standard link to translate from it to en
urltostranslate = standardurl + sentence #creat full URL
s = URL(urltostranslate).download() #returns form [[["target text, source text"]],target language]
s = s[4:] #take start of target text
s = s[:s.find("\"")] #stop at end of target text
s = unicode(s, "UTF-8") #format url unicode
s = unicodedata.normalize('NFD', s).encode('ascii', 'ignore') #use standard alphabet for analysis
translatedsentences.append(s) #add each sentance together
translatedcopy.append(translatedsentences) #add each canto together
return translatedcopy
if __name__ == '__main__':
prelimInfo()
It's good practice to run script in if __name__ == "__main__": blocks


JavaScript functions are defined with the function keyword.
You can use a function declaration or a function expression.
Earlier in this tutorial, you learned that functions are declared with the following syntax:
Declared functions are not executed immediately. They are "saved for later use", and will be executed later, when they are invoked (called upon).
|
Semicolons are used to separate executable JavaScript statements. Since a function declaration is not an executable statement, it is not common to end it with a semicolon. |
A JavaScript function can also be defined using an expression.
A function expression can be stored in a variable:
After a function expression has been stored in a variable, the variable can be used as a function:
The function above is actually an anonymous function (a function without a name).
Functions stored in variables do not need function names. They are always invoked (called) using the variable name.
| The function above ends with a semicolon because it is a part of an executable statement. |
As you have seen in the previous examples, JavaScript functions are defined with the function keyword.
Functions can also be defined with a built-in JavaScript function constructor called Function().
You actually don't have to use the function constructor. The example above is the same as writing:
| Most of the time, you can avoid using the new keyword in JavaScript. |
Earlier in this tutorial, you learned about "hoisting".
Hoisting is JavaScript's default behavior of moving declarations to the top of the current scope.
Hoisting applies to variable declarations and to function declarations.
Because of this, JavaScript functions can be called before they are declared:
Functions defined using an expression are not hoisted.
Function expressions can be made "self-invoking".
A self-invoking expression is invoked (started) automatically, without being called.
Function expressions will execute automatically if the expression is followed by ().
You cannot self-invoke a function declaration.
You have to add parentheses around the function to indicate that it is a function expression:
The function above is actually an anonymous self-invoking function (function without name).
JavaScript functions can be used as values:
JavaScript functions can be used in expressions:
The typeof operator in JavaScript returns "function" for functions.
But, JavaScript functions can best be described as objects.
JavaScript functions have both properties and methods.
The arguments.length property returns the number of arguments received when the function was invoked:
The toString() method returns the function as a string:
|
A function defined as the property of an object, is called a method to the object. A function designed to create new objects, is called an object constructor. |


PARAGRAPHS AND LINE BREAKS
aaa
aaa
bbb
aa*aa*
*bbb*
aaa
# heading #
aaa
aaa
heading
aaa
line break
line break 2
paragraph contd
This should not be surrounded in p
Neither should this
but this should
LISTS
Not lists
-a
1.a
Single element lists (aaa in between) -
- a
aaa
- a
aaa
- a
aaa
+ a
aaa
* a
aaa
1. a
Multi-element lists (aaa in between)
- a
- b
- c
aaa
- a
* b
+ c
aaa
1. a
2. b
3. c
aaa
4. a
4. b
4. c
aaa
* This item
goes over multiple lines
* This doesn't
aaa
* This item
goes over multiple lines and has a hanging indent
* and this item
has a tabbed hanging indent and two spaces
aaa
- a
- b
bbb
- c
BLOCKQUOTES
Single line quotes
>a
end
>a
end
> a
Multi-line quotes
> a
> a
> a
end
> a
a
a
end
> a
>
> a
Quotes with extra stuff
> *a*
end
> ### h3 ###
end
> > > triple nested blockquote
end
> code block in blockquote
CODE BLOCKS
The following should be code blocks of one line
a
end
b
These should be multiline
a
b
end
a
b
end
a
b
end
a
b
This one should have a space in it
a
b
These special characters should not be expanded or double-quoted
*a*
__a__
# a #
aaaa
----
\*a\*
This HTML should be escaped
A&B


{# If 'possible_queries' is empty, show that no queries exist to unsubscribe from #}
{% if possible_queries|length > 0 %}
{# Loop possible queries, insert into table: english query | check box #}
query
type
unsubscribe
{% for english_query, query_type, qhash in possible_queries %}


Tap/Click when you are ready to race,
then tap again when the lights go out.
Your Response Time
00.000
sec
JUMPSTART!
Your Best Time:
-


Philadelphia man allegedly used 11-month-old son as human shield during shooting
by Morgan PhillipsThe father of an 11-month-old son in Philadelphia has been charged with recklessly endangering a child after he allegedly used the boy as a human shield against gunfire, according to prosecutors.
The toddler, Yaseem Munir Jenkins, was shot four times including once in the head and taken to the hospital in critical condition on Oct. 19.
Authorities said the boy was in the back of a car along with his father, Nafes Monroe, his stepmother and another man when shots rang out. They said Monroe was using his son as a human shield to thwart off a potential upset drug dealer, according to 6 ABC.
“He was using counterfeit money to purchase drugs, knowing that counterfeit money is something that is very upsetting to drug dealers, and when they find out that they're being burned with counterfeit money, they act violently,” Anthony Voci with the district attorney’s office told 6 ABC.
CALIFORNIA WOMAN CLAIMS HOMELESS MAN DUMPED BUCKET OF HOT FECES ON HER HEAD
"It's our belief and our investigation has led us to believe that he intentionally had his child with him when he was making such types of purposes purchases with the idea or belief that if someone saw that he had a child in the car that they would not fire upon him," Voci added. "A human shield is probably the term that I would use."
PHILADELPHIA DANCE STUDIO OFFERS FATHER-DAUGHTER BALLET DANCING
Investigators said he drove his son who’d been shot to a house before taking him to the hospital. Voci said Monroe then “dropped his child off at the hospital and never looked back."
As of Tuesday, the child was still fighting for his life.
A suspect has been taken into custody but no charges have yet been filed.
CLICK HERE FOR THE FOX NEWS APP
Last month, a family spokesperson released a statement to 6 ABC on behalf of Yaseem's mother:
"My son is fighting for his life and it is not fair. He's innocent, so precious, and his smile will brighten up anyone's day. He's such a bubbly kid. So loving and lovable. How could anyone be so heartless! Please do the right thing and help us find some form of closure or answers in this tragic situation. Help us find the shooter. I can't eat or sleep. I need justice for my baby...For the coward who did this to him, you will pay, even if it not today or tomorrow. God will handle you accordingly."


Enter the filenames of the uploaded files to scan as top level modules, represented as a comma-separated list of ant-style include patterns such that '*' matches 0 or more characters and '?' matches exactly 1 character.
Patterns are case-sensitive. Patterns that include commas because they denote filenames that contain commas need to replace the commas with a wildcard character.
Because the matching is performed based only on filename, it is incorrect to use patterns that include path separators ('\' or '/').
If no filenames are provided, all uploaded files are included as top level modules.


Left hand LED = Pressure Falling; Right Hand LED = Pressure Rising; Centre LED = Pressure Steady
All three LEDs illuminated = Mood Mode
All three LEDs flashing = Calibration Failure
Local Altitude (meters):


Art of G-Man
Applications
Digital Showcase
Practical Showcase
Photography
Contact
Previous
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Mountain Troll
Mudbox, Mental Ray, Photoshop


SentryCorp, Ltd., a Delaware corporation, was formed in 1995 by insurance professionals Georgia H. Massey and the late Virginia "Ginny" Alexander. The company was created to respond to the wishes of our clients to have their group insurance trusts handled by a company that truly understood the principles of being a group insurance trust trustee.
Over the years, our business has successfully grown because we have stayed true to our sole purpose: acting as a trustee for various group life, health and annuity insurance trusts known as dry trusts.
Unlike banks or other trustee service providers, which may offer group insurance trust services as a side business, our focus is not diluted among many different categories of services. In fact, banks would come to us to teach them about group insurance trustee services!
Instead, our entire business is focused on providing you with the most experience in the area of multiemployer and group insurance trustee services, at low cost.
This single-minded business mission, along with our expertise and experience in group insurance trust services, means that you don't have to waste precious time and money to establish a trust relationship with a bank or other bureaucratic fiduciary entity. More importantly, your trust will not be compromised by people who may not know what they're doing.
Trust your trust with SentryCorp now


Is it Secure?
September 26, 2015 · 6 minute read · CommentsQ: Is it secure?
A: No it is not. Security is never binary.
Q: OK, how secure is it?
A: It seems like you just asked that question.
Q: No, the first question was if it’s secure, the second question was how secure is it.
A: Well now that wasn’t even a question at all.
There is no such thing as perfect security
Most information security practitioners do a poor job explaining the relative nature of security. Secure relative to what? A bot that looks for un-patched systems? A determined hacker? A nation-state?
Security is a “scale of difficulty” – like mountain climbing. Everest was thought to be unclimbable until Sir Edmund Hillary did it. Everest was finally tackled by a massive expedition with enormous resources. The 1953 expedition totaled over 400 people, including 362 porters, 20 Sherpa guides and 10,000 lbs of baggage. It was analogous to a military assault.
Given enough time and resources any security can be defeated. The main goal of security is to raise the time and resources required to an unreasonable level. But how do you really know how secure something is?
Like mountain climbing, security can and should be rated/evaluated based on actual experience. Also like mountain climbing there are initial conditions that indicate a “tough climb” or an easy one.
Conditions for high security levels
- The technology is widely deployed/adopted. Note that being widely deployed does NOT mean the technology is secure (Windows XP was widely deployed). It simply means that we are more likely to have lots of data about its security performance. The more opportunities and incentives for attack will give us more data, which increases our confidence of it’s “rating”.
- The technology or system is attacked frequently with great intensity. Ideally because of being widely deployed, it would be used is places that expose it to attack. Ideally those attacks are unrelenting. This also increases our data about its security performance.
- The technology is simple to install and configure. Many supposedly “secure” systems are dependent on how they are installed, or post-install “hardening”. Systems and technologies must be “secure by default” when installed and easily installed properly by non-specialists.
- Open code base. An open code base allows for infinitely many sets of eyes to review the code, and infinitely many developers to fix any vulnerabilities found. Open code bases do NOT mean the code is secure. However, there are generally fewer issues, and when issues are found they are addressed faster. They also tend to be widely deployed and tend to be less complex to install and maintain.
- Bug Bounty Program. Public, open Bug Bounty Programs encourage vulnerability research in a responsible manner. As an economist by training I believe when the rewards for good behavior are there you tend to get good behavior. If not, only bad behavior is rewarded.
Conditions for low security levels
- Not widely deployed The less widely the technology is deployed and used the fewer opportunities we have to gather good data about it’s security profile.
- Not frequently attacked, or successful attacks are generally not disclosed. This goes hand in glove with the above point. One issue with vendor sofware used in specialized applications within companies is that successful attacks may not be recognized/known, and/or they may not be disclosed. This gives us low information quality about the actual security performance.
- Difficult to install and configure properly. ERP applications such as SAP are notoriously complex and difficult to install. The database has over 70,000 tables excluding Y and Z tables, the overall system takes days to setup by highly trained specialists. The attack surface is quite large. SAP may not be a good example because security is good by default and we rarely hear about successful breaches - but the risk in the complexity is real.
- Closed code base If you have to ask your vendor “is it secure?” then it’s not. Security isn’t something you can provide an answer to unless you’re selling snake oil. If the vendor says: “It’s secure. We did not put in any back doors. We audited the code ourselves. There are not any kernel level hacks, root kits, or otherwise. This has been tested against a variety of anti-virus scanners and none of them flagged anything. We’re very good. Please, please trust us.” then you should know that they are telling you what you want, or need to hear. You could read the WinXP pamphlet on security back when it was released and it had endless bullet points about how secure it was. It was probably the least secure software in the history of computing based on actual attacks after the fact.
It’s secure… until it’s not
In the 1770s Joseph Bramah created a lock that was vastly superior to any the world ever seen. Bramah believed it was 100% theft-proof. Bramah was so confident in his design that he published a pamphlet detailing exactly how it worked and he put it in the window of his London storefront, and painted on it a challenge:
“The artist who can make an instrument that will pick or open this lock shall receive 200 Guineas the moment it is produced.”
Then Jeremiah Chubb created the Chubb detector lock. The way Chubb’s lock worked was that if a lock picker tried to lift one of the tumblers up too high, a latching mechanism would trigger, causing the lock to seize up. When that happened, even the key wouldn’t open the lock. To reset the lock, the owner would have to put in a different key and rotate it in the opposite direction to reset the tumblers.
Thus, if lock owners went to unlock a chest, or a vault, or a front door, and found that their key didn’t work, they would know that someone had tried to get in—and that they had failed.
For 70 years, the names Chubb and Bramah meant “perfect security”.
In 1851, London was hosting The Great Exhibition—the first international exhibition of manufactured products. One of the attendees was A. C. Hobbs, an American locksmith. Back in the states, Hobbs had made a name for himself by showing bank managers that their locks could be easily picked, and convincing them to buy one of his. Hobbs was selling lots of locks.
On day one of the exhibition, Hobbs publicly announced that he would pick the Chubb detector lock — the one that stops working if you pick it incorrectly. It took Hobbs about 25 minutes. And the way Hobbs did it was to use the lock against itself. He would pick it until he tripped the detector mechanism, causing the lock to seize up. That would give Hobbs information about how it worked, and then he would pick the lock in the opposite direction to reset the detector. He’d go back and forth firing and resetting the detector until the lock told him everything he needed to know about how to get it open.
But the Chubb detector lock was really just a warm up. The main event was the Bramah safety lock—the one with the challenge painted on it in gold lettering, which had been sitting Bramah’s storefront window for 70 years, unbeaten.
After working on the lock for about 52 hours over the course of fourteen days, Hobbs opened it.
Overnight, the feeling of perfect security had evaporated.


Every Cameo in Death Stranding
by Keana Aguila LabraWARNING: The following article contains spoilers for Death Stranding.
Death Stranding is the latest game from cult creator, Hideo Kojima, and while its reception is receiving mixed reviews, players are picking up the game to make this decision for themselves. As well as its peculiar premise, another big draw is the celebrity cameos that appear in holographic form that can be found hidden throughout Death Stranding.
Actor Norman Reedus plays Sam, a porter and the main protagonist of Death Stranding, making him less of a footnote -- as the entries on this list are -- and more of the face of the entire game. Reedus is primarily known for his role as Daryl Dixon in The Walking Dead TV series, and he isn't the only Hollywood star in this game. It was previously hinted that writer/director, Guillermo del Toro, and actor, Mads Mikkelson would join Reedus as castmates in Death Stranding, and this rumor has turned out to be true. Del Toro's likeness is used for a character called Deadman due to his creepy Frankenstein connection, while Mikkelson plays Clifford Unger, one of the game's mysterious antagonists.
The other, mostly lesser-known, celebrities who have lent their likeness to Death Stranding make for interesting Easter eggs and their presence adds a layer to the existing complexity of the game. If you were on the fence about purchasing a copy of Death Stranding, perhaps these cameos will help seal the deal.
CONAN O'BRIEN
One of the few celebrities to voice himself within the game is Conan O’Brien, the comedian and talk show host, who happily greets Sam (with an otter beanie, no less, which he acknowledges). "I know what you're thinking: is that an otter on my head, or am I just happy to see you?"
EDGAR WRIGHT
Edgar Wright is a director known for cult films like, Baby Driver, Scott Pilgrim vs. The World and Shaun of the Dead. He can be found south of Lake Knot City at the Distribution Center. He approves of the delivery, stating the cargo looks "good as new."
GEOFF KEIGHLEY
Geoff Keighley is known within the gaming industry as a show and event host. Keighley recently had the unique task of announcing himself as a nominee for the 2019 Game Awards. In the game, he can be found in the Eastern Region west of the Capital Knot City. He praises Sam stating, "you had to go above and beyond."
DAICHI MIURA
Daichi Miura, a Japanese musician -- whose work you might recognize from Dragon Ball Super: Broly -- can be found west of Capital Knot City as a prepper called, The Musician, in the Distribution Center. He greets Sam casually, calling him: "Sam, my man."
HERMAN HULST
Herman Hulst, previously the managing director of Guerrilla Games and now the head of Playstation Worldwide Studios, acknowledges Sam softly at first, with, "oh, it’s you," before transitioning to disbelief, "Cargo's in mint condition.  He can be found southwest of Lake Knot City in the Central Region as the Craftsman.
ERROLSON HUGH
Errolson Hugh, the fashion designer behind the clothing brand, ACRONYM, thanks Sam, and asks incredulously, "But seriously, what’s your secret?" He is a UCA medic located at the Weather Station.
JORDAN VOGT-ROBERTS
Jordan Vogt-Roberts, who directed The Kings of Summer and Kong: Skull Island, also praises Sam for his "Excellent work.” Vogt-Roberts is currently coordinating with Kojima in the creation of a Metal Gear Solid film. He can be found as the Film Director south of Lake Knot City at the Distribution Center.
HIROKAZU HAMAMURA
Hirokazu Hamamura, the previous Editor-In-Chief of Japanese gamer's magazine, Famitsu, calls Sam a "legend among porters." He is located south of Lake Knot City in the Distribution Center as the Collector.
JUNJI ITO
Junji Ito, a horror mangaka best known the manga, Uzumaki, asks in disbelief, "You carried all this by yourself?” He is an Engineer in the Central Region.
MANABU MAKIME
Manabu Makime, an award-winning novelist, whose work has frequently been adapted for TV and film, judges Sam's delivery as "better than good" in his cameo.
TOMMY WIRKOLA
Tommy Wirkola, a film director known for Dead Snow and Hansel and Gretel, states it's his "lucky day" receiving the cargo from Sam.
SAM LAKE
Sam Lake, a Game Writer for Remedy, the games company best known for Max Pain, echoes Hamamura, stating, "the legend sure does deliver."
Created by Hideo Kojima, Death Stranding is developed by Kojima Productions and published by Sony. The game stars Norman Reedus, Mads Mikkelsen, Lea Seydoux, Margaret Qualley, Guillermo Del Toro, Nicolas Winding Refn, Tommie Earl Jenkins, Troy Baker and Lindsay Wagner, available now on PlayStation.
https://schema.orgBreadcrumbListListItem1Homehttps://www.cbr.com/ListItem2Video Gameshttps://www.cbr.com/category/video-game/ListItem3Every Cameo in Death Strandinghttps://www.cbr.com/every-cameo-in-death-stranding/


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psychopy.iohub
- ioHub event monitoring framework¶ioHub monitors for device events in parallel with the PsychoPy experiment execution by running in a separate process than the main PsychoPy script. This means, for instance, that keyboard and mouse event timing is not quantized by the rate at which the window.swap() method is called.
ioHub reports device events to the PsychoPy experiment runtime as they occur. Optionally, events can be saved to a HDF5 file.
All iohub events are timestamped using the PsychoPy global time base (psychopy.core.getTime()). Events can be accessed as a device independent event stream, or from a specific device of interest.
A comprehensive set of examples that each use at least one of the iohub devices is available in the psychopy/demos/coder/iohub folder.
Note
This documentation is in very early stages of being written. Many sections regarding device usage details are simply placeholders. For information on devices or functionality that has not yet been migrated to the psychopy documentation, please visit the somewhat outdated original ioHub doc’s.


(just another timm tool)
home | discuss | report bug
Returns True if two lists of numbers are different by only a trivially small amount.
This is a non-parametric effect size test. Computes the probability that list2 has smaller
or larger numbers than list1. Two lists are the same if that probability is less
tha some trivial
amount.
The size of trivial
can be adjusted by an optional third argument.
The following values for this argument are recommented:
Romano, Jeanine, et al. Exploring methods for evaluating group differences on the NSSE and other surveys: Are the t-test and Cohen's d indices the most appropriate choices, Annual meeting of the Southern Association for Institutional Research. 2006.
This example compare two lists that differ by an ever growing amont. Note that, until we starting adding more than about 1.5, the two lists are deemed to be the same.
from cliffsDelta import cliffsDelta
from random import random as r
#
base = [r()*10 for _ in range(30)]
print([round(x,4) for x in sorted(base)])
for n in range(1,8,1):
other = [x+ (r()*n/2) for x in base]
print(n/2,
cliffsDelta(base, other))
# output
[0.0211, 0.2545, 0.2835, 0.2904, 0.3059, 0.9386,
1.3436, 2.166, 2.2169, 2.2876, 2.5507, 3.812,
4.2212, 4.3277, 4.3789, 4.4539, 4.4949, 4.9544,
4.9581, 5.4141, 6.5159, 7.2154, 7.6228, 7.6377,
7.8872, 8.3577, 8.4743, 9.0143, 9.3915, 9.4527]
0.5 True
1.0 True
1.5 False # <=== first time we see a difference.
2.0 False
2.5 False
3.0 False
3.5 False
Returns True
if two lists of numbers are similar.
def cd(lst1,lst2, trivial=0.147, fast=True):
This file includes a simple (and slow) version of cliffsDelta plus a trickier (and faster) one that takes advantage of sorted lists and repeated values.
As shown by the _fastWorks function (in the test file):
f = optimized if fast else basic
lt,gt,n = f(lst1,lst2)
return (abs(gt-lt) / (n + 1e-32)) < trivial
Method #1: simple, slow. Shows the basic idea.
def basic(lst1,lst2):
lt=gt=n=0
for x in lst1:
for y in lst2:
n += 1
if x > y: gt +=1
if x < y: lt +=1
return lt,gt,n
Method #2: trickier, much faster method. Not novice friendly. Exploits sorted lists, repeated values.
def optimized(lst1,lst2):
m, n = len(lst1), len(lst2)
lst2 = sorted(lst2)
j = gt = lt = 0
for repeats,x in runs(sorted(lst1)):
while j <= (n - 1) and lst2[j] < x:
j += 1
gt += j*repeats
while j <= (n - 1) and lst2[j] == x:
j += 1
lt += (n - j)*repeats
return lt,gt,m*n
def runs(lst):
for j,two in enumerate(lst):
if j == 0:
one,i = two,0
if one!=two:
yield j - i,one
i = j
one = two
yield j - i + 1,two
Copyright © 2016 Tim Menzies<EMAIL_ADDRESS>This program is free software. It comes without any warranty, to the extent permitted by applicable law. You can redistribute it and/or modify it under the terms of the Do What The F*ck You Want To Public License, Version 2, as published by Sam Hocevar. See http://www.wtfpl.net for more details.
Share and enjoy.


| Description | Shortcut |
|---|---|
| Close all the tabs except the current one. | Alt + W |
| Close all the tabs that are right to the current one. | Alt + R |
| Close all the tabs that are left to the current one. | Alt + L |
In Mac, you can use ⌥ for all the shortcut combinations.


Jay is leaving his partner and their two sons. As the long night before his departure unfolds he remembers the ups and downs of his relationship with Susan. In an unforgettable, and often pitiless, reflection of their time together he analyses the agonies and the joys of trying to make a life with another person.
It is the saddest night, for I am leaving and not coming back. Tomorrow morning, when the woman I have lived for six years has gone to work on her bicycle, and our children have been taken to the park with their ball, I will pack some things into a suitcase, slip out of my house hoping that no one will see me, and take the tube to Victor's place. There, for an unspecified period, I will sleep on the floor in the tiny room he has kindly offered me, next to the kitchen. Each morning I will heave the thin single mattress back to the airing cupboard. I will stuff the musty duvet into a box. I will replace the cushions on the sofa.


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Go to Theory
Create your theory on issues of the nerdy universe and help people find the best theory. Become known for your ideas borned based on some hypothesis
The Theory Hunt makes it very easy for you.
You can post all the information of your theories and through a link who wants to know more about your hypothesis will be directed to your web page, your video on youtube or where your information is.


Saint Pablo-Kanye west
Songs that are similar
father stretch my hands pt.1
ultralight beam
freestyle 4
real friends
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--- layout: post title: Exhibition design date: '2017-01-26T10:30:20+01:00' categories: - Sketches picture_url: https://film-Storyboards.tumblr.com/post/156403403338 ---


STIS and NICMOS (New, 1995), instruments to be installed aboard the Hubble Space Telescope during the 1997 servicing mission, are extremely flexible and can be used in many different modes. Consequently, the data produced by these instruments contains complex internal relationships as well as external associations with other data groups. This paper will discuss the basic structure of the data from STIS and NICMOS and the structure of the software that provides access to the data. This software is being used in the STScI calibration pipelines for these instruments.
The calibration software is being written in strict conformity to ANSI C, (which includes the standard ANSI C library), with no special vendor extensions allowed. The pipeline software is modular in design with minimal and managed dependencies on the operating system in which the software executes. The pipeline utilizes the IRAF software environment (Tody, 1986). However, any IRAF routines employed use the OpenIRAF software environment, which allows IRAF library routines to be called from an ANSI C program. The design perspective toward IRAF is the same as that toward an operating system, viz., managed and minimal dependencies. The use of IRAF routines is confined primarily to basic I/O routines or special STSDAS (Hanisch, 1989) packages, such as synphot.
ANSI C data structures represent both uncalibrated and calibrated data from each instrument, forming a data model of each instrument. The pipeline software consists of calibration steps that operate on these data structures. A major goal is to make the calibration algorithms themselves only dependent on these data structures. All I/O is encapsulated in basic routines that form a mapping between these data structures and external storage media.
Exceptions to this goal are calibration steps for which I/O becomes a significant part of the algorithm itself, e. g. when there is insufficient memory to contain all the needed data. In this case, I/O needs will be satisfied by calls to the interface module, leaving the algorithms themselves free of any direct, low-level I/O. This issue will likely be significant to STIS.


I had ordered a 1/4 ounce from a website, noting that the prices on Salvia leaves had gone up since shopping a few years ago.
SYNCHRONICTY
This was the infamous day that, at 1:02 plus three seconds, the official time and date were: 01:02:03 04/05/06. This had nothing to do with my journey, although I did feel that this was definitely the day to become reacquainted with Salvia.
One strange noteworthy 'coincidence' did occur that day however: One of my favorite video clip websites , featured a new clip entitled 'Salvia Sandwich' in which a group of twenty-somethings challenged their friend to smoke Salvia and then try to make a peanut butter and jelly sandwich. After three tokes this poor fella didn't even know what a sandwich was, let alone have the ability to make one! I thought this was just the oddest thing ever, because this was the first time the website had ever featured a clip containing any type of drug use, and it just happened to be Salvia, and it just happened to be on the same day as my trip! However, I have come to believe that there are no coincidences as such, rather that everything that exists and occurs is the product of our collective higher consciousness. By this logic, everything makes 'sense' at some level, and the more of these synchronicities we notice the better attuned we are to the truth of our existence. Moving on...
SOULS
The participants in this experiment were myself (32) and Jessica (25). It would be her first full-fledged Salvia experience (by full-fledged, I mean that we were using a 15 inch glass bong) and my first time in over 3 years.
To my surprise, Jess decided that we should trip simultaneously. I would do my hits, and then her boyfriend (Mac) would reload the bowl with fresh leaves for her immediate consumption. I pondered this idea for a moment and, after making sure he could sit both of us at the same time, I agreed that it would be more 'fun' with 2 people going at once (or at least more comforting.) I can't really comment on her journey. She went into a fit of laughter and said she had 'no idea what had just happened.' Sounds about right for a first timer. As for me...
PREPARATIONS
After smoking about 8 good hits of cannabis (standard practice) Mac loaded a fat bowl of Salvia and handed me the bong. Admittedly, I was way more apprehensive about tripping than I wanted or needed to be. I was actually nervous! However, as an experienced journeyer and long time 'backyard philosopher' I knew that my emotions were well within my control so long as I believed them to be.
For music, I requested the new David Gilmour album 'On An Island.' The title track, in my opinion, is probably the most beautiful song ever written. I knew this album could help soothe even the most savage hell ride, should one occur.
It was still daylight outside. I requested that the window be shut, the blinds closed and no animals be allowed into the room. As the music (Castellorizon) started, I considered again my level of anxiety about the task at hand, and being the cautious Capricorn that I am, I decided that I would take one good walloping hit and be done with it - for this journey anyway.
Now, anyone who has followed David Gilmour and Pink Floyd through years will note that David's songwriting style (especially the post-Waters years) at times contains prominent 'water element' themes. For example, the opening track of Momentary Lapse of Reason gives us a very watery impression, as well as titles such as Division Bell's 'Marooned' and, of course, 'On An Island.' This comes as no surprise, since Gilmour is a Pisces (hmm.. Gill-mour) and anyone who was studied astrology will note that most people hold true to their signs, dualities and elements. Neptune-ruled Pisceans are the 'dreamscape artists' of the zodiac, and no one does it better than Gilmour. Moving on...
CONTACT
I took my giant hit like a champ, but I didn't hold it in as long as I could have. For some reason, my personal brain/body chemistry is VERY receptive to pretty much every substance I've tried. I see this as an advantage in many ways, including the fact that I know I can take it to just about any level (that I'm ready for) with less chemicals than other people require.
FIRST STAGE
First came the mild 'stoner buzz' that heralds the onset. This occurred within about 15 seconds. This is using the regular unenhanced leaf, mind you. I have never tried the enhanced leaves or extracts, and quite frankly it is mind-boggling to me how a person could endure something so potent. Then again, I'm sure that I'm a 'lightweight' compared to many psychonauts.
SECOND STAGE
The second effect, and my favorite of the trip, was perhaps influenced by the music. 'On An Island' had started, and I began to feel the most realistic physical effect I can ever remember experiencing, even beyond shrooms and LSD: Without closing my eyes, and with my vision still intact, I began to describe to my friends that I had become. It was like I was a pile of sand that was being blown and shifted about, as if by the wind. I felt myself 'pouring' over myself, as if my whole body were fragmented into millions of pieces. It felt very good and natural, like I was able to feel certain natural processes of my body that my brain normally ignored.
As I was trying to describe this 'shifting sand' effect, I found it hard to separate myself and my experience from the other two people in the room. For some reason I thought they could understand what I was experiencing, or were actually party to what I was feeling. I suppose this was a threshold level of the 'merging with objects' effect that is common with Salvia.
THIRD STAGE
After about a minute of this, the buzz intensified and changed into something less pleasant; Something more OMINOUS. I recalled from reading other Salvia trip reports, that participants often feel a looming sense of guilt or doom, like they had crossed some type of forbidden boundary. This feeling is probably why many people don't try Salvia for a long time (or ever again) after an intense experience. It's probably why I too hadn't wanted to try Salvia in the 3 years since my last time, although I had done shrooms several times since then.
The third effect was what I would call a total change in my biorhythm. Now, I realize that biorhythms are normally measured in weeks, months or years, but anyone who has meditated on the nature of cycles has probably realized that cycles occur in every aspect of life and nature, from nanoseconds to aeons. It's like my body was forced to abandon its own natural rhythm and adopt the biorhythm of the plant itself. It seemed to cause my heart to beat in sync with the 'beat of the buzz' if you will, and this was where I got a little paranoid and was ready for the feeling to subside.
The 'shifting sand' effect had diminished and centralized in my chest. It now felt more like a rope or vine that was being pulled up the right side of my chest, over my heart and down the left side of my chest. I believe this is because the Salvia was resonating strongly in my lung tissue, obviously because that was the point of infusion. I hadn't smoked enough to illicit a hallucinatory state, but a threshold experience was all that I wanted on this occasion, and for my body this was the perfect amount.
MENTAL IMPRESSIONS
Naturally, the imagination will search for metaphors and comparisons to accompany and explain what the body is experiencing. During the rest of my 10 minute escapade I was overcome with the feeling of being somewhat immobilized and non-human. In fact, I would say that I felt like some type of plant stalk. This led to impressions (but not visuals) of being in a field. I felt like something crossed between a corn stalk and a scarecrow. It seemed very primitive, like I was getting back to something which I had been long ago.
I began to go into the 'Savlia Spin Cycle' which is common in reports, although mine were only incomplete threshold spins, and gave me a very strong impressions of the crescent shape. These spins also affected my attention span, 'tripping it' or resetting it with each spin. This gave leeway to other crescent-shape thoughts, including hooks (organic, not metallic - like a bird's talon) and bird beaks, crescent moons, the swirling lines of Van Gogh's 'Starry Night' and the deep, mysterious color cornflower blue mixed with organic greens.
I was simply a plant-once-human, soaking up these impressions and pondering the limited life cycle of a plant. A sad but beautiful thing. More beautiful than sad, but that cornflower blue... it's such a melancholy color, sad and beautiful itself. After this, the effects slowly subsided and I felt a bit drained.
To close out this long-winded report, I would like to make special note of the timing of the partial spins that I was getting. The spins were occurring at about the rate of 4 beats per second which is congruent with the rate of shamanic trance drumming. It is this particular rate of speed which propels the brain into the theta wave state, which is associated with deep dreams.
I recall that several times during this experience I wanted to go outside. So my next Salvia setting will be outdoors, preferably away from all people and manmade structures. I will also try to have a friend on hand with a drum playing a 4 beats/sec. rhythm... either that or I will record such a beat and use headphones. I think I will also do it at dusk, to have 'just enough light' for the imagination.
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.


2 # Integer
"Hello World"
+
2 + 1
"Hello" + ", Jess"
name = "Haley"
"Hello, #{name}"
2 # Integer
"Hello World" # String
+
2 + 1
"Hello" + ", Jess"
name = "Haley"
"Hello, #{name}"
2 # Integer
"Hello World" # String
+ # Operator
2 + 1
"Hello" + ", Jess"
name = "Haley"
"Hello, #{name}"
2 # Integer
"Hello World" # String
+ # Operator
2 + 1 # Expression
"Hello" + ", Jess"
name = "Haley"
"Hello, #{name}"
2 # Integer
"Hello World" # String
+ # Operator
2 + 1 # Expression
"Hello" + ", Jess" # Concatenation
name = "Haley"
"Hello, #{name}"
2 # Integer
"Hello World" # String
+ # Operator
2 + 1 # Expression
"Hello" + ", Jess" # Concatenation
name = "Haley" # Variable
"Hello, #{name}"
2 # Integer
"Hello World" # String
+ # Operator
2 + 1 # Expression
"Hello" + ", Jess" # Concatenation
name = "Haley" # Variable
"Hello, #{name}" # Interpolation
2 # Integer
"Hello World" # String
+ # Operator
2 + 1 # Expression
"Hello" + ", Jess" # Concatenation
name = "Haley" # Variable
"Hello, #{name}" # Interpolation
def ask(question)
puts question
gets.chomp
end
This is the method name
def ask(question)
puts question
gets.chomp
end
This is called the method signature
def ask(question)
puts question
gets.chomp
end
The method signature defines the Arguments the method will use
def ask(question)
puts question
gets.chomp
end
Arguments are basically variables used by the method
def ask(question)
puts question
gets.chomp
end
# Turn This
puts "What is your name?"
name = gets.chomp
puts "What is your email?"
email = gets.chomp
# Into This
name = ask("What is your name?")
email = ask("What is your email?")
Why though?
def ask(question)
puts question
gets.chomp
end
def ask(question)
puts question
print "Answer Here > "
gets.chomp
end
> ask "What is your name?"
What is your name?
Answer Here > Bradley
name = "Bradley"
Technically speaking it's a local variable
name = "Bradley"
name = "Bradley" # local
@name = "Veronica" # instance
$name = "Gabe" # global
def exercise
hunger = 5
end
def eat
hunger = 0
end
def hungry?
hunger < 3
end
exercise
eat
hungry?
def exercise
hunger = 5
end
def eat
hunger = 0
end
def hungry?
hunger < 3
end
exercise
eat
hungry?
What's hunger?
def exercise
hunger = 5
end
def eat
hunger = 0
end
def hungry?
hunger < 3
end
exercise
eat
hungry?
undefined local variable or method `hunger' for main:Object (NameError)
It's nothing
local variables are local to where they are declared
def exercise
hunger = 5
end
def eat
hunger = 0
end
def hungry?
hunger < 3
end
All three of these are different variables declared in different contexts.
def exercise
@hunger = 5
end
def eat
@hunger = 0
end
def hungry?
@hunger < 3
end
Putting the @ before each variable name makes them instance variables or ivars
In a script, instance variables will be available, once declared, throughout the entire script
In full-blown programs, there is a little more nuance, but we'll get to that another time
There's also global varibales - $name
I encourage you to forget they exist because you should basically never use them
Data Structures
[
"a",
"b",
"c"
]
This is called an array, it's just a list of items
Working with Arrays
letters = [ "a", "b", "c" ]
letters.map(&:upcase)
# => ["A", "B", "C"]2
Working with Arrays
letters = [ "a", "b", "c" ]
letters.map(&:upcase)
What's this?
map is a method on the Array class (well sort of)
map returns a new array with some method called on each element of the array
Working with Arrays
letters = [ "a", "b", "c" ]
letters[0]
What's this?
Each element in an array has an index. They start counting at zero
There are tons of methods for touching each element in an array.
Lookup the Enumerable module for examples and documentation
Working with Arrays
letters = [ "a", "b", "c" ]
letters[0]
[] is the method for accessing an element of an array by it's index.
So what's letters[0]?
Working with Arrays
letters = [ "a", "b", "c" ]
letters << "d"
What's this do?
Working with Arrays
letters = [ "a", "b", "c" ]
letters << "d"
This is the shovel operator <<
This adds an element to the array
Working with Arrays
letters = [ "a", "b", "c" ]
letters.unshift "d"
What's this do?
Working with Arrays
letters = [ "a", "b", "c" ]
letters.unshift "d"
unshift adds an element to the beginning of the array
Working with Arrays
letters = [ "a", "b", "c" ]
letters.unshift "d"
["d", "a", "b", "c"]
Data Structures
{
name: 'Bradley',
age: '36 Years Old',
rating: 'Awesome'
}
This is called a hash, it's sometimes called a dictionary. You have keys and values.
The key can be anything but is most typically a string or symbol. This one is using symbols
Data Structures
bradley = {
name: 'Bradley',
age: '36 Years Old',
rating: 'Awesome'
}
bradley['name']
What's this?
Working with Hashes
bradley = {
name: 'Bradley',
age: '36 Years Old',
rating: 'Awesome'
}
bradley['name'] # => nil
This is using a string key, which isn't present in the hash
Working With Hashes
bradley = {
name: 'Bradley',
age: '36 Years Old',
rating: 'Awesome'
}
bradley[:rating]
Working with Hashes
bradley = {
name: 'Bradley',
age: '36 Years Old',
rating: 'Awesome'
}
bradley[:rating]
What's this?
Symbols are like strings, except they can't be changed, and are more efficient memory wise. They are preceeded by a colon
Their most common use case is as keys in hashes and similar objects
Working with Hashes
bradley = {
name: 'Bradley',
age: '36 Years Old',
rating: 'Awesome'
}
bradley[:rating]
So what's this?
bradley = {
name: 'Bradley',
age: '36 Years Old',
rating: 'Awesome'
}
bradley.fetch(:profession, "Vagrant")
# => Vagrant
alli = {
name: 'Alli',
rating: 'Awesome',
profession: 'Software Developer'
}
alli.fetch(:profession, "Vagrant")
# => Software Developer
What's fetch do?
Assignment Time
You are going to make a script that lets you play the card game War
War doesn't require any user input, so your script can just run through each round and say what happens
Tips


HTML is the content and structure of the webpage. CSS uses the HTML structure to style the webpage, for example using CSS you can tell it to make all headers have a blue background with white font. The DOM means Document Object Model and determines the relationships between the elements using a structure which looks a lot like a family tree. This allows the document to be manipulated bit by bit. The analogy I would use is that HTML is the press release written by the suits in corporate. The CSS is the design department who make it look pretty. The DOM is the publicist who points out bits on the page she wants changed.
Each element of the webpage, no matter what shape it looks like, is in face a box shape. Boxifying design is rearranging these boxes by changing their order, changing where they sit on the page, and in relation to each other, to configure the layout of the webpage.
As described above, the box model is the fact that every element on the page is a box. Around that box there are more boxes - padding, border and margin. These surrounding boxes can be changed to change the size of the element without changing the size of the content.


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Final Fantasy Tactics A2 Characters
-
Expand All Images | Collapse All Images
- Adelle [HERO]
- Job class: Hume Heritor (after unlocking)
Full name Adelaide. Luso first meets Adelle when she cheats him and his clan out of the reward for a quest. Adelle is cocky, sneaky, and untrustworthy, but proves herself a true friend. She is one of the Gifted, a person born with special powers which seem to include luck, power, long life and the ability to survive attacks and events which would kill normal people. She spends much of the game coming to terms with her powers.
-
- Expand Images
- Al-Cid Margrace [HERO]
- Job Class: Hume Agent
A cameo from FF12, Al-Cid remains as much of a ladies' man as ever, and joins Clan Gully largely out of boredom. We first see his skill with a gun here.
-
- Expand Images
- Alys the Ensorceled
- Job Class: Viera Summoner
Alys is one of the more cool-headed of the four leaders of Duelhorn, and is not ashamed to ask for Luso's help when she feels it is needed. She gives herself status ailments at the start of battle, believing it to aid in her power.
-
- Expand Images
- Bowen
- Job Class: Hume Fighter
The mustachioed Bowen is both a thorn in Clan Gully's side and one of their staunchest allies. Gully helps him defeat the giant crushatrice Klesta (who was actually the first monster Luso ever saw in Ivalice) and avenge Bowen's wife, Friese, who was murdered by the beast. Bowen's clan includes Loa, a Gria Raptor, and Tweigel, a nu mou Illusionist, who is often concerned for his leader. He's later joined by viera Assassin Veis. Clan Bowen is a true clansmen who will cheerfully fight against Gully when paid to do so, or even when he wants to challenge them.
-
- Expand Images
- Bonga Bugle Owner
- Job Class: Seeq Berserker
The Owner of the Bonga Bugle says little and does even less. Apparently his head editor does all the real work.
-
- Expand Images
- Cid [HERO]
- Job Class: Bangaa Warrior
Cid is the experienced member of Clan Gully, and in fact led it before Luso came around. He used to be a part of the shadowy clan Khamja, and spends part of the game incapacitated after a meeting with Ewen. Although he is a Revgaji, he uses Bangaa job classes. He's a strong-willed warrior, but can be quite laid-back.
-
- Expand Images
- Ewen [VILLAIN]
- Job Class: Hume Nightfall
Ewen, cold and cruel, is second-in-command of the Khamja forces stationed in Jylland. He possesses an ability which can capture a clan's judge.
-
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- Ezel Berbier<
- A cameo from the first Final Fantasy Tactics, Ezel appears briefly in Jylland to help Luso out with a quest or two. He provides him with an item which can withstand Khamja's ability to capture his judge.
 She was poisoned by her paramour, Luc Sardarc, jealous of her skill, and lived life as a zombie. However, she eventually became sentient again, and Luso helped her return to herself and face her past again.
 He finds Frimelda, helps to restore her to her former glory, and challenges her to one last battle, even as his own health wanes.
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- Head Editor, Bonga Bugle
- Job Class: Seeq Ranger
The Head Editor is in his own world, largely. He enlists Clan Gully to help research his editions of the Bonga Bugle, but often these involve outlandish and quite silly quests, and the actual stories often end up more about his own mishaps than anything actually newsworthy.
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- Hurdy [HERO]
- Job Class: Moogle Bard
An upbeat moogle, originally appearing in FF12. He's Montblanc's brother, and a great musician.
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- Illua [VILLAIN]
- The head of the Khamja regiment in Jylland, Illua has her beady little eyes on Luso's Grimoire - given the fact that she has one of her own. She's only interested in power, regardless of the cost. Although she appears only near the end of the game, she cements her villain status by kidnapping Adelle and brainwashing her.
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- Komodo Trader
- Job Class: Hume Soldier
A rather snivelly potion dealer working for Komodo Potions, who constantly asks Gully to help take him on his way. He has a sister named Celestine who he cares deeply for.
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- Lezaford
- An ancient revgaji, who had originally created the Jylland version of the judges, and dispenses wisdom throughout the game, including the nature of Luso's grimoire and Adelle's gifts. His basement contains the portal to Zellea.
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- Luc Sardarc
- Job Class: Hume Paladin
The traveling companion of Frimelda Lotice, Luc poisoned her with Zombie Powder out of jealousy. After Frimelda regains her mind, she begins stalking Luc, who tries to have her killed before regretting his actions and protecting her against a band of monsters.
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- Luso Clemens [HERO]
- Job Class: Hume Soldier
The main character of FFTA2, Luso is an energetic, fun-seeking schoolkid with periodic bouts of stupidity. His goal is simply to experience life in Ivalice, where he finds himself after reading a strange book. As Lezaford tells him, once he has experienced enough, the strange grimoire he finds himself with will fill up and he will return home. At times Luso must choose between doing what's right and doing what his clan has signed up to do.
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- Maquis
- Job Class: Hume Ninja
The leader of the Jylland brigade of Duelhorn, Maquis is noble but misguided. Although a great warrior, with the ability to split himself into five shadows, his dedication to Duelhorn leads him to attack Khamja head-on. Wounded in battle, he dedicates himself to healing the viera who found him and helped him back to health, regardless of the cost to his own memories.
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- Montblanc [HERO]
- Job Class: Moogle Black Mage
Originally from FF12 (and a reference to FFTA). Montblanc is the head of Clan Centurio in Rabanastre, and finds himself in Jylland in search for some rare items. When he discovers that Clan Gully already has all of them, he decides to join them. He's every inch the older brother to Hurdy.
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- Night Dancer, The
- Job Class: Bangaa Trickster
A rather flirty bangaa, heavily made up, who feels no compunction resorting to dirty tricks to get what he wants. (Yes, the game considers the Night Dancer a male, strange as that seems. Anyone who's played Chrono Trigger won't be surprised.) He's also one of the four leaders of Duelhorn.
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- Penelo
- Job Class: Viera Dancer
Originally from FF12. Penelo comes to Jylland with Vaan as a sky pirate, and divides her time between upbraiding him for his unprofessional work and demeanour, fighting Khamja, and going after treasure (which sometimes happens to be in other people's pockets or homes). Cheerful, but has every serious intention of getting the job done. Like Ritz in the original FFTA, Penelo uses Viera rather than Hume job classes.
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- Prima Donna
- A clan rather than a character, consisting of four pretty fighters who double as divas, and command a legion of fans. Mayhew is the leader and often asks for Clan Gully's help. Job classes:
- Mayhew: Gria Raptor
- Aluette: Viera Fencer
- Lili: Gria Hunter
- Valentyne: Viera Spellblade
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- Randell, Mr.
- Luso's school librarian is actually Mewt, from the first FFTA, several years on, and he tells Luso that he'd been to Ivalice as well. (Of course this doesn't really square with the full timeline involving FF12, but who are we to argue?)
 As one of the four leaders of Duelhorn, he uses the most underhanded tactics, often claiming to be someone else when he posts quests at the bar, and then has the gall to hire Clan Gully to protect him when his own companions upbraid him for his behavior. He double-crosses Duelhorn to Khamja, telling the latter of all Duelhorn's plans to ensure Duelhorn's defeat, and goes so far as to poison the innocent viera girl who had been nursing Maquis back to health.
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- Syrenead Sie Hyskaris
- Job Class: Viera green mage
A proud, independent woman born to rich parents, who wishes to prove her worth by capturing a dragon, and enlists Clan Gully to help her.
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- Vaan
- Job Class: Hume Sky Pirate
Originally from FF12. Penelo comes to Jylland with Penelo as a sky pirate; though he supposedly runs the show, it's Penelo who actually gets things done. His big mouth gets him to trouble on more than one occasion. Though he and Penelo cross swords with Luso once or twice, they both end up joining Clan Gully before the end of the game.
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- Witch of the Fens
- Job Class: Viera red mage
A mysterious witch who lives in the Tramdine Fens. She'll cook up alchemical potions for you when asked, and plays a part in the final days of the Duelhorn saga in that capacity. She never asks for payment, though.
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Final Fantasy, all games and animation bearing the Final Fantasy name, and all characters in said games or animation are copyright their respective creators, including but not limited to Squaresoft, Square Enix, Square EA, Tokyo TV, and ADV Films.


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OnePlus phone batteries are being decimated by WhatsApp
Source: Android Central
What you need to know
- OnePlus devices running both Android 9 and 10 are being affected by the high battery drain.
- WhatsApp version 2.19.308 appears to be the culprit for the cause of the drain.
- Some Xiaomi phone users are reporting that they are being affected by the bug as well.
OnePlus phones have been great on battery life for the last few iterations of smartphones, however, users of WhatsApp on these devices are having their batteries hammered.
OnePlus users are reporting on Reddit, OnePlus forums, and even through the Play Store that WhatsApp is drastically draining their batteries by 40% or more. To make matters worse, they are getting this horrendous effect even with limited use of the app.
Now, this issue isn't being seen across all OnePlus devices, only on phones using Android 9 and 10 — which is a large swath of OnePlus smartphones. It doesn't appear to be every one that uses WhatsApp on their OnePlus phones, but it does seem to be a reasonably high number of folks — even some Xiaomi users are reporting this issue as well.
Hopefully, this bug gets squashed soon, because phones from OnePlus like their fantastic 7T is one of the best phones Android fans can get right now.
Another winner
OnePlus 7T
A welcomed upgrade
Continuing in the recent hits of great phones from OnePlus, the 7T brings the 90Hz display and the new Snapdragon 855+ to the mid-range price range with flagship performance. It's paired with clean software with thoughtful customizations to Android for a wonderful experience.
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