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Columbia (/kəˈlʌmbiə/; kə-LUM-bee-ə) is a historical name used by both Europeans and Americans to describe the Americas, the New World, and often, more specifically, the United States of America. It is a name given to the "Spirit of the Frontier" of which was used to illustrate Manifest Destiny among several other American political causes. It has given rise to the names of many persons, places, objects, institutions, and companies; e.g., Columbia University, and the District of Columbia (the national capital). Learn More
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Default body color.
Without freedom of thought, there can be no such thing as wisdom - and no such thing as public liberty without freedom of speech.
- Benjamin Franklin
Washington, D.C., formally the District of Columbia and commonly referred to as "Washington", "the District", or simply "D.C.", is the capital of the United States. Washington, D.C., is a planned city. In 1791, President Washington commissioned Pierre (Peter) Charles L'Enfant, a French-born architect and city planner, to design the new capital. The L'Enfant Plan featured broad streets and avenues radiating out from rectangles, providing room for open space and landscaping.
The topography of the District of Columbia is very similar to the physical geography of much of Maryland. The District has three major natural flowing bodies of water: the Potomac River and two tributaries, the Anacostia River and Rock Creek. The confluence of the Potomac and Anacostia forms the historic peninsula known as Arsenal Point. The District also includes the Washington Channel, which flows into the junction of the Anacostia and Potomac rivers.
Foggy Bottom is one of the oldest late 18th and 19th-century neighborhoods in Washington, D.C. Foggy Bottom is west of the White House and downtown Washington, in the Northwest quadrant, bounded roughly by 17th Street to the east, Rock Creek Parkway to the west, 6th & Constitution Ave NW, Washington, DC 20565 to the south, and Pennsylvania Avenue to the north.
Georgetown is a historic neighborhood, commercial, and entertainment district located in northwest Washington, D.C., situated along the Potomac River. Founded in 1751 in the Province of Maryland, the port of Georgetown predated the establishment of the federal district and the City of Washington by 40 years.
Penn Quarter is a neighborhood in the East End of Downtown Washington, D.C. north of Pennsylvania Avenue, NW. Its boundaries are not well established, but they appear to extend along F Street NW from 5th to 10th Streets, and approximately H Street on the north where Penn Quarter abuts or partially overlaps with Chinatown.
I have a meeting on the Hill.
I have a meeting on the Hill.
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I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
I have a meeting on the Hill.
| Landmark | Dedication | Architect | Location |
|---|---|---|---|
| Washington Monument | 1888 | Robert Mills | 2 15th St NW, Washington, DC 20024 |
| Lincoln Memorial | 1922 | Henry Bacon | 2 Lincoln Memorial Cir NW, Washington, DC 20037 |
| Jefferson Memorial | 1943 | John Russell Pope | 701 E Basin Dr SW, Washington, DC 20242 |
| National Gallery of Art | 1937 | John Russell Pope | 6th & Constitution Ave NW, Washington, DC 20565 |
| Newseum | 1997 | James Polshek | 555 Pennsylvania Ave NW, Washington, DC 20001 |
| National Archives Building | 1935 | John Russell Pope | 700 Pennsylvania Ave NW, Washington, DC 20408 |
| National Air and Space Museum | 1976 | Gyo Obata | 600 Independence Ave SW, Washington, DC 20560 |
| National Building Museum | 1887 | Montgomery C. Meigs | 401 F St NW Washington, DC 20001 |
| Landmark | Dedication | Architect | Location |
|---|---|---|---|
| Washington Monument | 1888 | Robert Mills | 2 15th St NW, Washington, DC 20024 |
| Lincoln Memorial | 1922 | Henry Bacon | 2 Lincoln Memorial Cir NW, Washington, DC 20037 |
| Jefferson Memorial | 1943 | John Russell Pope | 701 E Basin Dr SW, Washington, DC 20242 |
| National Gallery of Art | 1937 | John Russell Pope | 6th & Constitution Ave NW, Washington, DC 20565 |
| Newseum | 1997 | James Polshek | 555 Pennsylvania Ave NW, Washington, DC 20001 |
| National Archives Building | 1935 | John Russell Pope | 700 Pennsylvania Ave NW, Washington, DC 20408 |
| National Air and Space Museum | 1976 | Gyo Obata | 600 Independence Ave SW, Washington, DC 20560 |
| National Building Museum | 1887 | Montgomery C. Meigs | 401 F St NW Washington, DC 20001 |


not be placed in doubt by any reasonable mind. Man, the imperfect librarian, may be the product of chance or of malevolent demiurgi; the universe, with its elega
nt endowment of shelves, of enigmatical volumes, of inexhaustible stairways for the traveler and latrines for the seated librarian, can only be the work of a go
d. To perceive the distance between the divine and the human, it is enough to compare these crude wavering symbols which my fallible hand scrawls on the cover of a b
ook, with the organic letters inside: punctual, delicate, perfectly black, inimitably symmetrical. Second: The orthographical symbols are twenty-five in num
ber.^ This finding made it possible, three hundred years ago, to formulate a general theory of the Library and solve satisfactorily the problem which no conject
ure had deciphered: the formless and chaotic nature of almost all the books. One which my father saw in a hexagon on circuit fifteen ninety-four was made up of the letters MCV, perversely repeated from the first line to the last. Ano
ther (very much consulted in this area) is a mere labyrinth of letters, but the next-to-last page says Oh time thy pyramids. This much is already known: for every sensi
ble line of straightforward statement, there are leagues of senseless cacophonies, verbal jumbles and incoherences. (I know of an uncouth region whose librarians re


The CarsEvolutionRoot CarsEvolutionRoot owns other classes of the cars evolution library and provides interface to access them.
More...
#include <CarsEvolutionRoot.h>
The CarsEvolutionRoot CarsEvolutionRoot owns other classes of the cars evolution library and provides interface to access them.
Definition at line 25 of file CarsEvolutionRoot.h.
| cer::CarsEvolutionRoot::CarsEvolutionRoot |
( |
int |
seed = -1 | ) |
|
|
explicit |
| cer::CarsEvolutionRoot::~CarsEvolutionRoot |
( |
| ) |
|
|
default |
| void cer::CarsEvolutionRoot::generatePopulation |
( |
| ) |
|
generatePopulation creates a new population of the cars If it is called for the first time a new population is generated randomly. Otherwise evolutionary algorithm is used. The algorithm uses the vector of distances reached by each car during the last simulation as a fitness function.
Definition at line 29 of file CarsEvolutionRoot.cc.
| std::pair< int, double > cer::CarsEvolutionRoot::getBestCar |
( |
| ) |
|
getBestDistance
- Returns
- the pair of the best car and its distance
Definition at line 42 of file CarsEvolutionRoot.cc.
| std::vector< std::pair< double, double > > cer::CarsEvolutionRoot::getRoute |
( |
| ) |
|
parameters
- Returns
- map of the parameters used in evolutionary algorihm
Definition at line 57 of file CarsEvolutionRoot.cc.
| cer::Position cer::CarsEvolutionRoot::popPosition |
( |
size_t |
car_index | ) |
|
popPosition
- Parameters
-
- Returns
- the first position of the given car from positions queue. Simulation adds new positions to the queue. This method returns the first position in the queue and deletes it.
Definition at line 66 of file CarsEvolutionRoot.cc.
| void cer::CarsEvolutionRoot::runSimulation |
( |
| ) |
|
runSimulation of the cars movement Creates dynamic simulation of the gars generated from the current parameters.
Definition at line 40 of file CarsEvolutionRoot.cc.
| void cer::CarsEvolutionRoot::setParameterValue |
( |
const std::string & |
name, |
|
|
double |
val |
|
) |
| |
setParameterValue
- Parameters
-
| name | |
| val | Sets parameters used in evolutionary algorihm |
Definition at line 61 of file CarsEvolutionRoot.cc.
The documentation for this class was generated from the following files:


Ability of Captain America
Captain America has no superhuman powers, but through the Super-Soldier Serum and "Vita-Ray" treatment, he is transformed and his strength, endurance, agility, speed, reflexes, durability, and healing are at the zenith of natural human potential. Rogers' body regularly replenishes the super-soldier serum; it does not wear off. Although he lacks superhuman strength, Captain America is one of the few mortal beings who has been deemed worthy enough to wield Thor's hammer Mjolnir.
Tactician and field commander
Rogers' battle experience and training make him an expert tactician and an excellent field commander,
with his teammates frequently deferring to
his orders in battle. Thor has stated that Rogers is one of the very few humans he will take orders
from and follow "through the gates of Hades".
Rogers' reflexes and senses are extraordinarily keen. He has blended Aikido, Boxing, Judo, Karate,
Jujutsu, Kickboxing, and gymnastics into his
own unique fighting style and is a master of multiple martial arts. Years of practice with his
near-indestructible shield make him able to aim and
throw it with almost unerring accuracy.  In canon, he is
regarded by other skilled fighters as one of the best
hand-to-hand combatants in the Marvel Universe, limited only by his human physique. Although the
super-soldier serum is an important part of his strength, Rogers has shown himself still sufficiently
capable against stronger opponents, even when the serum has been deactivated reverting him to his
pre-Captain America physique.
Rogers has vast U.S. military knowledge and is often shown to be familiar with ongoing, classified
Defense Department operations.
He is an expert in combat strategy, survival, acrobatics, parkour, military strategy, piloting, and
demolitions. Despite his high profile
as one of the world's most popular and recognizable superheroes, Rogers has a broad understanding of
the espionage community, largely through
his ongoing relationship with S.H.I.E.L.D.
Super-Soldier Serum
The formula enhances all of his metabolic functions and prevents the build-up of fatigue poisons in his muscles, giving him endurance far in excess of an ordinary human being. This accounts for many of his extraordinary feats, including bench pressing 1,200 pounds (540 kg) and running a mile (1.6 km) in 73 seconds (49 mph/78 kph, nearly twice the maximum speed achieved by the best human sprinters). Furthermore, his enhancements are the reason why he was able to survive being frozen in suspended animation for decades. He is highly resistant to hypnosis or gases that could limit his focus.
Weapons and equipment
Captain America has used multiple shields throughout his history, the most prevalent of which is a
nigh-indestructible disc-shaped shield made from an experimental alloy of steel
and the fictional vibranium. The shield was cast by American metallurgist Dr. Myron MacLain, who was
contracted by the U.S. government, from orders of President Franklin D. Roosevelt,
to create an impenetrable substance to use for tanks during World War II. This alloy was created by
accident and never duplicated, although efforts to reverse-engineer it resulted
in the discovery of adamantium.
Captain America often uses his shield as an offensive throwing weapon. The first instance of Captain
America's trademark ricocheting shield-toss occurs in Stan Lee's first comics writing,
the two-page text story "Captain America Foils the Traitor's Revenge" in Captain America Comics #3 (May
1941). The legacy of the shield among other comics characters includes the time-traveling
mutant superhero Cable telling Captain America that his shield still exists in one of the possible
futures; Cable carries it into battle and brandishes it as a symbol.
When without his trademark shield, Captain America sometimes uses other shields made from less durable
metals such as steel, or even a photonic energy shield designed to mimic a vibranium matrix.
Rogers, having relinquished his regular shield to Barnes, carried a variant of the energy shield which
can be used with either arm, and used to either block attacks or as an improvised offensive
weapon able to cut through metal with relative ease. Much like his Vibranium shield, the energy shield
can be thrown, including ricocheting off multiple surfaces and returning to his hand.
Captain America's uniform is made of a fire-retardant material, and he wears a lightweight, bulletproof
duralumin scale armor beneath his uniform for added protection. Originally, Rogers' mask
was a separate piece of material, but an early engagement had it dislodged, thus almost exposing his
identity. To prevent a recurrence of the situation, Rogers modified the mask with connecting
material to his uniform, an added benefit of which was extending his armor to cover his previously
exposed neck. As a member of the Avengers, Rogers has an Avengers priority card, which serves
as a communications device.
Captain America has used a custom specialized motorcycle, modified by the S.H.I.E.L.D. weapons
laboratory, as well as a custom-built battle van, constructed by the Wakanda Design Group with the
ability to change its color for disguise purposes (red, white and blue), and fitted to store and
conceal the custom motorcycle in its rear section with a frame that allows Rogers to launch from
the vehicle riding it.


ezcBaseStruct
|
+--ezcBaseFileFindContext
public class ezcBaseFileFindContext
extends ezcBaseStruct
| Field Summary | |
|---|---|
| int | The number of files |
| array(string) | The list of files |
| int | The total file size of all files found |
| Constructor Summary | |
|---|---|
ezcBaseFileFindContext(array(string) elements, int count, int size) Constructs a new ezcBaseFileFindContext with initial values. |
| Method Summary | |
|---|---|
| static ezcBaseFileFindContext | __set_state(array(string=>mixed) array) Returns a new instance of this class with the data specified by $array. |
| Methods inherited from Base.ezcBaseStruct | |
|---|---|
| __get, __set |
public int $count
The number of files
public array(string) $elements
The list of files
public int $size
The total file size of all files found
public ezcBaseFileFindContext(array(string) elements, int count, int size)
Constructs a new ezcBaseFileFindContext with initial values.
public static ezcBaseFileFindContext __set_state(array(string=>mixed) array)
Returns a new instance of this class with the data specified by $array. $array contains all the data members of this class in the form: array('member_name'=>value). __set_state makes this class exportable with var_export. var_export() generates code, that calls this method when it is parsed with PHP.
Struct which defines the information collected by the file walker for locating files.


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When I was in university, the professor when through the formal definition of a mathematical limit. The definition was abstract and solving problems with limits did not require understanding the definition of a limit so I made it through the class without really grasping the definition.
After I graduated, I spent hours going over the definition and finally understood the definition by showing that: $latex if\ f(x)=x &s=4\ then\ lim_{x\to 5}\ f(x) \neq 6$Obviously the correct solution is 5 but proving the result was not 6 forced me to understand the definition of a limit. I am using a similar strategy here except that I want you to understand that a monad with just map will not work and that a monad with just flatMap will not work. Understand that and you understand most of what you need to know about monads.
A monad provides the capability of executing a lambda expression and then capturing the result of the computation in a monad. The capture of the result allows the chaining of lambda expressions that are applied to the data contained in the monad.
A monad works by offering two very important functions, map and flatMap. The purpose of map is to apply a lambda expression and then place the result of the evaluation into a new monad. The purpose of flatMap is to apply a lambda expression and return the result of the evaluation. flatMap DOES NOT place the evaluation result in a monad because the lambda expression returns a value that is already in a monad.
Keeping the result in a monad is the key to how a monad can be chained with other lambda expressions. The flatMap allows function composition. This is useful for languages like Haskell and Scala that have for-comprehensions. A for-comprehension is mapped by the compiler to composite lambda expressions. See Declutter Your Code With Monadic Design for a demonstration of how this works. Skip the part about the Validation Monad if you want, I don't think it's needed and complicates the discussion
Let's have a look at a simple monad class written in Scala and see how it works. This class applies a lambda function to a contained value and nothing else.
The following Scala code demonstrates how a monad works but also shows why two functions, map and flatMap are necessary to implement a monad. You could just have flatMap but then the Monad could not support a for-comprehension. for-comprehensions look somewhat like a traditional for-loops but the construct is logically equivalent to a lambda expression.
package com.translationdata.prototypes class ScalarMonad[A](val value: A) { def map[B](f:A => B) = new ScalarMonad(f(value)) def flatMap[B](f:A => ScalarMonad[B]) = f(value) override def toString = value.toString }
This object is only here to test the monad.
object ScalarMonad { def main(args: Array[String]) { val monadWith4 = new ScalarMonad(4) val monadWith5 = new ScalarMonad(5) val forResult = for { x <- monadWith4 // The flatMap function reads the value instance variable from the monad y <- monadWith5 // The map function reads the value instance variable from the monad } yield x + y println("Result = " + forResult) }
The result is:
Result = 9
I am now going to convert the for-comprehension above into composite lambda expressions
to demonstrate that the for-comprehension is logically equivalent to lambda expressions
with map and flatMap calls.
Step 1. Convert first part of the for to flatMap
val flatMapAndForResult = monadWith4.flatMap { x => for { y <- monadWith5 } yield x + y }
Step 2. Convert second part of the for to map.
val flatMapAndMapResult = monadWith4.flatMap { x => monadWith5.map { y => x + y } }
Now run the program. The result is 9. Based on what I see in the debugger this is how the code works. It is easier to understand the execution by working from right to left but the debugger shows the runtime working from left to right as detailed below.
So 9 is the result BUT the member function map of the ScalarMonad class:
def map[B](f:A => B) = new ScalarMonad(f(value))wraps the result of applying the lambda expression f in a ScalarMonad. So the flatMapAndMapResult variable ends up containing a monad that contains a 9.
What would happen if we used two calls to map like this?
val flatMapAndMapResult = monadWith4.map { x => monadWith5.map { y => x + y } }
The monadWith4.map function would place the result of the monadWith5.map into an instance of a ScalarMonad. But the monadWith5.map function already returns an instance of ScalarMonad. So we end with a ScalarMonad nested inside another ScalarMonad.
If you run the example code in eclipse and hover over the flatMapAndMapResult variable you can actually see the nested ScalarMonad classes. That's why the flatMap() function is necessary in order to evaluate the expression without wrapping the result in another monad.
Monads are hard to understand, so try writing your own monad and step through the code.


|
hwlib
C++ hardware library for V1IPAS-TI
|
pcf8574a I2C I/O extender More...
#include <hwlib-pcf8574a.hpp>
Public Types | |
| typedef pin_out | one_pin |
Public Member Functions | |
| pcf8574a (i2c_bus &bus, fast_byte address) | |
| construct an interface to a pcf8574a chip More... | |
| uint_fast8_t | number_of_pins () override |
| get number of pins More... | |
| void | set (uint_fast8_t x) override |
| write to the port More... | |
| uint_fast8_t | get () override |
| read from the port More... | |
Public Attributes | |
| one_pin | p0 { *this, 0 } |
| the open-collector pins of the chip More... | |
| one_pin | p1 { *this, 1 } |
| one_pin | p2 { *this, 2 } |
| one_pin | p3 { *this, 3 } |
| one_pin | p4 { *this, 4 } |
| one_pin | p5 { *this, 5 } |
| one_pin | p6 { *this, 6 } |
| one_pin | p7 { *this, 7 } |
pcf8574a I2C I/O extender
This class implements an interface to a pcf8574a I2C I/O extender chip.
A pcf8574a is an I2C slave that provides 8 open-collector input/output pins with weak pull-ups. The power supply range is 2.5 .. 5.5 Volt. Of the 7-bit slave address, 3 bits are set by the level of 3 input pins (A0..A2) of the chip.
The chip has only one register, which can be read and written. When written, it determines the level of the 8 output pins: low when the bit is 0, pulled weakly high when the bit is 1. When read, the level of the 8 pins determines the value: 0 for a low pin, 1 for a high pin.
The next code shows a kitt display on 8 LEDs connected to the PCF8574A output pins. Because the output pins are open-collector, the LEDs are connected to power (instead of to the ground), hence the use of hwlib::port_out_invert().
The pcf8574 (without the -a) is the same chip, but with a different I2C bus address.
references:
|
inlineoverridevirtual |
read from the port
This function reads and returns the pins that are part of the port. The lowest bit of the result reflects the first pin of the port, etc.
Pins that have been written as 0 will very likley read as 0 too. To read the external input to a pin, the pin must first be written as 1.
Implements hwlib::port_oc.
|
inlineoverridevirtual |
|
inlineoverridevirtual |
write to the port
This function writes to the pins that are part of the port. The lowest bit is written to the first pin of the port, etc.
Implements hwlib::port_oc.
| one_pin hwlib::pcf8574a::p0 { *this, 0 } |
the open-collector pins of the chip
The p0 ... p7 attributes represent the 8 open-collector output pins of the chip. A write to one of these pins will affect (only) the corresponding output pin of the chip. A read of one of these pins will reflect the status of the corresponding pin of the chip.


Hmm, it is silly for this button to respond to mouseover.
Make it stop responding to mouseover.
JavaScript is disabled.


--- layout: post title: "Better than expected!" date: 2015-10-14 21:26:00 +1000 author: Cameron Baron ---
Yesterday our team had our second official presentation to a group of our teachers and a couple people from the Melbourne gaming scene. in the morning we had the game running fine, it was beautiful and quite a bit of fun to have four people running around burning/shooting each other. And then it happened...
Over the past three weeks, I have made use of the painful Unity Input Manager. It has been painful in the sense that it is very long-winded and repetitive, programmers are taught to build around repetition. I had a bit of a look into making my own Input manger to replace Unity's, there are a few different examples and walk-through's that can be found, but still being quite unfamiliar with Unity I thought I'd give it a miss for now.
We have really only been testing our game with two controllers at most, up until yesterday, and at first we had no problems. Everything ran smooth, controls worked fine, not the prettiest thing to look at but the gameplay was there. I quit the game and reopened, without changing a single thing! Not one single letter or number! The game loaded up, everything looked fine, as the players try to move their character things get well... a little odd. Player 1 controller now controls the third character's movement but the first character's shooting. Weird right? Player 3 controller now controls the first character's movement but the third's shooting. And Player 2 movement was fine, but could only shoot when player three also shot.
This made me pull my hair out for four hours leading up to our presentation. Got the help from one of our teachers, he couldn't understand why it was doing what it was doing. We couldn't even reproduce the bug at will. Sometimes it would work, close and reopen, BAM! controls stuffed!
We ended up finding out, that this seems to be a fairly common issue with Unity, many people have had "issues" with this Input Manager for quite some time and Unity are yet to fix it.
When it came time to play the demo in our presentation, the first time we ran it, no controller worked. That's ok we were prepared to try a few times, then fake it if we had to. All of a sudden, the Unity gods were kind and allowed the controllers to work normally! No need for a blood sacrifice or anything!
Needless to say, the next few weeks will be a mix of fixing general bugs, polishing and going back to the input manager to see if we can spot the problem and hopefully find a fix.


--- layout: page-full description: "Bootstrap based Jekyll framework for websites." ---
Bootstrap based theme features a fully responsive design. Perfect for phones or desktops and everything inbetween.
Without server side code static sites are very secure and with the simplest of CDN's can offer great protection against DDOS attacks.
Use aws s3 buckets, github pages, or your own apache or nginx server to host your site the way you want.
The built in gallery plugin allows you to showcase your photos in both thumbnails and full sized images.
Over 675 built in icons to choose from.
Use the scroll reveal plugin to easily add animations to any section of the website.
"Once a new technology rolls over you, if you're not part of the steamroller, you're part of the road." - Stewart Brand


| Figure 1 |
Distribution of Dipterocarpus turbinatus and Shorea robusta ... |
| Figure 2 |
Graphs showing the marginal relationship between each biocli ... |
| Figure 3 |
Predicted distribution of Shorea robusta species for three g ... |
| Figure 4 |
Predicted distribution of Dipterocarpus turbinatus species f ... |
| Figure 5 |
Proportional changes (%) in climate niches for both Dipteroc ... |


Screenshot Extension
The Screenshot extension adds screenshots to the Concordion output. It can be used in 2 ways:
- As a listener to existing commands, for example on failure of assert
commands, or
- As a command to explicitly add screenshots.
Further Details


Time Series Analysis
by
Siavash Kavousi
Sadegh Mahmoudpour
Outline
Introduction
Patterns
Models
Outline
Introduction
Patterns
Models
A time series is a ...
series of data points indexed (or listed or graphed) in time order
Minimum daily temperature
Application of time series analysis
- Economic Forecasting
- Sales Forecasting
- Stock Market Analysis
Data types
- Cross sectional data
- Time series data
- Panel data
Time series data
- Sequence of data points where order indicates successive measurements over time
-
In a time series data set, the time data field makes one data record unique from the other records
Outline
Introduction
Patterns
Models
Time Series Patterns
- Trend
- Seasonal
- Cyclical
- Random
Trend
a long term pattern
value at time t which is regressed on a time trend
$Y_t = α + βt + ε_t$
Seasonal
a pattern in a frequency of occurrence -> within a year or even shorter
Cyclical
like seasonal a repeated pattern but beyond a frequency of one year
Random
no particular pattern
value at time t is regressed on the last period's value
$Y_t$ = last period value + error(noise)
$Y_t = Y_{t-1} + ε_t$
Outline
Introduction
Patterns
Models
Time series modeling
- Stationary series
- Non-stationary series
Stationary series
Transformation
stationarizing the series
Different Time Series Processes
- White Noise
- AutoRegressive Model
- Moving Average Model
- AutoRegressive Moving Average Model
White Noise
It is purely random
AutoRegressive Model
An AR model is one in which Yt depends only on its own past values Yt-1,
Yt-2, Yt-3, etc
AR(p): Yt = Β0 + Β1 Yt-1 + Β2
Yt-2 + ... + Βp Yt-p
Moving Average Model
A technique to remove the fine-grained variation between time
steps
The hope of smoothing is to remove noise and better expose the signal of the underlying causal
processes
AutoRegressive Moving Average Model
There are situations where the time series may be represented as a mix of both AR and MA models referred
as ARMA
Time Series Prediction using MLP
prediction as a regression problem!
"Month","International airline passengers: monthly totals in thousands. Jan 49 ? Dec 60"
"1949-01",112
"1949-02",118
"1949-03",132
"1949-04",129
"1949-05",121
Shift and concat
X Y
112 118
118 132
132 129
129 121
121 135
Train and Validation using Keras
model = Sequential()
model.add(Dense(8, input_dim=look_back, activation='sigmoid'))
model.add(Dense(1))
model.compile(loss='mean_squared_error', optimizer='adam')
model.fit(trainX, trainY, epochs=200, batch_size=2, verbose=2)


JavaScript is disabled. Details
The CANOpen Parameter is the data contained in the PDO. It is acquired as raw data and must be converted to engineering units. It is what is logged, displayed, etc.


UK lowers national terrorism threat level to 'substantial'
An attack is now 'likely', rather than 'highly likely', according to the home secretary.
The UK lowered its national terrorism threat level to "substantial" from "severe" on Monday, the country's interior minister Priti Patel said.
"Despite the change in the threat level, terrorism remains one of the most direct and immediate risks to our national security," Patel said in a statement.
The "substantial" threat level continued to indicate a high level of threat and an attack might well occur without further warning, she said.


We Do Not Want EveryOne to Know About Your Sexual Health. Although You Will Receive Notifications, You Will Be Asked To Sign In Everytime Upon Opening the App To Promote Security of Your Personal Health Information (PHI)
"Thanks Guys, I Was Notified Immediately, Protecting My Sexual Health"
"SafeCheck is amazing. I've been using it to have fun and stay safe at the same time."
"Sexual Health Should Not Be A Mystery, and SafeCheck Demonstrates That"


--- layout: default title: Contentious Content permalink: /events/2014/contentious-content/ --- {% assign currentEvent = page.title %}


Emery is still in the spotlight
by BeSoccerArsenal drew against Southampton, which takes them to five games without a win in the Premier League and not in the top four. Unai Emery's work is more questioned than ever and Tony Adams, an Arsenal legend, spoke about the Gunners coach to 'BT Sport'.
Unai Emery is having a hard time as Arsenal coach. The 'Gunners' are not in the tio 4 after their fifth game without winning, against Southampton. A result that brought a wave of critics to the Spanish coach.
Arsenal legend, Tony Adams, the star of a well-known stint at Granada, was especially critical of Unai Emery with 'BT Sport'. The Brit spoke about Arsenal's bad performance and questioned Emery's suitability for the role.
Featured links
- Mourinho replaces Pochettino at Tottenham
- The latest football transfers news and rumours
- Wales, golf, Madrid... in that order
- Luis Enrique returns to Spain national team
"It was a really bad game. I don't want any coach to lose their job, but the club needs to improve," Adams assured, who also stated that Arsenal desrved the boos that they received from the fans at the end of the game.
"I am able to get a team together and be more organised than this. They are all asleep," he added, whilst also showing his "tremendous disappointment" for Emery's team.


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|
VDPAU
|
Picture parameter information for a VC1 picture. More...
#include <vdpau.h>
Data Fields | |
| VdpVideoSurface | forward_reference |
| VdpVideoSurface | backward_reference |
| uint32_t | slice_count |
| uint8_t | picture_type |
| uint8_t | frame_coding_mode |
| uint8_t | deblockEnable |
| uint8_t | pquant |
VC-1 bitstream | |
Copies of the VC-1 bitstream fields. | |
| uint8_t | postprocflag |
| uint8_t | pulldown |
| uint8_t | interlace |
| uint8_t | tfcntrflag |
| uint8_t | finterpflag |
| uint8_t | psf |
| uint8_t | dquant |
| uint8_t | panscan_flag |
| uint8_t | refdist_flag |
| uint8_t | quantizer |
| uint8_t | extended_mv |
| uint8_t | extended_dmv |
| uint8_t | overlap |
| uint8_t | vstransform |
| uint8_t | loopfilter |
| uint8_t | fastuvmc |
| uint8_t | range_mapy_flag |
| uint8_t | range_mapy |
| uint8_t | range_mapuv_flag |
| uint8_t | range_mapuv |
| uint8_t | multires |
| uint8_t | syncmarker |
| uint8_t | rangered |
| uint8_t | maxbframes |
Picture parameter information for a VC1 picture.
Note: References to bitstream fields below may refer to data literally parsed from the bitstream, or derived from the bitstream using a mechanism described in the specification.
| VdpVideoSurface VdpPictureInfoVC1::backward_reference |
Reference used by B frames. Set to VDP_INVALID_HANDLE when not used.
| uint8_t VdpPictureInfoVC1::deblockEnable |
Out-of-loop deblocking enable. Bit 0 of POSTPROC from VC-1 <IP_ADDRESS> Note that bit 1 of POSTPROC (dering enable) should not be included.
| uint8_t VdpPictureInfoVC1::dquant |
See VC-1 6.2.8.
| uint8_t VdpPictureInfoVC1::extended_dmv |
See VC-1 6.2.14.
| uint8_t VdpPictureInfoVC1::extended_mv |
See VC-1 6.2.7.
| uint8_t VdpPictureInfoVC1::fastuvmc |
See VC-1 6.2.6.
| uint8_t VdpPictureInfoVC1::finterpflag |
See VC-1 6.1.11.
| VdpVideoSurface VdpPictureInfoVC1::forward_reference |
Reference used by B and P frames. Set to VDP_INVALID_HANDLE when not used.
| uint8_t VdpPictureInfoVC1::frame_coding_mode |
Progressive=0, Frame-interlace=2, Field-interlace=3; see VC-1 <IP_ADDRESS>.
| uint8_t VdpPictureInfoVC1::interlace |
See VC-1 6.1.9.
| uint8_t VdpPictureInfoVC1::loopfilter |
See VC-1 6.2.5.
| uint8_t VdpPictureInfoVC1::maxbframes |
See VC-1 J.1.17. Only used by simple and main profiles.
| uint8_t VdpPictureInfoVC1::multires |
See VC-1 J.1.10. Only used by simple and main profiles.
| uint8_t VdpPictureInfoVC1::overlap |
See VC-1 6.2.10.
| uint8_t VdpPictureInfoVC1::panscan_flag |
See VC-1 6.2.3.
| uint8_t VdpPictureInfoVC1::picture_type |
I=0, P=1, B=3, BI=4 from <IP_ADDRESS>.
| uint8_t VdpPictureInfoVC1::postprocflag |
See VC-1 6.1.5.
| uint8_t VdpPictureInfoVC1::pquant |
Parameter used by VC-1 Annex H deblocking algorithm. Note that VDPAU implementations may choose which deblocking algorithm to use. See VC-1 <IP_ADDRESS>
| uint8_t VdpPictureInfoVC1::psf |
See VC-1 6.1.3.
| uint8_t VdpPictureInfoVC1::pulldown |
See VC-1 6.1.8.
| uint8_t VdpPictureInfoVC1::quantizer |
See VC-1 6.2.11.
| uint8_t VdpPictureInfoVC1::range_mapuv |
| uint8_t VdpPictureInfoVC1::range_mapuv_flag |
See VC-1 6.2.16.
| uint8_t VdpPictureInfoVC1::range_mapy |
| uint8_t VdpPictureInfoVC1::range_mapy_flag |
See VC-1 6.12.15.
| uint8_t VdpPictureInfoVC1::rangered |
VC-1 SP/MP range reduction control. Only used by simple and main profiles. Bit 0: Copy of rangered VC-1 bitstream field; See VC-1 J.1.17. Bit 1: Copy of rangeredfrm VC-1 bitstream fiels; See VC-1 7.1.13.
| uint8_t VdpPictureInfoVC1::refdist_flag |
See VC-1 6.2.4.
| uint32_t VdpPictureInfoVC1::slice_count |
Number of slices in the bitstream provided.
| uint8_t VdpPictureInfoVC1::syncmarker |
See VC-1 J.1.16. Only used by simple and main profiles.
| uint8_t VdpPictureInfoVC1::tfcntrflag |
See VC-1 6.1.10.
| uint8_t VdpPictureInfoVC1::vstransform |
See VC-1 6.2.9.


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XThis tool allows Ryuutama GMs to select helpful cards which can be downloaded, then printed using the RPG Cards tool linked below, and given to players to help them remember items and rules. Ryuutama is an RPG by Kotodama Heavy Industries. The rule book is available through DriveThruRPG, and a physical book/PDF combo are availble through Indie Press Revolution.


| Name of the field |
Unit |
Range |
format |
| START |
S |
0.0 - 1.0e+10 |
8-byte DOUBLE |
| STOP | S |
0.0 - 1.0e+10 | 8-byte DOUBLE |
| Name of the field |
Unit |
Range |
format |
| TIME |
S |
0.0 - 1.0e+10 |
8-byte DOUBLE |
| Name of the field |
Unit |
Range |
format |
| EVENT_ID | NONE |
0.0 -<PHONE_NUMBER> | 4-byte signed INTEGER |
| Name of the field |
Unit |
Range |
format |
| RECON_VERSION |
NONE |
N/A | triplet of 2-byte INTEGER |
| Name of the field |
Unit |
Range |
format |
| CALIB_VERSION |
NONE |
N/A |
triplet of 2-byte INTEGER |
| Name of the field |
Unit |
Range |
format |
| ENERGY |
MEV |
0.0 - 1.0e+7 |
4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| THETA |
DEG |
0.0 - 190 |
4-byte REAL |
| PHI | DEG | 0.0 - 360 | 4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| RA |
DEG |
0.0 - 360 |
4-byte REAL |
| DEC | DEG | 90.0 - 90.0 | 4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| ZENITH_ANGLE |
DEG |
0.0 - 180.0 |
4-byte REAL |
| EARTH_AZIMUTH_ANGLE | DEG | 0.0 - 360.0 | 4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| CONVERSION_POINT |
CM |
triplet of 4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| CONVERSION_LAYER |
NONE |
-1 - 18 |
2-byte signed INTEGER |
| Name of the field |
Unit |
Range |
format |
| IMGOODCALPROB |
NONE |
0.0 - 1.0 |
4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| IMVERTEXPROB |
NONE |
0.0 - 1.0 |
4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| IMCOREPROB |
NONE | 0.0 - 1.0 |
4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| IMPSFERRPRED |
NONE | 0.0 - 100.0 |
4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| IMGAMMAPROB |
NONE |
0.0 - 1.0 |
4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| CALENERGYSUM |
MEV |
0.0 - 1.0e+7 |
4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| CALTOTRLN |
NONE |
0.0 - 100.0 | 4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| PULSE_PHASE |
NONE |
0.0 - 1.0 | 8-byte DOUBLE |
| Name of the field |
Unit |
Range |
format |
| GEOTIME |
S |
0.0 - 1.0e+10 |
8-byte DOUBLE |
| Name of the field |
Unit |
Range |
format |
| BARYTIME |
S |
0.0 - 1.0e+10 |
8-byte DOUBLE |
| Name of the field |
Unit |
Range |
format |
| BINTIME |
S |
0.0 - 1.0e+10 |
8-byte DOUBLE |
| Name of the field |
Unit |
Range |
format |
| GEO_OFFSET |
CM |
triplet of 4-byte REAL |
| Name of the field |
Unit |
Range |
format |
| BARY_OFFSET |
CM |
|
triplet of 4-byte REAL |


Handling Go workspace with direnv
June 28, 2015
When I started to do some Go I quickly hit my first hurdle: The Go Workspace. The go tool is designed to work with code maintained in public repositories using the FQDN and path as a kind of namespace and package name. Eg: github.com/rach/project-x
, where github.com/rach
is a kind of namespace enforce by a directory structure and project-x
is the package name also enforce by directory structure.
Coming from Python, I was surprised that there weren't a solution as simple as [virtualenv][virtualenv]. Go does offer a way but it requires a bit more of code gymnastic.
In this post, I'm going to describe how I made my life easier to work with Go with a bit of shell script and using [direnv][direnv] to automate workspace switching. I didn't know much about go when I wrote this post so feel free to shed some light on any of my mistakes.
Workspaces
Go project must be kept inside a workspace. A workspace is a directory hierarchy with few directories:
src
contains Go source files organized into packages (one package per directory),pkg
contains package objects, andbin
contains executable commands.
The go tool builds source packages and installs the resulting binaries to the pkg and bin directories.
The src
subdirectory typically contains multiple version control repositories (such as for Git or Mercurial) that track the development of one or more source packages.
To give you an idea of how a workspace looks in practice, here's an example:
bin/
hello # command executable
outyet # command executable
pkg/
linux_amd64/
github.com/golang/example/
stringutil.a # package object
src/
github.com/golang/example/
.git/ # Git repository metadata
hello/
hello.go # command source
outyet/
main.go # command source
main_test.go # test source
stringutil/
reverse.go # package source
reverse_test.go # test source
The problem that I hit was:
- how do you work on multiple different projects?
- how should specify which workspace that I working on?
It's when the GOPATH
enter to define the workspace location.
The GOPATH environment variable
The GOPATH environment variable specifies the location of your workspace. To get started, create a workspace directory and set GOPATH accordingly. Your workspace can be located wherever you like.
$ mkdir $HOME/go
$ export GOPATH=$HOME/go
To be able to call the binary build inside your workspace, add bin subdirectory to your PATH:
$ export PATH=$PATH:$GOPATH/bin
For you project can choose any arbitrary path name, as long as it is unique to the standard library and greater Go ecosystem. It's the convention to use an FQDN and path as your folder structure which will behave as namespaces.
We'll use github.com/rach/project-x
as our base path. Create a directory inside your workspace in which to keep source code:
$ mkdir -p $GOPATH/src/github.com/rach/project-x
Update the GOPATH automatically with direnv
Direnv is an environment switcher for the shell. It loads or unloads environment variables depending on the current directory. This allows to have project-specific environment variables. direnv works with bash, zsh, tcsh and fish shell. Direnv checks for the existence of an ".envrc" file in the current and parent directories. If the file exists, the variables declared in .envrc
are made available in the current shell. When you leave the directory or sub-directory where .envrc is present, the variables are unloaded. It also works well with updating existing environment variable.
To install direnv on OSX using zsh, you can follow this steps:
$ brew update
$ brew install direnv
$ echo 'eval "$(direnv hook zsh)"' >> ~/.zshrc
Using direnv, it becomes easy to have multiple workspaces and switch between them. Simply create a .envrc
file at the location of your workspace and export the appropriate variable:
$ mkdir $HOME/new-workspace
$ cd $HOME/new-workspace
$ echo 'export GOPATH=$(PWD):$GOPATH' >> .envrc
$ echo 'export PATH=$(PWD)/bin:$PATH' >> .envrc
$ direnv allow
With the code above we now have a workspace which enable itself when you enter it. Having multiple workspace help to experiment with libs/package that you want to test in the same way you can install a python lib just for a one-time use.
Assuming we will be writing a lot of go projects, will not be nice
of a having a helper function to create a workspace which follow the suggested structure with the GOPATH
is handled automatically.
Automate creation of workspace for a project
Now that we know how a workspace should look like and how to make switching them easier. Let's automate the creation new project with workspaces to avoid mistakes, for that I wrote a small zsh
function to do it for me.
function mkgoproject {
TRAPINT() {
print "Caught SIGINT, aborting."
return $(( 128 + $1 ))
}
echo 'Creating new Go project:'
if [ -n "$1" ]; then
project=$1
else
while [[ -z "$project" ]]; do
vared -p 'what is your project name: ' -c project;
done
fi
namespace='github/rach'
while true; do
vared -p 'what is your project namespace: ' -c namespace
if [ -n "$namespace" ] ; then
break
fi
done
mkdir -p $project/src/$namespace/$project
git init -q $project/src/$namespace/$project
main=$project/src/$namespace/$project/main.go
echo 'export GOPATH=$(PWD):$GOPATH' >> $project/.envrc
echo 'export PATH=$(PWD)/bin:$PATH' >> $project/.envrc
echo 'package main' >> $main
echo 'import "fmt"' >> $main
echo 'func main() {' >> $main
echo ' fmt.Println("hello world")' >> $main
echo '}' >> $main
direnv allow $project
echo "cd $project/src/$namespace/$project #to start coding"
}
If you are using zsh then you should be able to copy/paste this function into
your zshrc and after reloading it then you be able to call mkgoproject
.
If you call the function with an argument then it will consider it being
the project name and it will ask you for a namespace (eg: github.com/rach), otherwise it will ask you for both: project name (package) and namespace.
The function create a new worspace with an .envrc
and a main.go
ready to build.
$ mkgoproject test
Creating new Go project:
what is your project namespace: github/rach
cd test/src/github/rach/test #to start coding
I hope this post will help you into automate the switching between your go project and the creation of them.


Custom Development & SaaS/On-Premise Integrations
Translate technical concepts to non-technical audiences
Comfortable with super complex data sets, SQL expert
Can turn wireframes into working prototypes, & grasp existing code
Strong project management skills and experience presenting to leadership
Not afraid to take action when there is a need for structure and direction
Learned the ropes in a fast-paced software development environment. Member of a 50+ person team. Responsible for requirements gathering, writing design specs, making wireframes, data modeling, and roll-out planning. Worked in the trenches with dev team triaging issues and assigning work. Facilitated user testing and training sessions.
2008 - 2011Worked with leadership inside Fortune 500 clients to execute strategic vision. Became subject matter expert in Project Portfolio Management (PPM), leading large-scale software projects to facilate project management, strategic planning, and resource management inside divisions.
2011 - 2015Gained experience in project leadership and account management. Acted as point person on client engagements. Wrote RFP proposals for enterprise clients.
Nov 2015 - May 2016Reaffirming knowledge of product design, working with startups, and getting acquainted with startup culture. Doubling-down on my desire to transition to Product Management.
Jun 2016 - PresentStill trying to match my low score from when I was 17
Learning how to sew, one destroyed blazer at a time
My favorite medium is paper and pencil, ask me about my work
Just waiting for the day when I can have a garage of my own to build cool stuff


[1]
the bathroom toiletries however the soap is a dispenser and the bathroom only includes minimal toiletries .
[2]
never complained about a bed before as i am really not fussy but in this hotel .


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Zlatan Ibrahimovic next club: Jose Mourinho says he will not sign Swedish superstar for Tottenham
by Sporting LifeJose Mourinho says there is no chance he would bring Zlatan Ibrahimovic to Tottenham due to having Harry Kane already in his team.
38-year-old Ibrahimovic left the LA Galaxy in Major League Soccer last month and has previously said that he is more than able to play in the Premier League again.
Mourinho signed the Swede while at Manchester United, and he was part of the team that won the League Cup and Europa League during the Portuguese's spell at Old Trafford.
"We have the best striker in England," said Mourinho. "One of the top two, three strikers in the world.
"It doesn't make any sense of a striker of Zlatan's dimensions - a striker in his 30s but that can play at any club in the world - it doesn't make sense to come to a club where we have Harry Kane."
Champions League challenge
Mourinho is preparing for his home debut as Spurs manager against Olympiakos on Tuesday - and after famously getting to the final last season, the new manager claims he will not be scared of anyone in the tournament.
Former boss Mauricio Pochettino had said it would be a "miracle" if Tottenham won the Champions League, but Mourinho says that he would not be afraid of any Champions League game with the group of players he now has at his disposal.
"You are almost landing on the moon and don't do it, the frustration is very high," said Mourinho, who is a two-time Champions League winner.
"It depends a lot on the people's mentality and how you react to disappointment.
"I would change the word 'miracle' to 'very difficult'. With these boys I will never be afraid of any Champions League match."


My name is Mads
I'm a creative graphic designer.
This is my interactive playground
Feel free to take a look around.
Coming soon


|
| Contents | |
| About This Extension |
Unlike the getChannelMute, getChannelSolo, getTrackMute, getTrackSolo, setChannelMute, setChannelSolo, setTrackMute, and setTrackSolo methods provided by the core Music Object API that only allow one to test and affect the state of one channel or track at a time, the additional methods in this extension allow one to test and affect the state of multiple channels or tracks in a single operation.
Consider the following before-and-after example. Using the core Music Object API's setTrackMute method, it takes a chunk of code to mute 8 tracks. However, using the setTracksMute method provided in this extension, the same code can be neatly folded into a single statement - nice and clean.
| BEFORE (Using setTrackMute) |
myMusicObject.setTrackMute (1,true); myMusicObject.setTrackMute (7,true); myMusicObject.setTrackMute (15,true); myMusicObject.setTrackMute (24,true); myMusicObject.setTrackMute (42,true); myMusicObject.setTrackMute (43,true); myMusicObject.setTrackMute (47,true); myMusicObject.setTrackMute (59,true); |
| AFTER (Using setTracksMute) |
myMusicObject.setTracksMute ('1,7,15,24,42,43,47,59',true); |
The methods provided by this extension make it easier to program Web-based "remix" interfaces, where musical compositions are "performed" as the user switches on and switches off different parts of the music - these parts often being made up of multiple channels or tracks.
| What's New in the Latest Version |
There is a dedicated version history for this extension, where you will be able to find out about the new features and possible issues with the most recent version. The version history for this extension is independent of the version history for the core Music Object API.
| Getting This Extension |
To get the "music-object-x-groups.js" JavaScript file that implements this extension, simply right-click on this link (click-and-hold for Mac users). Then, from the menu that pops up, select the 'Save Link As...' or 'Save Target As...' option and save the file as "music-object-x-groups.js" into an appropriate folder of the local copy of your Web site.
In case you have problems saving the file using the above link, the "music-object-x-groups.js" file can also be found inside the documentation's "javascript" folder, along with the "music-object.js" file.
| Dependencies |
In order to use this extension, the following JavaScript file(s) must first be sourced in...
For more information on using extensions, consult the section About Music Object Extensions.
| Reference |
|
| Instance Methods |
| getChannelsMute |
|
The getChannelsMute method determines the overall channel mute state for multiple channels in one simple step.
| getChannelsMute ( MidiChannelGroupSTR ) |
| MuteStateBOOL |
The getChannelsMute method returns a boolean value representing the overall mute state of the specified channel group. If all channels in the specified group are muted, then the group is regarded as being muted and the getChannelsMute method returns a value of true. However, if any or all of the channels in the group are not muted, then the group is not regarded as being muted and a value of false is returned. It is possible to toggle the mute state of a channel group with a statement such as...
myMusicObject.setChannelsMute ('1,4,7,15',!myMusicObject.getChannelsMute ('1,4,7,15')); |
This is not the same as the statement myMusicObject.setChannelsMute ('1,4,7,15','Toggle'), since the Toggle value will have the effect of toggling the mute states of each of the individual channels that make up the group, thereby "inverting" the mute state of the group. It is, however, equivalent to the statement myMusicObject.setChannelsMute ('1,4,7,15','Toggle Group'), since using the Toggle Group value results in the setChannelsMute method first determining the mute state of the group as a whole, and then setting all the specified channels to the opposite state.
When the MidiChannel0to16 parameter is used in place of the MidiChannelGroupSTR parameter, then the getChannelsMute method can be used in just the same way as the getChannelMute method, making the getChannelsMute method more versatile, because you could pass it a parameter that is a Number representing a single MIDI channel, or a String representing a group of MIDI channels.
| getChannelsSolo |
|
The getChannelsSolo method determines the overall channel solo state for multiple channels in one simple step.
| getChannelsSolo ( MidiChannelGroupSTR ) |
| SoloStateBOOL |
The getChannelsSolo method returns a boolean value representing the overall solo state of the specified channel group. If all channels in the specified group are soloed, then the group is regarded as being soloed and the getChannelsSolo method returns a value of true. However, if any or all of the channels in the group are not soloed, then the group is not regarded as being soloed and a value of false is returned. It is possible to toggle the solo state of a channel group with a statement such as...
myMusicObject.setChannelsSolo ('1,4,7,15',!myMusicObject.getChannelsSolo ('1,4,7,15')); |
This is not the same as the statement myMusicObject.setChannelsSolo ('1,4,7,15','Toggle'), since the Toggle value will have the effect of toggling the solo states of each of the individual channels that make up the group, thereby "inverting" the solo state of the group. It is, however, equivalent to the statement myMusicObject.setChannelsSolo ('1,4,7,15','Toggle Group'), since using the Toggle Group value results in the setChannelsSolo method first determining the solo state of the group as a whole, and then setting all the specified channels to the opposite state.
When the MidiChannel0to16 parameter is used in place of the MidiChannelGroupSTR parameter, then the getChannelsSolo method can be used in just the same way as the getChannelSolo method, making the getChannelsSolo method more versatile, because you could pass it a parameter that is a Number representing a single MIDI channel, or a String representing a group of MIDI channels.
| getTracksMute |
|
The getTracksMute method determines the overall track mute state for multiple tracks in one simple step.
| getTracksMute ( TrackGroupSTR ) |
| MuteStateBOOL |
The getTracksMute method returns a boolean value representing the overall mute state of the specified track group. If all tracks in the specified group are muted, then the group is regarded as being muted and the getTracksMute method returns a value of true. However, if any or all of the tracks in the group are not muted, then the group is not regarded as being muted and a value of false is returned. It is possible to toggle the mute state of a track group with a statement such as...
myMusicObject.setTracksMute ('3,12,18,19,27',!myMusicObject.getTracksMute ('3,12,18,19,27')); |
This is not the same as the statement myMusicObject.setTracksMute ('3,12,18,19,27','Toggle'), since the Toggle value will have the effect of toggling the mute states of each of the individual tracks that make up the group, thereby "inverting" the mute state of the group. It is, however, equivalent to the statement myMusicObject.setTracksMute ('3,12,18,19,27','Toggle Group'), since using the Toggle Group value results in the setTracksMute method first determining the mute state of the group as a whole, and then setting all the specified tracks to the opposite state.
When the TrackNumber0to64 parameter is used in place of the TrackGroupSTR parameter, then the getTracksMute method can be used in just the same way as the getTrackMute method, making the getTracksMute method more versatile, because you could pass it a parameter that is a Number representing a single track, or a String representing a group of tracks.
| getTracksSolo |
|
The getTracksSolo method determines the overall track solo state for multiple tracks in one simple step.
| getTracksSolo ( TrackGroupSTR ) |
| SoloStateBOOL |
The getTracksSolo method returns a boolean value representing the overall solo state of the specified track group. If all tracks in the specified group are soloed, then the group is regarded as being soloed and the getTracksSolo method returns a value of true. However, if any or all of the tracks in the group are not soloed, then the group is not regarded as being soloed and a value of false is returned. It is possible to toggle the solo state of a track group with a statement such as...
myMusicObject.setTracksSolo ('3,12,18,19,27',!myMusicObject.getTracksSolo ('3,12,18,19,27')); |
This is not the same as the statement myMusicObject.setTracksSolo ('3,12,18,19,27','Toggle'), since the Toggle value will have the effect of toggling the solo states of each of the individual tracks that make up the group, thereby "inverting" the solo state of the group. It is, however, equivalent to the statement myMusicObject.setTracksSolo ('3,12,18,19,27','Toggle Group'), since using the Toggle Group value results in the setTracksSolo method first determining the solo state of the group as a whole, and then setting all the specified tracks to the opposite state.
When the TrackNumber0to64 parameter is used in place of the TrackGroupSTR parameter, then the getTracksSolo method can be used in just the same way as the getTrackSolo method, making the getTracksSolo method more versatile, because you could pass it a parameter that is a Number representing a single track, or a String representing a group of tracks.
| setChannelsMute |
|
The setChannelsMute method lets you set the channel mute state for multiple channels in one simple step.
| setChannelsMute ( MidiChannelGroupSTR , MuteStateBOOL ) |
The setChannelsMute method lets you set the mute state of multiple MIDI channels in one simple step. This lets you treat multiple MIDI channels together as a group. This is quite useful, among other things, for coding Web-based "remix" interfaces. A MIDI channel group is specified as a string value, containing a comma-separated list of MIDI channel numbers, as in
By using one of its variations, the setChannelsMute method also lets you use a convenient Toggle value to automatically invert the mute states of all channels in a group, as in
One can also use the Toggle Group value to automatically toggle the mute state of the group as a whole, as in
When a value of true is specified for the optional ExclusiveBOOL parameter, then all channels other than those specified in the MidiChannelGroupSTR parameter will be set to the opposite state of the channels in the group. So, the statement
When the MuteStateSTR parameter is used in place of the MuteStateBOOL parameter, it becomes possible to make use of the convenient Toggle value, which makes it easy to toggle the mute states of each channel in a group in one simple step, as in the statement
When the MidiChannel0to16 parameter is used in place of the MidiChannelGroupSTR parameter, then the setChannelsMute method can be used to affect the state of a single channel in the same way as the setChannelMute method. So, the setChannelsMute method is more versatile, because you could pass it a parameter that is a Number representing a single MIDI channel, or a String representing a group of MIDI channels. This also makes the convenient Toggle value available when simply affecting the state of one MIDI channel, as in
When no MuteStateBOOL or MuteStateSTR parameter is specified, then the setChannelsMute method will mute all the channels in the specified MIDI channel group. So, the statement
| setChannelsSolo |
|
The setChannelsSolo method lets you set the channel solo state for multiple channels in one simple step.
| setChannelsSolo ( MidiChannelGroupSTR , SoloStateBOOL ) |
The setChannelsSolo method lets you set the solo state of multiple MIDI channels in one simple step. This lets you treat multiple MIDI channels together as a group. This is quite useful, among other things, for coding Web-based "remix" interfaces. A MIDI channel group is specified as a string value, containing a comma-separated list of MIDI channel numbers, as in
By using one of its variations, the setChannelsSolo method also lets you use a convenient Toggle value to automatically invert the solo states of all channels in a group, as in
One can also use the Toggle Group value to automatically toggle the solo state of the group as a whole, as in
When a value of true is specified for the optional ExclusiveBOOL parameter, then all channels other than those specified in the MidiChannelGroupSTR parameter will be set to the opposite state of the channels in the group. So, the statement
When the SoloStateSTR parameter is used in place of the SoloStateBOOL parameter, it becomes possible to make use of the convenient Toggle value, which makes it easy to toggle the solo states of each channel in a group in one simple step, as in the statement
When the MidiChannel0to16 parameter is used in place of the MidiChannelGroupSTR parameter, then the setChannelsSolo method can be used to affect the state of a single channel in the same way as the setChannelSolo method. So, the setChannelsSolo method is more versatile, because you could pass it a parameter that is a Number representing a single MIDI channel, or a String representing a group of MIDI channels. This also makes the convenient Toggle value available when simply affecting the state of one MIDI channel, as in
When no SoloStateBOOL or SoloStateSTR parameter is specified, then the setChannelsSolo method will solo all the channels in the specified MIDI channel group. So, the statement
| setTracksMute |
|
The setTracksMute method lets you set the track mute state for multiple tracks in one simple step.
| setTracksMute ( TrackGroupSTR , MuteStateBOOL ) |
The setTracksMute method lets you set the mute state of multiple tracks in one simple step. This lets you treat multiple tracks together as a group. This is quite useful, among other things, for coding Web-based "remix" interfaces. A track group is specified as a string value, containing a comma-separated list of track numbers, as in
By using one of its variations, the setTracksMute method also lets you use a convenient Toggle value to automatically invert the mute states of all tracks in a group, as in
One can also use the Toggle Group value to automatically toggle the mute state of the group as a whole, as in
When a value of true is specified for the optional ExclusiveBOOL parameter, then all tracks other than those specified in the TrackGroupSTR parameter will be set to the opposite state of the tracks in the group. So, the statement
When the MuteStateSTR parameter is used in place of the MuteStateBOOL parameter, it becomes possible to make use of the convenient Toggle value, which makes it easy to toggle the mute states of each track in a group in one simple step, as in the statement
When the TrackNumber0to64 parameter is used in place of the TrackGroupSTR parameter, then the setTracksMute method can be used to affect the state of a single track in the same way as the setTrackMute method. So, the setTracksMute method is more versatile, because you could pass it a parameter that is a Number representing a single track, or a String representing a group of tracks. This also makes the convenient Toggle value available when simply affecting the state of one track, as in
When no MuteStateBOOL or MuteStateSTR parameter is specified, then the setTracksMute method will mute all the tracks in the specified track group. So, the statement
| setTracksSolo |
|
The setTracksSolo method lets you set the track solo state for multiple tracks in one simple step.
| setTracksSolo ( TrackGroupSTR , SoloStateBOOL ) |
The setTracksSolo method lets you set the solo state of multiple tracks in one simple step. This lets you treat multiple tracks together as a group. This is quite useful, among other things, for coding Web-based "remix" interfaces. A track group is specified as a string value, containing a comma-separated list of track numbers, as in
By using one of its variations, the setTracksSolo method also lets you use a convenient Toggle value to automatically invert the solo states of all tracks in a group, as in
One can also use the Toggle Group value to automatically toggle the solo state of the group as a whole, as in
When a value of true is specified for the optional ExclusiveBOOL parameter, then all tracks other than those specified in the TrackGroupSTR parameter will be set to the opposite state of the tracks in the group. So, the statement
When the SoloStateSTR parameter is used in place of the SoloStateBOOL parameter, it becomes possible to make use of the convenient Toggle value, which makes it easy to toggle the solo states of each track in a group in one simple step, as in the statement
When the TrackNumber0to64 parameter is used in place of the TrackGroupSTR parameter, then the setTracksSolo method can be used to affect the state of a single track in the same way as the setTrackSolo method. So, the setTracksSolo method is more versatile, because you could pass it a parameter that is a Number representing a single track, or a String representing a group of tracks. This also makes the convenient Toggle value available when simply affecting the state of one track, as in
When no SoloStateBOOL or SoloStateSTR parameter is specified, then the setTracksSolo method will solo all the tracks in the specified track group. So, the statement


I'm Alec Iverson, and I enjoy writing software.
I do not have an area I focus on, because I like to dabble. However, I do work with Computer Vision, do Low-Level hobby work, and make games for fun.
In addition, I enjoy spending hours tweaking code for max efficiency.
Games interest me because of the possibility to dabble. In order to make a game, a world has to be created. The laws governing this world must be created too. Because of this, there are almost infinite areas and specialities to dabble in.


re_handbook.pdf
The RE handbook of M. Jackson is used for this course. You will have to read chapters 1, 2, 4 and 7.


--- layout: page title: "Opportunistic Security for HTTP/2" description: "This document describes how \"http\" URIs can be accessed using Transport Layer Security (TLS) and HTTP/2 to mitigate pervasive monitoring attacks. This mechanism not a replacement for \"https\" URIs; it is vulnerable to active attacks." ---
| Document Name: | RFC 8164 |
|---|---|
| Document URI: |
urn:ietf:rfc:8164
|
| Online Version: |
https://datatracker.ietf.org/doc/html/rfc8164
|
| Organization: | Internet Engineering Task Force (IETF) |
| Series: | Request for Comments (RFC) |
| Abstract: | This document describes how "http" URIs can be accessed using Transport Layer Security (TLS) and HTTP/2 to mitigate pervasive monitoring attacks. This mechanism not a replacement for "https" URIs; it is vulnerable to active attacks. |
http-opportunistic
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