Part I Written by: Michael Borkow
Part II Teleplay by: Shana Goldberg-Meehan & Scott Silveri
Part II Story by: Jill Condon & Amy Toomin
Part I Transcribed by: Eric Aasen
Part II Transcribed by: Aaron D. Miller
[Scene: Chandler and Joey's, Joey and Chandler are getting ready for the flight to London and Monica comes running in.]
Monica: Guys, hurry up! The flight leaves in four hours! It could take time to get a taxi! There could be traffic! The plane could leave early! When we get to London, there could be a line at customs! Come on!! (She runs back to her apartment.)
Chandler: Six-hour trip to London. Thats a lot of Monica.
[Cut to the girls apartment, Monica is putting things into her purse as Phoebe and Rachel watch.]
Monica: Passport, check! (As she puts away each item, she says check.) Camera, check! Travellers cheques, check!
Rachel: Who are you saying "check" too?
Monica: Myself. Yknow for remembering to pack a thing. Yeah, you do a good thing, you get a check! (pause) My mom does it, I never realized it was weird.
Phoebe: Yeah, my mom used to put her head in the oven. Well, actually, she only did it the one time. But it was pretty weird.
Ross: (entering) Hey!
Monica: Hey!
Ross: Hey! Are you ready yet?
Monica: Yep! You got the tickets?
Ross: Oh! Got em right here, (Pats his coat pocket) check!
[Cut to the guys apartment.]
Joey: Its all London, baby! Here we go. (He takes a picture of a less than enthused Chandler and starts towards the girls apartment.)
Chandler: You got your passport?
Joey: Yeah, in my third drawer on my dresser. You dont want to lose that.
(Chandler glares at him. At first Joey doesnt know why, it takes him a little bit to figure it out.)
Joey: Ohh!! (Runs to his room.)
Chandler: There it is.
Opening Credits
[Scene: Monica and Rachel's, continued from earlier, Monica is telling Phoebe where everything is.]
Monica: Okay, if you need the vacuum, its in my closet on the left-hand side. Ah, the garbage bags are next to the refrigerator
Phoebe: Okay, okay, but Rachels gonna be here too, cant I just ask her this stuff?
Monica: Yeah, okay, give that a try!
Chandler: (entering, with Joey) All right! Lets do it!
Joey: Woo-hoo!!
Ross: Yeah, cheerie-o!
Joey: London baby!
Chandler: Okay, cause thats not gonna get annoying.
Joey: (louder) London baby!!
Chandler: Hey, yknow what? I was wrong.
Ross: Well, were all here! I guess we should get going!
Phoebe: Ohhh, I wanna come over there and give you a hug and wish you luck on your wedding, but I dontcant get up.
Ross: Oh, Ill-Ill come hug you.
Phoebe: Great! Yeah, could you bring me the newspaper?
Ross: Yeah. (He does so and Phoebe hugs him.)
Phoebe: Oh, have a great wedding!
Ross: Thanks.
Phoebe: Oh, hey, Chandler I wanna hug you too!
Chandler: Hey! (Trots over)
Phoebe: Oh, and great! You might as well bring me my book, its on the counter in your apartment.
Chandler: Oh. (Goes and gets Phoebes book as Rachel comes in from her room.)
Ross: (to Rachel) So, were off.
Rachel: Have fun!
Ross: Thanks! (They hug.)
Rachel: Oh, I know.
Ross: So-so come!
Rachel: What?!
Ross: To London! Come to London. Please? Itll mean so much to me.
Rachel: Yeah, well, I gotta work, Im sorry.
Ross: Why-why cant you take a couple of days off?
Rachel: Because, I cant! Ross, I told you, no. I cant.
Ross: This is my wedding.
Monica: All right, yknow what? We really are late! Lets go! Lets go! Lets go!!
Ross: Fine. Youll-youll watch it on video when we get back.
Chandler: (entering, with Phoebes book.) Here you go Phoebe! Here you go Phobo! Phewbedo! Phaybobo.
Phoebe: (laughs) Thank you.
(Chandler kneels down with his arms spread waiting for his hug.
Phoebe: Thank you. (She pats him on his head.)
Ross: All right, lets go! Bye, Pheebs!
Joey: Bye, Pheebs!
(They all start out, Rachel gives each one a kiss, and says "bye." In the hall, Joey says )
Joey: London baby!! (And Rachel slowly closes the door, sadly.)
Phoebe: Oh, do you need a hug?
(And with that, television history is made as, for the first time ever, an entire show moves its entire production to an entirely different country to make a single episode. We get shots of Buckingham Palace, London Bridge, Big Ben, and the London Marriott as Joey and Chandler exit.)
[Scene: Street in front of the London Marriott, Joey and Chandler exit. Joey is carrying a video camera and is shooting Chandler.]
Joey: Come on! Do something!

Joey: Okay, here! (Gives him the camera.) I wanna be the on camera guy. All right, first stop, Westminster Abbey. (Joey folds out his "pop-up" map of London. All of the major landmarks pop-up like in a pop-up book.)

Joey: Its London, baby! All right, the hotels here. (Points to the map.) Wait. No, we wanna go No. I know. (Sets the map down.) Im gonna have to go into the map. (So Joey literally steps into the map.)
Chandler: Okay, if you see a little version of me in there? Kill it!
Joey: I got it! (Picks up the map and starts walking.) Here we go.
Chandler: Okay. Listen-listen, were not gonna have to walk this way the entire time are we?
Joey: Shhh! (Pause) Man, you made me lose it! (He goes into the map again.)
[Scene: Another street, somewhere along the River Themes, Ross, Emily, and Monica are walking to where theyre gonna get married. Emily is relating the troubles with the caterer.]
Emily: and that was all before 10 oclock. The caterer rang and said it was going to be Chicken Kiev instead of Chicken Tarragon. And then the florist phoned to say there arent any tulips. Oh, and the chilliest has carpel-tunel syndrome. Were not gonna be
Ross: Whoa-whoa-whoa! Emily, (Gives her the time-out signal.) honey, okay?
Emily: Well, up yours too!
Ross: What?! No! No! Thats-thats time-out!
Emily: Sorry.
Ross: Sweetie, you gotta relax. Everythings gonna be great, okay? Come on. Come on.
Monica: Chicken Kiev?
Ross: Um-hmm! Doesnt that sound delicious at the last minute?
Monica: Yeah, yknow, but something like salmon which would be so much more elegant than the chicken. And, you wouldnt have to worry about the salmonella. (Ross pushes her.) So, I cant wait to see this place youre getting married!
Ross: Yeah. Yeah. Yes, this place is beautiful. Emilys parents got married here.
Emily: I still cant believe theyre tearing it down. It really is the most lovely building youll ever see. I mean its over (She stops suddenly, when she sees that demolition has already started.) Oh my God!
Monica: Its nice.
Emily: Oh. Oh. (She starts running towards the building.)
[Cut to inside.]
Emily: (running in, with Ross) Oh. Oh my God. How can this be happening? What are we going to do?
Ross: Its all right! Everythings gonna be all right.
Emily: Hows it gonna be all right?!
Ross: Uh-huh, I see that.
Monica: (entering) Okay, I talked to the guy with the shovel and I found out what happened.
Ross: What? What?
Monica: They torn it down a few days early.
[Scene: Westminster Abbey, Joey and Chandler have successfully navigated the streets of London and are approaching the Abbey.]
Joey: All right! Westminster Abbey! Hands down, best Abbey Ive ever seen. Hey! (Pushes Chandler in front of the camera.) Okay. What do you think of the Abbey, Chandler?
Chandler: I think its great. Its great. Yknow, theyre thinking of changing the name of this place.
Joey: Really? To what?
Chandler: To Put the Camera Away!!!
Joey: Man, you are Westminster Crabby. (He starts chasing Chandler towards the Abbey.)
[Scene: Monica and Rachel's, Phoebe is trying to move off of the couch as Rachel enters.]
Phoebe: Oh. Oh.
Rachel: Oh, honey!  What do you need?
Phoebe: Oh, no. Oh, nothing.
Rachel: Come on! I am here to take care of you! What do you need? Anything.
Phoebe: Okay, I have a wedgie.
Rachel: Okay, that is all you.
Phoebe: So-so, what do you want for lunch?
Rachel: Oh, I dont know. I guess we have to eat.
Phoebe: Yeah, I do. Whats the matter?
Rachel: Im just bummed about the way I left things with Ross. I shouldnt have lied to him about having to work. He seemed so mad at me.
 If someone I was still in love with was getting married
Rachel: (interrupting) Still in love with?!
Phoebe: Yeah!
Rachel: Im not in love with Ross!
Phoebe: Oh. No. No. Good! Yeah, me neither.
Rachel: Phoebe, Im going to Rosss wedding because he is my ex-boyfriend and that would be really uncomfortable. Not because, Im still in love with him! I mean, hey, yknow, I like Ross as much as the next guy, yknow? Clearly I have feelings for him, but feelings dont mean love! I mean, I still have loving feelings for Ross. Yeah! But, I have, I have continuing feelings of love, but that doesnt mean that-that Im still in love with him. Yknow? I-I have sexual feelings for him, but I do love himOhh! Oh my God! Oh mywhy didnt you tell me?!!
Phoebe: We thought you knew!
Rachel: We?!
Phoebe: Yeah, we all know! We talk about it all the time!
Rachel: You all know? Does Ross know?
Phoebe: Oh no, Ross doesnt know anything.
Rachel: Oh, I can not believe you didnt tell me!
Phoebe: Well, because we thought you knew!! Its so obvious! God, that would be like telling Monica, "Hey, you like things clean."
[Scene: A park in London, Joey and Chandler walk up to a souvenir stand.]
Joey: Hey!
The Vendor: So, what are you guys in the market for? Weve got uh, scarves, tulip post cards...
Joey: Check this out? Huh? (Joey has this big tall hat with a British flag on the front of it.) Yeah. Thats the stuff. What do you think?
Chandler: Well, I dont have to buy that, "Im with stupid" T-shirt anymore.
Joey: Well, I like it. Here you go. (He pays for the hat.)
Chandler: All right, look, youre not really gonna buy that are you? Dont you think youve embarrassed me enough for one day?
Joey: Oh, I embarrass you?
Chandler: How can I answer that when Im pretending I dont know you?
The Vendor: Hes just jealous. Youll fit right in; all Londoners wear them!
Chandler: Oh really? Then how come no one here is wearing them?
The Vendor: (looks around) Theyre all tourists.
Chandler: All right, look, if you insist on wearing that, in public, yknow, youre gonna spend the rest of the afternoon all by yourself.
Joey: Oh yeah? (Puts the hat on.)  I choose the hat.
The Vendor: Good choice.
Joey: Thanks.
Chandler: Okay, wait. All right, thats it, okay, Im out of here. I am not going to be embarrassed anymore! (He trips over a box, falls into a flower stand and walks away trying to be cool.)
[Scene: The hotel, Rosss room, Emily is entering.]
Emily: Hello?
Ross: Hey! I just spoke to your dad, and you know what? He seems to think well be able to find a new place for the wedding.
Emily: We dont have to.
Ross: Whoa-whoa-what? You found a place?
Emily: No. But, Monica and I were talking, and-and I was so upset about the hall being knocked down, and she suggested that we put the wedding off for a bit.
Ross: She said what?
Emily: She said, "If Im not gonna be happy getting married somewhere that we find in a day, well then we should just postpone it."
Ross: Postpone it? Emily, do you think Monica realises how much our parents spent on this wedding?  (He puts his pants on backwards.) This isnt right.
Emily: I realize that people are going to be disappointed. But, Im sure theyll come back when we can do it right.
Ross: I cant ask people to do that? Would you ask people to do that?  (She throws them on the floor.) We have no choice!  This is our wedding Im talking about.
Ross: The only thing I understand is; postponing it is not an option. This is when were getting married.
Emily: So what are you saying? Its now or never?
Ross: No. Im saying its now. (He starts putting on his pants, backwards again.)
Emily: Or?
Ross: Theres no or in mind. What is wrong with these pants?!!
Emily: Its not the pants. Its you that is backwards. And if, and if you dont understand how important this is to me, well then, perhaps we shouldnt get married at all! (She storms out.)
Ross: (chasing her, trying to zip up his pants. His got them on right now.) No, wait! Emily! No, wait, stop! Emily, please(He catches something important in the zipper and howls like a little boy and falls to the floor.)
Commercial Break
[Scene: Monica and Rachel's, Phoebe is on the couch as Rachel returns carrying a bunch of shopping bags.]
Phoebe: Hey!
Rachel: (depressed) Hi.
Phoebe: So, did shopping make you feel any better about Ross?
Rachel: Manhattan does not have enough stores.
Phoebe: Well, I think I can help you get over him.
Rachel: You can?
Phoebe: Yeah. I just need you to bring me some photos of Ross.
Rachel: Um-hmm.

Rachel: Okay.
Phoebe: And a glass of tepid water. (She gathers up all of these things.)
Rachel: Ooh, is this one of those things where you throw it in a bag with some graveyard dirt and hang it from a north-facing tree?
Phoebe: Uh, only if you have the hiccups too. Yeah, the pictures are for you, the water and the chocolate is for me. I just didnt feel like getting up. Okay, Im gonna show you a picture of Ross. Okay? And youre going to remember all of the bad things about him. All right? Really focus on his flaws.
Rachel: I can do that. I certainly did it when we were going out.
Phoebe: Okay. Umm, before we get started, I just wanna say for the record that I love Ross, I think hes such a great guy. Here. (Hands her the picture, Rachel grabs it out of her hand.) Okay, now, close your eyes.  And youre-youre running your hands all over his body. And then you run your hands through his hair, but eew-oh gross its some kind of grease, itsuck! Hah?
Rachel: I dont know, his uh, his hair never really bothered me that much, and yknow it was always more crunchy than it was greasy.
Phoebe: Okay, this is going to be harder than I thought. Umm, lets try some uh, aversion therapy.
Rachel: Okay.
Phoebe: Okay?
Rachel: All right.
Phoebe: So uh, now look at the picture
Rachel: Okay.
Phoebe: All right, and umm (She grabs the picture and smacks her in the head.)
Rachel: Ow!
Phoebe: Okay, how do you feel now?
Rachel: Well, I like you less!
[Scene: Chandler and Joeys hotel room. Chandler is watching TV as Joey returns, still wearing his hat.]
Joey: Hey.
Chandler: Hey. (He nods at the hat.)
Joey: Oh. (Takes off the hat.) Sorry!
Chandler: No-no-no, yknow what? I really shouldnt have said that you were embarrassing me, I mean that really wasnt cool. And if it makes you feel any better, Ive had a really lousy day.
Joey: Me too.
Chandler: Yeah?
Joey: Noo!! Ive had the best day ever! Dude, check this out!
Monica: (entering) Hey!
Joey: Sh-shh-shh! (He motions for her to watch something he has taped.)
[Cut to the tape Joey made in front of some famous place in London with a rather famous English-type person.]
Joey: (on tape) Okay, so say hi to my friend and tell him that you like the hat.
Fergie: (Yep, Sarah, the Duchess of York) Okay, so umm, whats your friends name?
Joey: (on tape) Oh, Chandler.
Fergie: Hi Chandler!
Joey: Thats Fergie baby!!
Fergie: Joey says you dont really like his hat, but I think its kinda dashing.
Chandler: How did you? How? How?
Joey: Well, I was trying to figure out how to get to Buckingham Palace, right? So, Im in my map and-and (Ross enters) Hey!
Monica: Hey!
Ross: Hi. I understand you had a little talk with Emily.
Monica: (laughs) Yes, I did! And you are welcome!
Ross: Am I?! And was it your idea to postpone the wedding?!
Monica: Umm
Chandler: Im gonna go to the bathroom.
Joey: Wait up! (They both run to the bathroom.)
Ross: Hey-hey, since youre the fix-it lady, heres a pickle, what do you do when the bride says she doesnt want to have the wedding at all?
Monica: She said that?!
Ross: Yeah.
Monica: Why?!

Monica: Oh my God. Youre even dumber than I am!
Ross: Excuse me?
Monica: Ross, how long have you been planning this wedding?
Ross: I dont know. A month?
Monica: Emily has probably been planning it since she was five! Ever since the first time she took a pillowcase and hung it off the back of her head. Thats what we did! We dreamed about the perfect wedding, and the perfect place, with the perfect four-tiered wedding cake (Starting to cry), with the little people on top. (Ross gets thrown a box of Kleenex from the bathroom and he gives her one.) Thanks. But the most important part is that we had the perfect guy who understood just how important all that other stuff was.
Ross: I had no idea. And that-that pillowcase thing, I thought you guys were just doing the flying nun.
Monica: Sometimes we were.
Ross: Come on. You gotta help me figure out what to do. Okay?
Monica: Okay.
Ross: Come on. (They leave and Chandler sticks his head out.)
Chandler: That was pretty intense huh?
Joey: Yeah. (Pause) Hey, I hope Ross didnt think that we just went in there because we were uncomfortable being out here!
Chandler: (glares at him) I hope he did!
[Scene: Monica and Rachel's, the phone rings and Phoebe answers it.]
Phoebe: Hello.
Joey: (on phone) Hey, Pheebs! Its Joey!
Phoebe: Hey, Joey! Hey! Ooh! Ooh! I just say someone on thethat looks just like you on the subway.
Joey: That just cost me four bucks. But uh listen, I just called to see how the chick and the duck are doing?
Phoebe: Ohh, theyre having a great time with their Aunt Phoebe! Aunt Rachel hasnt been helpful at all. So, do you miss me?
Joey: Kinda, but Ive just been having way too much fun.
Phoebe: So youre not homesick yet?
Joey: No, I dont think so.
Phoebe: All right, the seven of us miss you.
Joey: Whos seven?
Phoebe: Yknow, me, Rachel, the birds, the babies
Joey: Ahh, the babies miss me?
(There is a knock on Rachel and Phoebes door.)
Phoebe: Ooh, the pizza guys here!
Joey: What? You ordered pizza without me?!
Phoebe: Yeah. But yknow we were thinking about you, yknow we ordered the Joey Special.
Joey: Two pizzas?!
Phoebe: Yep! Okay, gotta go, talk to you later.
Joey: Wait, well, where did you get it from?!
(Phoebe has already hung up, leaving Joey in the dark. So Joey decides to watch some TV and turns on a rerun of Cheers, with the theme song playing. At first, hes happy, but as the song progresses Joey gets depressed and homesick.)
[Scene: Ross and Emilys planned wedding place, Monica is dragging Emily in.]
Emily: Monica, why have you brought me here of all places?!
Monica: Youll see.
Emily: I tell you, this wedding is not going to happen.
(At that Ross plugs in some Christmas lights to light the place up.)
Emily: Oh God.
Ross: Okay? But-but imagine a lot more lights, okay? And-and yknow fewer bricks, and-and-and flowers, and candles
Monica: And the musicians, look, they can go over here (Points to a little alcove), okay? And the chairs can face this way (Points), and (Points to Ross) You go.
Ross: But-but, if you dont love this, well do it in any other place at any other time. Really, its fine, whatever you want.
Emily: Its perfect.
Ross: And, I dont know, if it starts to rain
Emily: Well then well get wet. (They kiss.)
Monica: Ohh. And I dont even have a date.
[Scene: Monica and Rachel's, Rachel is in her bedroom.]
Rachel: Pheebs?
Phoebe: Yeah?
Rachel: Do you remember where the duck food is?
Phoebe: Yeah, its in the guys apartment under the sink. Why?
Rachel: (enters with a bag packed) Because Im going to London.
Phoebe: What?! What do you mean youre going to London?
Rachel: Yeah, I have to tell Ross that I love him. Now honey, you take care, you dont have those babies until I get back. (Kisses her stomach.)
Phoebe: IRachel, you cant go! Ross loves Emily!
Rachel: Yeah, I know, I know, I know he does. But I have to tell him how I feel! He deserves to have all the information and then he can make an informed decision.
Phoebe: Thats not why youre going! Youre going because you hope hes gonna say, "Yeah, I love you too, Rach. Forget that British chippy."
Rachel: OhhDo you think he will?!
Phoebe: No! Because hes in love with the British chippy!  Yknow, its too late! You missed youre chance! Im sorry, I know this must be really hard, its over.
Rachel: Yknow what? No. Its not over until someone says, "I do." (Exits)
Phoebe: I do! I do! I do! (Chases her into the hall, but Rachel doesnt stop.) I do! (Gives up.) Ugh, like I can really chase you. Im carrying a litter.
Commercial Break
[Scene: Moving Shot towards The Waltham House. A phone is ringing.]
Housekeeper: The Waltham Residence.
Phoebe: Oh...yes..is this..umm..Emilys Parents house.
Housekeeper: This is the housekeeper speaking. And by the way, young lady, that is not how one addresses oneself on the telephone. First one identifies oneself and then asks for the person with whom one wishes to speak.
Phoebe: (In a British accent) This is Phoebe Buffay. I was wondering, please, if-if its not too much trouble, please, umm, might I speak to Miss Emily Waltham, please?
Housekeeper: Miss Waltham, is at the rehearsal dinner and its not polite to make fun of people. Goodbye.
Phoebe: No no no, Ill be nice, I swear!!! Could you just give me the number for where they are?
Housekeeper: Im afraid, Im not at liberty to divulge that information.
Phoebe: Ok, somebody is on their way to ruin wedding okay. And I have to warn somebody, alright.
Housekeeper: Hangs up.
Phoebe: Hello, Hello.
[Scene: Rehearsal dinner hall. Ross and Emily are standing in the reception area. Monica arrives with her parents.]
Monica: Hey.
Ross: (Ross hugs his mom and dad)Hi. Mom. Dad.
Mrs. Geller: Sweetheart. Oh sorry were late, my fault, I insisted on riding the tube.
Mr. Geller: (embarrassed) Judy, the kids..
Mrs. Geller: Jack, thats what they call the subway.
Mr. Geller: Ohh, I thought that you....
Ross and Monica: Dad, dad. We got it!! We Got It!!!
Emily: Ohh, here comes my dad and stepmum. Mister and Misses Geller, this is Steven and Andrea Waltham.
Mr. Waltham: (Shaking everyone's hand.) Hello. Hello. How do you do? How do you do? Very nice to meet you. (Looking over at his wife.) Darling its the Gellers. (She pays no attention shes talking on a cellular phone.) (Louder) Darling, its the Gellers. (Shes still not responding.) Shes very self-absorbed, you know. I should never have married her.
Mrs. Waltham: (Looking evilly at her husband) Sorry, what?
Mr. Waltham: Its the Gellers!
Mrs. Waltham: Where?
Mr. Waltham: Well theres one (pointing towards Jack) and theres another (pointing towards Judy).
Mrs. Waltham: Lovely to meet you.
Mr. Waltham: Terribly nice of you to offer to pay for half the wedding. (He hand a multipage bill to Jack.)
Mr. Geller: Ohh forget it. Too hell with tradition, were happy to do it.
Mrs. Geller: We know how expensive weddings can be, besides this may be the only wedding we get to throw (patting Monica on the shoulder.).

(Ross quickly directs the families to their tables.)
[Scene: Chandler and Joey are standing by the kitchen entrance. A waiter comes out.]
Waiter: Sir? (Looking at Joey.)
Joey: Whats in it?
Waiter: Goat cheese, water chestnuts, and panchetta. (Joey Looks down disgustingly at the food.)
Joey: (Looking up at the waiter)Thats not food...No, I dont, no...(Taps Chandler on the shoulder.) Everything's different here...I want to go home. I...I miss my family. I miss the coffee house. I cant even remember what Phoebe looks like.
Chandler: Joey, its been three days, okay..  Would you just try to relax. Just, just try to enjoy yourself.
Joey: (Pointing at Chandler.) Your different here too. Your mean in England. (Chandler throws his hands up to his head in frustration. They walk away from each other.)
[Camera pans to the Geller family table. Ross, Rachel, Mr. and Mrs. Geller are there.]
Mr. Geller: (Looking at ht wedding bill.)
Ross: whats up, Dad?
Mr. Geller: This bill for my half of the wedding. its insane.
Mrs. Geller: How could it be so much? The receptions at their house.
Mr. Geller: (Pointing items out on the bill.) Flowers, liquor, recarpet first floor. New guest bath, landscaping. Im paying to remodel this guys house. (Angrily gets up.)
Ross: (Holding him back.)Dad, dad, please. Look I dont want anything to upset Emily tonight. Alright, she's had a hard enough couple of days as it is. (Picks up the bill.) Now here, here, let me go talk to him, okay?
Mr. Geller: And you tell him no one takes advantage of the Gellers.
Mrs. Geller: Ooh, Jack....(He looks over to her) Sometimes I forget how powerful you can be. (They embrace and kiss passionately.)
Monica: (Looking nauseous from her parents kissing.) And Im going to go get drunk. (Gets up to get a drink.)
[Scene: An airport in New York.]
Rachel: (Running to the ticket counter) Ooh, ooh, ooh,ooh,ooh. (Slightly out of breath) Hi.
Ticket Agent: (Cheerfully.) Hello.
Rachel: (Faking cheerfulness.) Hello. Umm, when is your next flight to London?
Ticket Agent: (looking at her computer terminal) Theres one leaving in thirty minutes.
Rachel: Ohh, good.
Ticket Agent: And I do have one seat left.
Rachel: Ohh, thank you, thank you, thank you.
Ticket Agent: The last minute fare on this ticket is twenty seven hundred dollars.
Rachel: (looking through her wallet.) Ohh, I just dont think I have enough left on my credit card.
Ticket Agent: Well you can split it with another credit card.
Rachel: Ohh, okay, how about five. (She hands her all the credit cards.) Ohh, thank you.
Ticket Agent: Im just going to need to see your passport.
Rachel: (Looking through her purse.) Okay, you know what? I dont have it, but I can tell you exactly where it is on my night stand, and...okay. But you know what? I have my drivers license and I have a twenty. (She slides it across the counter.)
Ticket Agent: (Slides the twenty back and tosses her credit card onto the counter.)
[Scene: The Rehearsal dinner hall. Ross is at the Walthams table discussing the bill.]
 Now I might be able to get you the new lawn.
Mr. Waltham: Ahh, then you have to give us the lawn ornaments.
 I mean we had an agreement. (Ross looks frustrated. She begins to scream at her husband.) Will you say something, Steven?! Please!!!
Mr. Waltham: Dont take that tone with me. (She looks evilly at him.) All-all right you can. (He looks over at Ross and Shrugs.)
[Scene: The Girls apartment. Phoebe is dialing the phone and Rachel runs in the door.]
Rachel: (Running to her room.) Hi, Pheebs.
Phoebe: (Looking relieved. She puts down the phone.) Oh thank god. Oh, you changed your mind. Oh, look I know you probably want to be alone, and you dont want to talk about it, thats fine. I just want you to know, I think you are doing the right thing and...
Rachel: (Running back out the door with her passport.) Bye, Pheebs.
Phoebe: (Trying to get up.) Wait!! Where are you going?! What are you doing?! No!! Wait!! (Not able to get up.) God!! Why am I always pregnant when she does that?!
[Scene: The Rehearsal Dinner Hall. Chandler, Joey, Ross, Emily, Monica, and all the bridal party are seated at the table. Chandler gets up to make a toast.]
Chandler: Id like to toast, Ross and Emily. Of course, my big toast will be tomorrow at the wedding, so this is kind of my little toast or Melba toast, if you will. (No one in the room laughs. He starts to get flustered.) Okay. I known Ross for a long time. In fact, I knew him when he was going out with his first girlfriend. (Ross looks embarrassed.) And I thought things were going to work out for him..Until the day he over inflated her. (He laughs. Jack looks at Judy and no one in the room laughs.) Ohh, Dear God.. (A cellular phone rings.)
Mrs. Waltham: Hello, Waltham Interiors.
Phoebe: Oh, hi, Mrs. Waltham. I need to speak with ether one of the best men, or Rosss sister Monica.
Mrs. Waltham: Who is this?
Phoebe: Oh, Im Phoebe Buffay. Im one of Rosss best friends.
Mrs. Waltham: Well, if youre on e of Rosss best friends, why arent you here?
Phoebe: Yeah, um, I cant fly. Im having my brothers babies.
Mrs. Waltham: Oh, am I on the radio?
Phoebe: No..umm, could I talk to one of them? Its very very important.
Mrs. Waltham: No, Im bored with you now.  (She hangs up.)
Phoebe: Ohh!
Chandler: (Continuing his toast.) And Im sure were all very excited that Ross and Emily are getting married at Montgomery Hall. I mean to think, my friend getting married in Monty Hall. (No reaction from the people.) Ohh, come on!! Monty Hall!! Lets make a Deal!!  All right, forget it!! Congratulations, Ross and Emily. (He sits down.)
Joey: Hey, best man number two, Joey Tribbiani. Now Im not good with the jokes like Chandler here. Boy...but ahh, I just want to say congratulation to the happy couple. I first met Ross in this coffee house back home...Home...New York City...Where everybody knows my name. Well anyway, I love you guys. (pointing at everyone.) But not as much as I love America. (Looking at Chandler.) Could we please..go home now?
(One of the bridesmaids, Felicity, puts her arm around Joey.)
Felicity: (Putting her arm around Joey.) Are you going home? I was hoping to get to know you better.
Joey: (Putting his arm around her.) Im not going anywhere, sweetheart.
[Scene: Later that evening at the rehearsal dinner. Chandler and Monica are sitting on a sofa. Chandler is covering his face in embarrassment because of the toast.]
Monica: I was laughing. (Patting him on the knee.)
Chandler: Out loud?

Chandler: So how are you doing?
Monica: My mothers driving me crazy, but Ross is getting married. Im happy. (A drunken man approaches.) Im not going to let anything spoil that.
Drunk Man: I just want to say that Ross is a wonderful young man.
Monica: Well, thanks, we like him.
Drunk Man: My god!! You must have been a teenage when you had him. (Monica stares straight forward after the comment. Chandler tries to console her by patting her on the shoulder.)
(Ross and Emilys parents are seated at a table. Ross is between them and they are discussing the wedding bill.)
Mr. Geller: Theres no way in hell, Im paying for it.
Ross: Look, were down to just one point. Could we please, maybe just settle it after the wedding.
Mr. Geller: All-right fine, but I just want to say, Im not paying for your wine cellar. You thieving, would be speaking German if it werent for us, cheap little man. (Emilys stepmum looks shocked. Jack and Judy get up and leave.)
(Chandlers trying to console Monica.)
Chandler: The guy was hammered, okay?
Monica: Then why would he say it?
Chandler: Because hes crazy. Okay? He came up to me earlier and thanked me for my very moving performance in Titanic.
Monica: Oh, my mothers right. Im never going to get married.
Chandler: Ahh, you know what? That is....Who wouldnt want you?
Monica: Ohh, Please?! Im a single mom, with a thirty year old son!!
[Scene: The airport. Rachel runs up to the ticket counter.]
Rachel: Hi, Im back. Listen, I need to...
Ticket Agent: Hello.
Rachel: Hello. I need to get on the 11 o'clock flight.
Ticket Agent: Oh Im afraid that plane has already pulled away from the gate.

Ticket Agent: I cant do that.
Rachel: Sure, you know what? Come on, well just tell them that there was like a problem with like the "engine".
Ticket Agent: Im afraid Im going to have to ask you to step aside, Miss.
Rachel: Look, If I dont get to London!! He is going to marry that other girl!!!
Ticket Agent: I cant imagine why.
Rachel: All right, you know what? I am not leaving here, until you call that plane back!! (She pounds her hand on the counter twice. The ticket agent counters by placing the closed sign on the counter and tapping it twice.)
[Scene: Chandlers hotel room. Ross bursts into the room.]
Ross: (Screaming) Im getting married today!! Whoo-hoo!!
Chandler: (With the covers pulled up to his chin.) Morning, Ross.
Ross: Im getting married, to..day!!
Chandler: Yeah you are!!
Ross: Ahh, whoo-hoo!!(He runs back out the door.
Monica: (Comes up for below the covers and looks concerned.) Do you think he knew I was here? (Chandler quickly looks at Monica not knowing what to say.)
Commercial Break
[Scene: Chandlers hotel room. Chandler and Monica are lying in the bed together talking. Theres an awkward air between them. They are both clutching the covers in from of them.]
Chandler: Well Ive-Ive never done that with you before.
Monica: (In am uneasy voice.) Nope. (She chuckles uneasily.)
Chandler: So, ahh, how are ya? How ya...How ya... You okay?
Monica: Yep, yep...You?
Chandler: Yes...Yes..Uh-huh, You?(Looking over at her. She looks back.) We did you.
Monica: Well...Id better get going.
Chandler: Oh yea yea, absolutely.
Monica: (Scoots towards the side of the bed.) Could you not look?
Chandler: I dont want to look.
[Scene: The Virgin Atlantic flight to London that Rachel is on.]
Rachel: Ohhh.(she rhythmically taps her hands on the magazine on her lap.)
Passenger: Ahh, ahh, excuse me.
Rachel: Yeah?
Passenger: If youre planning on doing that throughout the entire flight. Please tell me now. So that I could that a sedative...or perhaps slip you one.
Rachel: Oh. Im sorry. Im very sorry. Sorry. (She hums and sighs happily.) Its just, Im ahh, Im kinda excited. Im, ahh, going to London to ahh, tell this guy that I love him and... (He puts his headphones on to ignore her.)
[Scene: Joey enters his hotel room. The phone is ringing.]
Joey: Hello?
Phoebe: (Angrily.)
Joey: Hey. I spent the night out. I met this cute bridesmaid. She is so...
Phoebe: I dont want to hear about her!!
Joey: Ahh Pheebs, you know youre still my number one girl.
Phoebe: No! No, we have an emergency. Okay? Rachels coming to London.
Joey: Ohh great!!!
Phoebe: No its not great. No, shes coming to tell Ross that she loves him.
Joey: (Confused.) But, he loves Emily?
Phoebe: I KNOW THAT!!! You have to stop her!! Shes going to ruin the wedding!!
Joey: Okay.
Phoebe: All right, so, okay...
Joey: Hold on. Hold on. (Picking up a note pad and writing and reading the message aloud.) Rachel coming. Do...Something.
Phoebe: Okay, so Im done my part, okay. Its your responsibility now, okay. The burden is off me, right?
Joey: Right!
Phoebe: So tell me about this girl?
(The guys hotel room. Joeys there. Chandler comes out of the bathroom in a robe.)
Joey: Hey.
Chandler: Hey.
Joey: Have you seen Monica?
Chandler: (Very defensive.) Im not seeing Monica.
Joey: (With a confused look on his face.) What?
Chandler: What?
Joey: Look weve got to find her. Phoebe just called!! Rachels coming to tell Ross she loves him!!
Chandler: Oh my god!
Joey: I know! Thats why we got to find Monica!! You know where she is?
Chandler: No!! Okay!! Whats with the third degree?!  (Joey looks totally confused.)
[Scene: The plane. Rachel's telling her story to the passenger on her left. The one on her left is still wearing his headphones.]
Rachel: ...And so then I realized. All this stuff I had been doing. proposing to Joshua, lying to Ross about why I couldnt come to the wedding. Was all just a way of...
Passenger: (Frustrated he takes his headphones off.) Oh, oh oh!! Im sorry, can I interrupt?
Rachel: Ehh, pardon me?
 Im afraid I have to agree with you friend Pheebs.. This is a..this is a...terrible, terrible plan.
Rachel: But he has to know how I feel!
Passenger: But why? He loves this...this Emily person. No good can come of this.
Rachel: (Sighing) Well I-I think your wrong.
Passenger: Oh-no.(He bites his fist at her.)And by the way, it seems to be perfectly clear that you were on a break. (Rachel gasps and doesnt know what to say. He puts his headphones back on.)
[Scene: The church where Ross and Emily are to be married. Judy, Andrea, and Monica enter together.]
Mrs. Geller: (Looking around at the chapel.) Oh my God! Its like a fairyland.
Mrs. Waltham: I know, its horrible isnt it?
Monica: Well, I love it. I only hope my wedding looks this good.
Mrs. Geller: I just hope...
Monica: (Angrily.) You can let some of them go by!(Judy and Andrea go to the front of the chapel. Joey approaches Monica.)
Joey: (Whispering.) Pisst, Monica. Alright, we really need to start looking out for Rachel. Ill cover the front door. You watch that big hole at the back of the building and I got Chandler covering Ross.
Monica: (Awkwardly.) Why would I care where Chandler is? You know uhh...You know sometimes I dont even like Chandler.
Joey: Okay. (They both walk off to watch for Rachel.)
(Ross and chandler are standing next to the alter. Ross is practicing for the wedding.)
Ross: (Using a slightly different inflection for each.) I do. I do. I do.
Chandler: Oh yea, your right. Its the second one.
Ross: (Very Nervous)Really?
[Scene: Joeys in the front entrance watching for Rachel. The bridesmaid he met at the rehearsal dinner come in.)
Felicity: (In a sexy voice.)Hello Joey.
Joey: Hey, Felicity.
Felicity: Umm, I thought about you all day.
Joey: Yeah.
Felicity: Um-hum. Talk New York to me again.
Joey: (In a New York accent.) Fuggetaboutit. (She giggles.) How you doin?
Felicity: Mmm. (She pushes him up against the wall and they begin to kiss.)
Joey: Oh, yeah.
(Back in the chapel. The parents are still fighting over the bill. Ross is refereeing.)
Mrs. Geller: Theres nothing to discuss. Were not paying for your wine cellar.
Mr. Waltham: (Pleading.) You-you have to meet me in the middle here.
Mr. Geller: (Forcefully.)
Ross: Dad!! (Emily comes running in.)
Emily: What-whats going on?!
Ross: Nothing, nothing. Everything's under control.
Mr. Waltham: You want a piece of me, sir? Is that what your saying? (Pointing at Jack and poking him) You want a piece of me?
Ross: (Stepping in between them.)Okay! Okay! Thats it!! Parents!! Parents!! Back away!! All right, this is our wedding day! From now on everyone gets along, and if I hear one more word. NO GRANDCHILDREN! (Pointing at his mother.) Thats right!!
Mr. Geller: Okay, okay.
Mr. Waltham: Sorry old boy, sorry. Sorry. Sorry. (Them all walk away. As he leaves he mutters to Jack.)
Emily: What was all that about?
Ross: (Sighing.) It was...This disagreement over...(She sighs. Ross notices her in her wedding dress.) My god. You...you look beautiful.
Emily: (Giggles.) Ohh...(She realizes that shes in her gown.) Oh! You were not meant to see me before the wedding. Its bad luck.
Ross: You know what, I think weve had all the bad luck were going to have. (He hugs her.)
(The front entrance. Joey and the bridesmaid are up against the wall kissing. Rachel comes in the door and walks by Joey unnoticed. She walks into the chapel and sees Ross and Emily kissing. She looks as though she wants to cry. Emily walks away and Ross turns and sees Rachel standing there.)
Ross: My God. Rachel! (He walks towards her, grasps her hands and kisses her on the cheek.) Your here. I cant believe it. (She giggles.) What happen? Why are you here?
Rachel: Well I just came...(She touches him near his heart. Shes almost in tears.) I just needed to tell you...(Looking into his eyes. She takes a deep breath.) Congratulations. (He hugs her. She can barely hold back the tears.)
[Scene: Camera fades to one of the band members playing guitar at the wedding. The chapel is full of guest. A groomsmen escorts a bridesmaid down the isle. Joey is waiting with Mrs. Waltham to escort he down the isle. A cellular phone rings.]
Mrs. Waltham: (Answering the phone.) Hello, Waltham Interiors.
Phoebe: Mrs. Waltham. Hi. Its Phoebe again.
Mrs.  Why?!
Phoebe: Yea. Can I please, please, please talk to one of the best men? This is going to be the last time I promise.
Mrs. Waltham: (Slapping the phone into Joeys chest.) Joey theres a girl on the phone for you.
Joey: (Smiling.) Ohh great!! (Putting the phone to his ear.) Hello. (He begins to escort her down the aisle.)
Phoebe: Did you stop Rachel?
Joey: No, but its okay. She just came in and gave him a hug, that it.
Phoebe: So nothing got ruined?
Joey: No.
Phoebe: Oh thats so great! Ohh, so whats going on now?
Joey: Ah, Im-Im walking down the aisle...Still walking. (Mrs. Waltham takes her place.) Im about to pass the bridesmaid I hooked up with last night. (Looking at the bridesmaid.) Hey! (Talking to Phoebe.) I told her "Hey." And now Im at the front with Ross. Its Phoebe. (He shows Ross the phone.) He looks pretty mad. Uh...Id better go.
Phoebe: No!! wait, wait, wait!! Oh please, hold it up so I can listen. (Joey looks at Ross and holds the phone above Rosss shoulder.)
(Chandler escorts Monica down the aisle.)
Chandler: What we did last night was....
Monica: Stupid.
 (He nods his head at the people seated.)
Monica: What were we thinking?
Chandler: Im coming over tonight though, right?
Monica: Oh yeah. Definitely.
(They quickly take their places and Here Comes the Bride Begins to play. Everyone seated looks back. Emily is being escorted up the aisle by her father. She kisses him on the cheek and takes her place by Rosss side.)
Minister: Friends. Family. We are gathered to celebrate here today the joyous union of Ross and Emily. May the happiness we share with them today be with them always. Now Emily, repeat after me. I, Emily...
Emily: I, Emily...
Minster: Take thee Ross...
Emily: Take thee Ross...
Minster: As my lawfully wedded husband, in sickness and in health, till death parts us.
Emily: As my lawfully wedded husband, in sickness and in health, until death parts us.
Minster: Now Ross, repeat after me. I Ross...
Ross: I Ross...
Minister: Take thee, Emily...
Ross: Take thee, Rachel...(All his friends have looks of shock on their faces. He realizes what he said. Quickly he says.) Emily. (A slight chuckle.) Emily.
Minister: (Looking and feeling awkward. he looks towards Emily.) Uhh...Shall I go on?
(Rachel looks all around as if all the eyes in the chapel were looking at her as the picture fades to black.)
Closing Credits
End


homebridge-punt
This is a work in progress!
Please report bugs / issues on GitHub. Your feedback is welcome.
GitHub
Simulator


The following links are permanent links to the required legal files for the Ayla Web project repositories


This is a unique, unforgettable experience for the entire family, aboard a pirate ship in the heart of downtown Ottawa along the Rideau Canal (by Mooney's Bay Beach), Canada's newest World Heritage site.
Open 7 days a week all summer long, until Labour Day, then weekends in September. Sailing departures may vary: 10am, 11:30am, 1pm, 2:30pm, 4pm, and 5:30pm. (Tuesday thru Sunday).
Address:


My next Vacation spot. And my first vacation spot out of the USA.
Amross Court Motor Lodge
18 Day New Zealand Wonderland
New Zealand Nature Lovers Self Drive with Air Canada
"Stopped here for coffee twice when in Greymouth....lovely coffee and a great atmosphere in this cafe... Will visit again"
"Loved this experience - we were surprised by our kids who live in NZ and what an amazing night. Attentive service - fantastic food and the best company..."


My Address Book
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One might ask why another framework? My first response to that question is "this is not a framework". PAX is a tool set that can replace the need for a framework. Browsers have come a very long way since the days of IE. The modern browser is powerful and concise. You can achieve 95% of the things you need with just the browser these days. With the recent addition of web-components we can built powerful elegant applications with almost no 3rd party modules.
PAX provides the missing 5% of what the browser does not. Page classes, dynamic rendering, and single page application routing.
Todays applications can be a burden on developers. You install a bucket of dependencies, setup multiple tools on your computer and wait seconds every time you make a code change to see it realized on the screen.
PAX relies on todays best practices and standards like ES modules. This means there is no need for build tools while developing. All the major browsers support ES modules directly. This means the code you write is the code that runs. No source maps, no waiting for webpack to build and no transpiling. This makes debugging and understanding your code simple.
The goal is to get back the what was great about the web, write code, run code, release code. What you see is what you get!


Our mission is simple: to feed people in need regardless of their circumstances. The Soup Kitchen provides healthy and nutritious meals to all who come through our doors. We feed the hungry and assist in our humble way to keep families together by providing them nourishment, clothing and education. The Soup Kitchen's primary responsibility is to provide a safe, clean, uplifting environment for those in need of food and fellowship.
At the Soup Kitchen, our mission is to provide a hand up and out of homelessness. Feed Me Hope Bakery, Culinary School, and Food Truck help our guests gain the skills they need to transform their lives.
Volunteers are the backbone of the Soup Kitchen. Check out our various opportunities to find one that's right for you!
We rely on private donations of food and money to meet the needs of our guests. Donate online, through Pick.Click.Give, or send donations to our mailing address.


@* * Copyright 2023 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import includes._ @import uk.gov.hmrc.tai.viewModels.income.estimatedPay.update.CheckYourAnswersViewModel @this(mainTemplate: MainTemplate) @(viewModel: CheckYourAnswersViewModel)(implicit request: Request[_], messages: Messages, user: controllers.auth.AuthedUser) @header() = @{ ptaHeader( mainHeadingText = messages("tai.checkYourAnswers.heading"), preHeadingText = messages("tai.incomes.edit.preHeading", viewModel.employer.name) ) } @mainTemplate( title = messages("tai.checkYourAnswers.title"), pageTitle = Some(Messages("tai.checkYourAnswers.title")), authedUser = Some(user), backLinkId = "backLink", backLinkContent = Some(Messages("tai.back-link.upper")), backLinkUrl = Some(viewModel.backUrl) ){


{% extends 'layout-bsa.html' %} {% block pageTitle %} Do you get Housing Benefit? - LIS training - NHSBSA {% endblock %} {% block outerContent %} {% endblock %} {% block content %}
If you get housing costs element as part of your Universal Credit, select 'no'.


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THANKS!


{% set page_title = session.fullTitle %} {% extends "2021/base.html" %} {% block content %}
Direct link to YouTube stream: {{ session.youtube_url }}
You can also join this channel in your native Discord application by connecting to the server and joining the
{{ session.speaker.abstract }}
{{ session.speaker.bio }}


OnePlus 8
Poetry in motion
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Turn up the music
Powerful dual stereo speakers deliver more immersive and detailed sound. Enjoy a cinematic, 3D listening experience with Dolby Atmos support.
Easy reading
Reading Mode optimizes your device for a more enjoyable reading experience with improved color features. Choose to keep your display saturated or turn it to monochrome for more comfortable reading day or night.
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For this week we have to experiment and take confidence with the computer controlling cutting machine.
there are a lot of type of this: laser, water-jet, vinylcutter, plasma, withe-hot, etc.
i used the hot wire technique before for building my own air-plane model,(but not the mechanic version, the manual version, but the technology is the same).
Vinylcutter
We start with the vinylcutter: this is simply a xy router with a knife on the head that can be pushed down or not, when it is pushed, it cut the paper/vinyl under it.
It can be used for making stencil or mask for painting, making t-shirt, or if used with the special conductive sheet is possible to make some circuit.
The parameter used to be modified on this system, is the force that the knife do on the paper; it need to be enough to cut all the vinyl or sheet but not the part under it.
I take a free "hiphop" font on internet and I import it in my pc
I design a simple "tag write" on Inkscape and export as a .png image. The image have to be preferably blanc and withe and not be only the pattern but colour dense, because the program that control the Roland vinyl cutter extract the border from the compact shape.
I have to convert the .png file in a .jpg format so the Roland Camn can interpret that.
After that following steps are simple: extract the shape of the cut in the program and make the machine cut.
The final result sticker is attached on my laptop.
Laser Cutter
The most used in the actual process of production is the laser cutting machine.
There are some different type and them have different usage.
The main ones are co2 laser, fibre laser, diode laser, solid state laser.
Fibre and co2 are usually used for cutting different type and thickness of wood and plastic materials,
solid state is used for engrave and work on glass and other surface (like metal).
Diode is used for engrave and cut very thin material (small power).
We work on the most common laser machine present in the fablab: the co2 laser cutter.
We experiment different things and different setting.
How it work and KERF
First of all we study the "way" the machine work: it use pulses of energy produced by the vibration of the gas inside the laser tube, to burn the material.
The ray vaporize the material and so it can be cut.
Considering this the first thing, we expect that the cut is not measureless but it have a dimension.
This dimension is called KERF and it’s actually the real dimension of the laser beam that burn the material.For this reason the KERF depend on the material used, the speed of the cut, the thickness of the material, the power of the laser, the focus of the laser beam and the compressed air.
In order to "discover" the KERF of ours machine we make some test:
we cut a certain number of parallel cut on the plywood (in our case 4mm and 6mm) and we measure the dimension of the hole and the dimension of the cut pieces.
The difference of this 2 measures divided by the number of the cut made, is the KERF (relative to the setting of speed, material, air flow, focus and so on).
Knowing this value is useful to project the snap-fit system for not using some glue or other kind of blocking system, and also to make fitting not too much loose.
After several test we discover that the KERF is around 0.15mm on the 4mm plywood with the setting of speed and focus shown below. We make also some test for the snap fit system but this time we use the 6mm plywood and the results are shown in the video.
This test shown us that the laser have also a shape, it’ss not a straight cut, and it will influence the final dimension of the cut part. The shape is triangular (or conical if we concentrate on the laser beam), so it can make fitting more loosing in some way or more strength in the other. (soon I will upload the video of the test made).
The compressed air is useful to extinguish the fire produced by the burning of the material and for make the cut go deeper removing the vaporized material.
It can help to keep the cut surface not so dark by making the pressure higher.
The most important parameter for make a good cut with the laser cutter is the speed of movement: this determinate the deepens of the cut.
It must be appropriate to the thickness of the material, a too fast movement determinate a not ended cut, a too much slow movement determinate a more burned cut and a more wide KERF.
We find that a good cut is obtained with 9 speed for 3mm plywood, 6 for 4mm , 4for 6 mm and 3.2 for 8mm.
I also experiment the engraving process: is a way to make some mark on the material, it will burn the first layer of the material down to a certain deepness.
Different deepness can be obtained from different setting.
Usually engraving is made setting the highest speed and lowering the power of the ray.
In my case I use a 380 px resolution 100% speed 80% power and it burn down to a mm of the plywood.
The file that can be cut are .dxf (from rhino and similar) and vector (inkscape and similar).
For this week I make a box for my laptop power adapter: I make it all by snap fitting an no use of glue or other.
I use a KERF of 0.2mm for making the fit more strong (the plywood is a soft material and is loose some of their force under pressure, so I consider a bigger KERF).
I also experiment the some pattern for making the wood bent.
I download it for free (open source) and applied it on my design in rhino.
After the assembly I discover that the best side to bend the wood is on the side of the cut, because of the shape of the cut (them help in the elasticity of the material).
I also discover that the curve of the wood is a little small ant the wood will break a little bit and for that reason it isn't long enough for make the box closing on itself.
All displayed on the picture.


Michael Frank
(Founder)
About
Instagrammer known for posting selfies and family photos. He has earned more than 170,000 followers on the platform.
Before Fame
In July 2016, he posted his first selfie to Instagram captioned "Whats suh dude."
Trivia
In February 2016, he created a self-titled YouTube channel and began posting vlogs, challenges, and reaction videos.


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KratosMultiphysics
KRATOS Multiphysics (Kratos) is a framework for building parallel, multi-disciplinary simulation software, aiming at modularity, extensibility, and high performance. Kratos is written in C++, and counts with an extensive Python interface.
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#include <coupling_geometry_mapper.h>
Public Member Functions | |
Life Cycle | |
| CouplingGeometryMapper (ModelPart &rModelPartOrigin, ModelPart &rModelPartDestination) | |
| CouplingGeometryMapper (ModelPart &rModelPartOrigin, ModelPart &rModelPartDestination, Parameters JsonParameters) | |
| ~CouplingGeometryMapper () override=default | |
| Destructor. More... | |
Operations | |
| void | UpdateInterface (Kratos::Flags MappingOptions, double SearchRadius) override |
| Updates the mapping-system after the geometry/mesh has changed After changes in the topology (e.g. remeshing or sliding interfaces) the relations for the mapping have to be recomputed. This means that the search has to be conducted again and the mapping-system has to be rebuilt, hence this is expensive. More... | |
| void | Map (const Variable< double > &rOriginVariable, const Variable< double > &rDestinationVariable, Kratos::Flags MappingOptions) override |
| Mapping from Origin to Destination, Scalar Variable Data is exchanged on the Interface, from the Origin-Modelpart to the Destination-ModelPart (the modelparts were specified in the construction Phase of the Mapper) More... | |
| void | Map (const Variable< array_1d< double, 3 > > &rOriginVariable, const Variable< array_1d< double, 3 > > &rDestinationVariable, Kratos::Flags MappingOptions) override |
| Mapping from Origin to Destination, Vector Variable Same as Map, but maps an array3-variable. More... | |
| void | InverseMap (const Variable< double > &rOriginVariable, const Variable< double > &rDestinationVariable, Kratos::Flags MappingOptions) override |
| Mapping from Destination to Origin, Scalar Variable Data is exchanged on the Interface, from the Destination-Modelpart to the Origin-ModelPart (the modelparts were specified in the construction Phase of the Mapper) It does the opposite of Map. More... | |
| void | InverseMap (const Variable< array_1d< double, 3 > > &rOriginVariable, const Variable< array_1d< double, 3 > > &rDestinationVariable, Kratos::Flags MappingOptions) override |
| Mapping from Destination to Origin, Vector Variable Same as InveseMap, but maps an array3-variable. More... | |
Access | |
| MappingMatrixType & | GetMappingMatrix () override |
| This method returns the mapping-matrix. More... | |
| MapperUniquePointerType | Clone (ModelPart &rModelPartOrigin, ModelPart &rModelPartDestination, Parameters JsonParameters) const override |
| Cloning the Mapper returns a clone of the current Mapper pure virtual, has to be implemented in every derived mapper, used in the creation of the Mappers. More... | |
Input and output | |
| std::string | Info () const override |
| Turn back information as a string. More... | |
| void | PrintInfo (std::ostream &rOStream) const override |
| Print information about this object. More... | |
| void | PrintData (std::ostream &rOStream) const override |
| Print object's data. More... | |
| ModelPart & | GetInterfaceModelPartOrigin () override |
| ModelPart & | GetInterfaceModelPartDestination () override |
| Public Member Functions inherited from Kratos::Mapper< TSparseSpace, TDenseSpace > | |
| Mapper ()=default | |
| Constructor. More... | |
| virtual | ~Mapper ()=default |
| Destructor. More... | |
| Mapper () | |
| Default constructor. More... | |
| virtual | ~Mapper () |
| Destructor. More... | |
| virtual void | Initialize () |
| virtual void | Update () |
| virtual void | Map (const Variable< array_3d > &rOriginVariable, const Variable< array_3d > &rDestinationVariable)=0 |
| virtual void | Map (const Variable< double > &rOriginVariable, const Variable< double > &rDestinationVariable)=0 |
| virtual void | InverseMap (const Variable< array_3d > &rDestinationVariable, const Variable< array_3d > &rOriginVariable)=0 |
| virtual void | InverseMap (const Variable< double > &rDestinationVariable, const Variable< double > &rOriginVariable)=0 |
| virtual int | AreMeshesConforming () const |
| Quering for mesh conformity This function is deprecated and will eventually be removed, hence it is best not to use it returns 1 if all the nodes are conform and 0 otherwise. More... | |
| KRATOS_CLASS_POINTER_DEFINITION (Mapper) | |
| KRATOS_CLASS_POINTER_DEFINITION (Mapper) | |
| Pointer definition of Mapper. More... | |
Additional Inherited Members | |
| Public Types inherited from Kratos::Mapper< TSparseSpace, TDenseSpace > | |
| typedef Kratos::unique_ptr< Mapper > | MapperUniquePointerType |
| typedef TSparseSpace::MatrixType | TMappingMatrixType |
| typedef array_1d< double, 3 > | array_3d |
| typedef Node | NodeType |
| Protected Member Functions inherited from Kratos::Mapper< TSparseSpace, TDenseSpace > | |
| virtual double | GetVertexMorphingRadius (const NodeType &rNode) const |
| typedef Mapper<TSparseSpace, TDenseSpace> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::BaseType |
| typedef std::size_t Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::IndexType |
| typedef Kratos::unique_ptr<InterfaceVectorContainerType> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::InterfaceVectorContainerPointerType |
| typedef InterfaceVectorContainer<TSparseSpace, TDenseSpace> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::InterfaceVectorContainerType |
| typedef Kratos::shared_ptr<LinearSolverType> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::LinearSolverSharedPointerType |
| typedef LinearSolver<TSparseSpace, TDenseSpace> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::LinearSolverType |
| typedef Kratos::unique_ptr<MapperLocalSystem> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::MapperLocalSystemPointer |
| typedef std::vector<MapperLocalSystemPointer> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::MapperLocalSystemPointerVector |
| typedef BaseType::MapperUniquePointerType Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::MapperUniquePointerType |
| typedef BaseType::TMappingMatrixType Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::MappingMatrixType |
| typedef Kratos::unique_ptr<MappingMatrixType> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::MappingMatrixUniquePointerType |
| typedef TSparseSpace::VectorType Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::TSystemVectorType |
| typedef Kratos::unique_ptr<TSystemVectorType> Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::TSystemVectorUniquePointerType |
|
inline |
| Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::CouplingGeometryMapper | ( | ModelPart & | rModelPartOrigin, |
| ModelPart & | rModelPartDestination, | ||
| Parameters | JsonParameters | ||
| ) |
|
overridedefault |
Destructor.
|
inlineoverridevirtual |
Cloning the Mapper returns a clone of the current Mapper pure virtual, has to be implemented in every derived mapper, used in the creation of the Mappers.
Implements Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Reimplemented from Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Reimplemented from Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
This method returns the mapping-matrix.
Reimplemented from Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Turn back information as a string.
Reimplemented from Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Mapping from Destination to Origin, Vector Variable Same as InveseMap, but maps an array3-variable.
Implements Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Mapping from Destination to Origin, Scalar Variable Data is exchanged on the Interface, from the Destination-Modelpart to the Origin-ModelPart (the modelparts were specified in the construction Phase of the Mapper) It does the opposite of Map.
| rOriginVariable | Variable on the Origin-ModelPart |
| rDestinationVariable | Variable on the Destination-ModelPart |
| MappingOptions | flags used to specify options for the mapping |
Implements Kratos::Mapper< TSparseSpace, TDenseSpace >.
| Kratos::CouplingGeometryMapper< TSparseSpace, TDenseSpace >::KRATOS_CLASS_POINTER_DEFINITION | ( | CouplingGeometryMapper< TSparseSpace, TDenseSpace > | ) |
|
inlineoverridevirtual |
Mapping from Origin to Destination, Vector Variable Same as Map, but maps an array3-variable.
Implements Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Mapping from Origin to Destination, Scalar Variable Data is exchanged on the Interface, from the Origin-Modelpart to the Destination-ModelPart (the modelparts were specified in the construction Phase of the Mapper)
| rOriginVariable | Variable on the Origin-ModelPart |
| rDestinationVariable | Variable on the Destination-ModelPart |
| MappingOptions | flags used to specify options for the mapping |
Implements Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Print object's data.
Reimplemented from Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Print information about this object.
Reimplemented from Kratos::Mapper< TSparseSpace, TDenseSpace >.
|
inlineoverridevirtual |
Updates the mapping-system after the geometry/mesh has changed After changes in the topology (e.g. remeshing or sliding interfaces) the relations for the mapping have to be recomputed. This means that the search has to be conducted again and the mapping-system has to be rebuilt, hence this is expensive.
| MappingOptions | flags used to specify how the update has to be done |
| SearchRadius | search radius used for the search |
Implements Kratos::Mapper< TSparseSpace, TDenseSpace >.


{% extends "base.html" %} {% load crispy_forms_tags %} {% block title %}Password Reset Complete{% endblock %} {% block content %}
You have successfully changed your password! You may now proceed to log in.


Description of the Matrix class
The Matrix class implements one-indexed two-dimensional dense matrices in ScalaSci that are very useful for using the powerful NUMAL Numerical Library supplied with the book:
“A Numerical Library in Java for Scientists & Engineers”, Hang T. Lau, Chapman & Hall/CRC
Constructors
Matrix(rows: Integer, cols: Integer) // Creates a Matrix of size rows, cols initialized to zeros
var m=new Matrix(2, 3)
Construction by specifying the initial elements, e.g.
var m = M1("4.5 5.6 -4; 4.5 3 -3.4") // space separated
var m = M1("4.5, 5.6, -4; 4.5, 3, -3.4") // comma separated
// construct Matrix by copying the array values
Matrix(da: Array[Array[Double]]) // Creates a Matrix initialized with the da array
var dd = Array.ofDim[Double](2,4)
dd(1)(1)=11
// construct a Matrix by reference an existing double array,
// in order to avoid duplicating the array
var tm = new Matrix(1,1) // a small Matrix object
tm.setv(dd, 1, 3) // set its value content to an existing double array of size 2X4
Matrix(rows: Integer, cols: Integer, initValue: Double) // Creates a Matrix of size rows, cols initialized to initValue
var m=new Matrix(3, 4, 3.4)
// construct a Matrix from a two-dimensional double array without copying the array values
Matrix(da: Array[Array[Double]], flag: Boolean) // Creates a Matrix initialized with a reference to the da array
// construct a Matrix from an one-dimensional double array
Matrix(da: Array[Double])
var od = new Array[Double](10)
od(2)=2.2
var odm = new Matrix(od)
Basic Methods
def size: Int // Returns the number of rows and columns of the Mat
def length: Int // Returns the number of rows of Mat
def Nrows: Int // Returns the number of rows of Mat
def Ncols: Int // Returns the number of columns of Mat
Implicit Conversions
var m=Rand(9,9) // returns a Double[][]
var mm: Matrix = 8+m // implicitly convert 8 as a Matrix, range 1..N-1, 1..M-1 of matrix is used
var mmm: Mat = 8+m // implicitly convert 8 as a Mat
Routines
def ones(n: Int): Matrix - constructs a nXn Matrix of ones
def ones(n: Int, m: Int): Matrix - constructs a nXm Matrix of ones
def zeros(n: Int): Matrix - constructs a nXn Matrix of zeros
def zeros(n: Int, m: Int): Matrix - constructs a nXm Matrix of zeros
def rand(n: Int): Matrix - constructs a nXn Matrix of random values
def rand(n: Int, m: Int): Matrix - constructs a nXm Matrix of random values
def eye(n: Int): Matrix - constructs a nXn Matrix of zero everywhere except the diagonal
def eye(n: Int, m: Int): Matrix - constructs a nXm Matrix of zero everywhere except the diagonal
Transpose operator ~ transposes the Matrix, e.g. var mt = m~
Assign to Matrix subrange
Example
var a=ones(8)
var aa = rand(3)
a(1, 4, 2, 5)=aa // assign to this range


Since Komodo officially launched over a year ago, I have been running a Notary Node. I know exactly how the Notary Node software works, how to run it correctly, and how to keep the Notary Node secure and up to date with the latest software versions. I have, and do administer many other servers as well. I've been involved with crypto since 2013 and have operated numerous amounts of coin daemons. Overall all of my experience puts me in a great position for Notary Node operation.
I take my Notary Node position very seriously. I am on Komodo slack a high percentage of my day, and have mobile notifications for updates when away. This is important because Notary Nodes often need to be updated to new software versions. Its extremely important these updates are done in a timely matter, so the Notary Node is properly notarizing all coins.
I strongly believe in Decentralization. Because of this, I will only be running for 1 Notary Node spot, as I did last year, to keep the Notary Nodes decentralized. This year as well as last, candidates are running for multiple Notary Nodes, but I feel like this compromises the decentralization of the network. I am also not a member of the official Komodo team, which I feel is important as to not be biased on matters.
I have been a long time supporter of Komodo and SuperNET since 2014. I operate the first CHIPS mining pool, DabMining.co, as well as operated Pondsea's CHIPS pool. Both of which are responsible for mining a large amount of the CHIPS supply. I've been involved in the community and I always push people I know to look at Komodo/SuperNET. It's important to share how great Komodo is and how the technology is light years ahead of the competition.
I am working on a website with tools and services for Komodo, called Komodo.Services. The site will include tools such as a block explorer, but will also be home to important Komodo information. The whole site will be beneficial to the entire Komodo community. Funds from operating the Notary Node will allow me to improve and grow the site and give more back to the community through the site. Stay tuned for the launch.
I am always willing to help and support users as much as I can with their Komodo problems. Especially my loyal voters! Feel free to reach out to me for support/help at any point via slack or email listed on the right. I can help with wallet problems or answer any questions you might have.
Vote xRobeSx! »


This is an old college project inspired by Gapminder!
The first visualization (gapminder) is based off the original ted talk https://www.youtube.com/watch?v=hVimVzgtD6w.
The second visualization (worldmap) is a derivation I came up with as part of the project.
To see much better tools, go to the official gapminder tools https://www.gapminder.org/tools/#$chart-type=bubbles


@require(post, postmeta, comments, subInfo, subMods, highlight, sort)
@def renderComments(post, postmeta, subInfo, subMods, comments, highlight='', sort='top'):
@#ignore
@for comment in comments:
@if comment['cid']:
@if comment['children']:
@{renderComments(post, postmeta, subInfo, subMods, comment['children'], highlight)!!html}
@end
@else:
@if comment['more'] > 1:
@{_('Load more (%(amt)i comments)', amt=comment['more'])}
@else:
@{_('Load more (1 comment)')}
@end
@end
@end
@end
@{renderComments(post, postmeta, subInfo, subMods, comments, highlight)!!html}
@{_('[post deleted by user]')}
@{comment['content']!!html} @elif comment['visibility'] == 'mod-self-del':@{_('[post deleted by user]')}
@elif comment['visibility'] == 'mod-del':@{_('[post deleted by mod or admin]')}
@{comment['content']!!html} @elif comment['visibility'] == 'hide-block' and comment['userstatus'] != 10:@{_('[You have blocked %(name)s]', link=url_for('user.view', user=comment['blocked_user']), name=comment['blocked_user'])!!html}
@elif comment['visibility'] != 'hide-block': @{comment['content']!!html} @end @if comment['history'] and (comment['visibility'] != 'none' and comment['visibility'] != 'mod-self-del'): @for count, history in enumerate(comment['history']): @end@if comment['visibility'] in ['blur-block', 'hide-block'] and comment['userstatus'] != 10:- @{_('blocked users')}
@end
@if current_user.is_authenticated and comment['visibility'] in ['', 'blur-block'] and not current_user.is_subban(post['sid']) and not postmeta.get('lock-comments') and post['deleted'] == 0 and not post['is_archived']:
@end
- @{_('permalink')}
@if comment['visibility'] in ['', 'blur-block']:
- @{_('source')}
@end
@if current_user.is_authenticated and comment['visibility'] in ['', 'blur-block'] and comment['uid'] != current_user.uid:
- @{_('report')}
@end
@if current_user.is_authenticated and comment['visibility'] in ['', 'blur-block'] and comment['uid'] == current_user.uid:
- @{_('edit')}
@end
@if current_user.is_authenticated and comment['visibility'] == '' and (comment['uid'] == current_user.uid or current_user.is_admin() or current_user.uid in subMods['all']):
- @{_('delete')}
@end
@if (current_user.is_admin() and comment['status'] == 2):
- @{_('un-delete')}
@end
@if (current_user.uid == comment['uid'] and (current_user.is_admin() or current_user.uid in subMods['all'])):
- @{comment['distinguish'] and _('undistinguish') or _('distinguish')}
@if comment['parentcid'] is None:
- @{comment['sticky'] and _('unstick') or _('make sticky')}
@end
@end


Automodel
Connecting your Rails application to a database created outside of the
Rails environment usually means either spending hours writing up class
files for every table, or giving up on using the ActiveRecord query DSL and
resigning yourself to building SQL strings and making
execute
/exec_query
calls.
Are those SQL strings you're building even injection-safe? Hmm… 😟
With a single command, automodel lets you connect to any database and access all of its tables via the ActiveRecord DSL you've grown to love!
It does this by analyzing the table structures and: - automatically defining all of the corresponding model classes - declaring column aliases so you can use Railsy names an idioms - constructing model relations based on foreign key definitions
Installation
Add this line to your application's Gemfile:
gem 'automodel'
And then execute:
$ bundle
Or install it yourself as:
$ gem install automodel
Using Automodel
The following examples all assume a Postgres database with the following tables: “`sql – Create Table: Authors CREATE TABLE public.“Authors” ( “Author ID” serial NOT NULL , “Name” varchar NOT NULL DEFAULT '', “Birthday” date NULL , “Address” varchar NOT NULL DEFAULT '',
CONSTRAINT authors__pk PRIMARY KEY (“Author ID”) ) WITH ( OIDS=FALSE );
– Create Table: Publishers CREATE TABLE public.“Publishers” ( “Publisher ID” serial NOT NULL , “Name” varchar NOT NULL DEFAULT '', “Address” varchar NOT NULL DEFAULT '', “Website” varchar NOT NULL DEFAULT '',
CONSTRAINT publishers__pk PRIMARY KEY (“Publisher ID”) ) WITH ( OIDS=FALSE );
– Create Table: Books CREATE TABLE public.“Books” ( “Book ID” serial NOT NULL , “Title” varchar NOT NULL DEFAULT '' , “Edition” int NOT NULL DEFAULT 1 , “ISBN Number” varchar NOT NULL DEFAULT '' , “Published On” date NOT NULL , “Is Out Of Print” bool NOT NULL DEFAULT FALSE, “Author ID” bigint NOT NULL , “Publisher ID” bigint NOT NULL ,
CONSTRAINT books__pk PRIMARY KEY (“Book ID”),
CONSTRAINT books_authors_fk FOREIGN KEY (“Author ID”) REFERENCES public.“Authors”(“Author ID”),
CONSTRAINT books_publishers_fk FOREIGN KEY (“Publisher ID”) REFERENCES public.“Publishers”(“Publisher ID”) ) WITH ( OIDS=FALSE ); “`
Connecting To The External Database
You can provide the connection spec inline …
automodel adapter: 'postgresql' ,
encoding: 'unicode' ,
host: hostname ,
port: port_number ,
username: username ,
password: password ,
database: database_name
… or you can use a connection spec defined in “config/database.yml” …
## In "database.yml" ...
## ... (your application's own db connection stuff) ...
external_db:
adapter: postgresql
pool: <%= ENV.fetch('RAILS_MAX_THREADS') { 5 } %>
timeouts: 5000
encoding: unicode
host: name_or_ip
port: port_number
username: username
password: password
database: sample_db
## In "config/puma.rb" or "config/unicorn.rb" ...
automodel :external_db
Using The Automodel'ed Objects
Connecting via either method above will allow you to issue all of the following expressions, just as if these were your own models:
## ISBNs for all non-first-edition books.
isbn_list = Book.where.not(edition: 1).pluck(:isbn_number)
## Take any book and look up some values.
book = Book.take
book.title
book.out_of_print?
book.publisher.name
## Note that some ActiveRecord constructs surface real table names,
## which can look awkward in code when working with tables with non-Railsy names:
## (the uppercase "P" in "Publishers" below makes it look like a class reference)
Book.joins(:Publishers).where(Publishers: { name: test_value }).all
Automodel With Namespacing
If you're worried about model name collisions (or just want to keep the global namespace tidy), Automodel can define all of the new model classes under a module.
automodel adapter: 'postgresql' ,
encoding: 'unicode' ,
host: hostname ,
port: port_number ,
username: username ,
password: password ,
database: database_name,
namespace: 'ExternalDB'
## Now you can do everything you'd expect, but the models are namespaced under ExternalDB.
ExternalDB::Book.find(5) ## => Book #5
ExternalDB::Book.take..class ## => ExternalDB::Author
Consult the repo docs for the full automodel documentation.
FAQs
-
Do I have to add anything to my Gemfile besides
'automodel'
?Only if you want to use connection adapters that are not yet part of your gemset. (e.g. Don't expect to be able to connect to a MySQL database without having added
'mysql2'
to your Gemfile.) -
But what about my application's own models?
You can call
automodel
and continue to use your application's own models without changing a single line of code. -
Can I Automodel more than one database?
Yes! You can Automodel as many databases with as many different adapters as you like. automodel takes care of connecting to the various databases and managing their connection pools for you.
-
What about model name collisions?
If an
automodel
call will result in a class name collision, an Automodel::NameCollisionError is raised before any classes are clobbered. -
What if I want custom methods for certain models?
You can either monkey-patch your methods onto the applicable Automodel-generated classes once they've been defined, or you can monkey-patch the method onto the connection handler class returned by the
automodel
call itself, which will make it available for all models generated by that call. -
What if I'm using ActiveRecord but not Rails?
That's no problem at all! The automodel gem depends on ActiveRecord – not Rails. Adding
'automodel'
to your Gemfile (along with any relevant connection adapters, of course) is all you need to make use of the tool in your vanilla-Ruby project. Just be mindful that – since “config/database.yml” isn't available (as you're not using Rails) – you'll always need to pass in a full connection spec to yourautomodel
calls (as in the very first example, under “Connecting To The External Database” above).
Feature Roadmap / Future Development
Additional features/options coming in the future:
-
Naming: Better generation of Railsy names for
:date
/:datetime
column types. -
Reads: Support for
#find
on tables with composite primary keys. -
Writes: Better handling of missing
created_at
/updated_at
columns on record creation/updates. -
Traversal: Support for
has_many
relations (onlybelongs_to
is currently supported). -
Traversal: Support for self-referential foreign keys.
-
Traversal: Support for multiple relations to the same target model.
Contribution / Development
Bug reports and pull requests are welcome on GitHub at github.com/nestor-custodio/automodel.
After checking out the repo, run bin/setup
to install
dependencies. Then, run rake spec
to run the tests. You can
also run bin/console
for an interactive prompt that will allow
you to experiment.
Linting is courtesy of Rubocop and documentation is
built using Yard. Neither is included in
the Gemspec; you'll need to install these locally (gem install
rubocop yard
) to take advantage.
License
The gem is available as open source under the terms of the MIT License.


Processing on CodePen
Fortune Cookie
How are you feeling right now?
What's your name?
What was the last thing you ate?
Get My Fortune


Hello {{hero}}!! World!!
{{ showHero ? hero : 'World' }}!!
Gohan Goku Vegeta Piccolo
My Birthday is: {{birthday}}
My Birthday is: {{birthday | date}}
My Birthday is: {{birthday | date:'MM/dd/yyyy'}}
My Birthday is: {{birthday | date:'EE, MMM d, yyyy'}}
The car cost: {{ cost }}
The car cost: {{ cost | currency}}
The car cost: {{ cost | currency:'USD':1 }}
The car cost: {{ cost | currency:'GBP':1 }}
The car cost: {{ cost | currency:'JPY':1 }}
The interest rate is: {{ fee }}
The interest rate is: {{ fee | percent}}
The interest rate is: {{ fee | percent:'1.2-2'}}
The interest rate is: {{ fee | percent:'2.4-4'}}


Ever tried reading the Greek myths and epic poems and become confused with all of the names and family links? You are not alone. All those dalliances have resulted in a complex web of family ties and lineages, and that’s not even taking into account the Gods who would intermingle with the early mortals, taking various forms to feed their lust or to exact revenge.
This visualisation aims to convey all of these links. Now you can stop getting your Thalia’s and Scylla’s mixed up (always embarrassing when that happens). You can tell people that we descended from Deucalion and Pyrrha and see the horrors that emerged from Pandora’s jar (and what was left inside).
The visual is arranged by the Olympians and the ages of man. The Olympians are the twelve major deities of the Greek pantheon, therefore most connections involve them at some point. The ages of man help convey some sort of timeline for the origin of the gods (an accurate timeline is almost impossible). The ages are according to the poem Works and Days by Hesiod, which describes the various stages of human existence on Earth. Other people of interest are also highlighted to help you navigate the visual. These are people you’ve probably heard of before but now you can see who they are connected to.
You can hover over a person to see their connections. This highlights 3-degrees of separation, the early gods were a close-knit bunch and the usual 6-degrees of separation would highlight the entire graph! You can also interrogate the graph further by setting one of the modes below. Clicking on a node in information mode will display a window showing further details about that person. In shortest path mode clicking on two nodes will highlight the shortest path between them.
All credit should go to the wonderful Stephen Fry whose fantastic book gave me the idea. Only he could regale the classics with such wit and wisdom, it is a highly recommended read. Even more credit should go to Nadieh Bremer whose stunning Royal Constellations visualisation gave me the inspiration and knowledge to be able to create it. She is a genius in her field and I highly recommend you check out her work. You can read about the creation of the visualisation on my portfolio site.
The data gleaned from the book was augmented with information from the excellent resource site theoi.com which is well worth a visit if you want to further your knowledge on Greek mythology. Images have been extracted from the equivalent Wikipedia articles, which are all in the public domain. The Hellenic style font used for the headings is Diogenes. Icons are courtesy of Font Awesome.


Jewish_art_sodom_and_gomorrah_will_deutsch.jpg BUY PRINT
If God gave me the ultimatum of finding ten righteous people in the parking lot of Trader Joes off of La Brea between 10am and 5pm or him destroying the whole store, I’m pretty sure I’d have to find someplace else to get my Almond Milk.
I mean here we have the perfect opportunity to showcase human compassion and cooperation towards one common goal…parking. All of us need to get groceries and all of us need a spot. With a lot out front, a lot behind the lot out front, a lot across the alleyway, and copious amounts of street parking there is more than enough. If everyone could simply allow the person in front of them to pull out so that they could pull in, let those in back of them go around, and be patient throughout the whole process then all would be copasetic. Unfortunately this is not the case. Rather, the preferred method is honking and creating near collisions as people jockey for position. Granted, this is nowhere near sodomy, murder, or any of the other horrible atrocities of Sodom and Gomorra, but it paints a grim picture for humanity if we can’t even park together.
At least there’s a Whole Foods with a covered garage down the street.
Just don’t look back when you’re driving away.


Wi-Fi Networks
Module name:
Station IP Address:
Station MAC Address:
SoftAP IP Address:
SoftAP MAC Address:
Wi-Fi Mode:
STA
AP
STA+AP
Wi-Fi password(if needed):
Home
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Debug Log


Click on bar to vote – Hover over image to enlarge, click for info – Add your own style via pull request here – Matplotlib Style Configurator
{% for i in range(6) %} {% endfor %}
Code


Test using
window.webrtc.create_connection_offer(console.log, console.log);
Then in another browser paste this into the 'accept offer' area:
Then in the browser that created the offer paste the answer:
Then both can set listener to messages:
webrtc.on_message(
Then
webrtc.send_data("hello", console.log, console.log);


Preparation time
less than 30 mins
Cooking time
30 mins to 1 hour
Serves
Serves 4-6
Dietary
Bramley apples have an unbeatably tart flavour that works perfectly with the sweetness of the marzipan in this recipe.
Preheat the oven to 200C/180 Fan/Gas 6.
Heat the apples, 50g/2oz of the caster sugar, the butter and 3 tablespoons of water in a saucepan over a medium heat. Bring the mixture to the boil, stirring well, then cover and reduce the heat until the mixture is simmering. Continue to simmer for 3-5 minutes, or until the apple has softened.
Remove the lid and stir well, then cook for a further 2-3 minutes, or until the apple has completely broken down to a purée. Taste the purée and stir in more sugar as needed, then remove the purée from the heat and set aside to cool.
Place one sheet of puff pastry onto a baking tray lightly greased with butter. Lay the slices of marzipan on top of the pastry to cover, leaving a border of 2cm/1in all the way around.
Spread the cooled apple purée over the layer of marzipan, then brush the pastry border with a little of the beaten egg.
Fold the second sheet of puff pastry in half lengthways, then carefully score the pastry from the folded side towards the cut side at 1cm/½in intervals down the length of the pastry, leaving 2cm/1in intact at the cut side of the pastry.
Unfold the scored pastry and lay it exactly on top of the apple-covered pastry, then crimp the edges to seal the two sheets of pastry using your fingers.
Trim the edges of the pastry and brush the top of the Bramley apple slice all over with the remaining beaten egg. Sprinkle the top with demerara sugar, then bake in the oven for 25-30 minutes, or until the pastry has risen and is crisp and golden-brown.
Allow to cool slightly before serving, serve with the clotted cream.


| Name | Type | Original Value | Value | Min. | Max. | Command
| | Position Control Trade Study Parametrics | Parametric Diagram | | | | |
|
| PositionControl_TradeStudy | PositionControl_TradeStudy | | | | |
|
| Accuracy | mm | 1 | 1 | | | Fix
|
| Reliability | MTBF_hours | 3200 | 3200 | | | Fix
|
| Weight | Kilogram | 24 | 24 | | | Fix
|
| PartsCost | US_dollars | 550 | 550 | | | Fix
|
| MaintenanceCost | US_dollars | 2700 | 2700 | | | Fix
|
| positionControlMOEs | positionControlMOEs | | | | |
|
| accuracy | Real | | 1 | | |
|
| reliability | Real | | 3200 | | |
|
| weight | Real | | 24 | | |
|
| partsCost | Real | | 550 | | |
|
| maintenanceCost | Real | | 2700 | | |
|
| accuracyMOE | Real | | 10 | | |
|
| weightMOE | Real | | 10 | | |
|
| reliabilityMOE | Real | | 0 | | |
|
| partsCostMOE | Real | | 10 | | |
|
| maintenanceCostMOE | Real | | 0 | | |
|
| accuracyConstraint | Constraint | accuracyMOE = -5*accuracy/2 + 25/2 | accuracyMOE = -5*accuracy/2 + 25/2 | | |
|
| weightConstraint | Constraint | weightMOE=-5*weight/24 + 15 | weightMOE=-5*weight/24 + 15 | | |
|
| reliabilityConstraint | Constraint | reliabilityMOE= reliability/80 - 40 | reliabilityMOE= reliability/80 - 40 | | |
|
| partsCostConstraint | Constraint | partsCostMOE= -partsCost/25 + 32 | partsCostMOE= -partsCost/25 + 32 | | |
|
| maintenanceCostConstraint | Constraint | maintenanceCostMOE= -maintenanceCost/70 + 270/7 | maintenanceCostMOE= -maintenanceCost/70 + 270/7 | | |
|
| itsWeightedObjectiveFunction | WeightedObjectiveFunction | | | | |
|
| accuracyMOE | Real | | 10 | | |
|
| reliabilityMOE | Real | | 0 | | |
|
| weightMOE | Real | | 10 | | |
|
| partsCostMOE | Real | | 10 | | |
|
| maintenanceCostMOE | Real | | 0 | | |
|
| ObjectiveFunction | Real | | 6 | | |
|
| ObjectiveFunctionConstraint | Constraint | ObjectiveFunction=accuracyMOE*0.30 + weightMOE*0.20 + reliabilityMOE*0.25 + partsCostMOE*0.10 + maintenanceCostMOE*0.15 | ObjectiveFunction=accuracyMOE*0.30 + weightMOE*0.20 + reliabilityMOE*0.25 + partsCostMOE*0.10 + maintenanceCostMOE*0.15 | | |
|


Sainz admits Singapore was a breakthrough for McLaren
by Tom MasonCarlos Sainz believes McLaren made great strides with the car In Singapore after the team recorded their best qualifying result of the season. Sainz came through in seventh while his teammate Lando Norris reached eighth.
To underline just how much better the team were in qualifying in Austin, they were lapping just 0.9% behind the fastest team.
“In my personal opinion, in qualifying pace, it looks like we’ve since Singapore we’ve managed to find something on the car that switches on the car in qualifying pace," Sainz said as quoted by Race Fans.
“And we are, these last few qualifyings, have a good decent advantage over them.
It is a key weekend for the team as they look to secure fourth place in the drivers' standings, they currently hold a 38 point advantage over Renault.
“In qualifying, we were eight tenths, one second [off]. In race pace that translates into a bit worse tyre management, a bit worse feeling with the car and that gap probably increases.
“So it just shows that we need to keep working in this direction and keep making the car stronger mainly also for a for race pace because that’s what’s going to allow us to hold onto them.”


Studying Legendrian Invariants with FrontLeg
Studying Legendrian Invariants with FrontLeg
Shaowei Lin
Undergraduate Thesis
My undergraduate thesis "Studying Legendrian Invariants with FrontLeg" can be found here.
Software
Windows Executable (email me).
Sample files
fig8.txt
e13.txt
e22.txt
e22simp.txt
Instructions
To use the software, right click on the link to FrontLeg above to download the Windows executable file. You may also want to download the four sample files above in the same way. Double click on "frontleg.exe" to start the program. Go to "File > Open" and click on the sample files to view the knots. Click on the various functions under "View" and "Tools" to compute some knot invariants. To create your own knots, use SnapPea, because FrontLeg accepts files saved by SnapPea. Alternatively, create a file with the following text file format (also available from the SnapPea website): LinkProjectionFileFormat.txt.
Last Updated: 20 Dec 2008


How it Works
Improve Student Writing with Instant Feedback as They Revise, Revision is essential to great writing. Help students become better writers with specific, actionable feedback throughout the writing process. Engage students in a supportive writing space that extends the reach of instruction and aligns with learning outcomes. Revision is essential to great writing. Help students become better writers with specific, actionable feedback throughout the writing process. Engage students in a supportive writing space that extends the reach of instruction and aligns with learning outcomes.
Benefites
Engage students in a supportive writing space that extends the reach of instruction and aligns with learning outcomes. Revision is essential to great writing. Help students become better writers with specific, actionable feedback throughout the writing process. Engage students in a supportive writing space that extends the reach of instruction and aligns with learning outcomes.


|
www.CelebrityMorgue.com
Mother Theresa died September 5, 1997, in Calcutta, aged 87.  India gave an unprecedented state funeral to Theresa.
Body surrounded by members of her Order of Charity.
|


[1]
that machine was empty so we were very often free at most other hotels.
[2]
finally got a room with no bottled water at 3 each plus some lukewarm coffee.


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For the fig-swirl:Melt butter over medium heat in a saucepan. Addbrown sugar and stir to dissolve. Halve all of the figs and toss in the saucepan with water and lemon juice. Cook over medium heat, stirring frequently, until you have a chunky-jammy mixture. Add salt with one or two stirs, set aside and let cool completely.
Ice cream: In a small pot over medium heat, combine milk, and granulated sugar until sugar is completely dissolved and the milk is just barely lukewarm. Whisk in the egg yolks. Set meixture in the fridge and wait until the fig mixture is cooled.
Using an ice cream machine, pour liquids into the frozen basin and process according to manufacturer instructions, i.e., let spin and thicken for 20 minutes before adding mascarpone, fig jam mixture, and the nuts. Continue to process for +/- 10 minutes. Pour semi-frozen mixture into a pyrex dish or glass tupperware. Freeze for at least two hours before. serving.
- 1 1/2 cups milk
- 1/2 cup mascarpone
- 1/2 tsp pink salt
- 1 lb Black Mission Figs
- 1/2 cup brown sugar
- 2-4 tbsp water
- 1 1/2 cups heavy cream
- 1/3 granulated sugar
- 2 eggs yolks
- 1 lemon, juiced
- 2 tbsp butter
- 1 cup honey roasted pecans, roughly chopped
Vanessa Stevenson
Food enthusiast, photography fan. Add a pinch of raw foodism and that's pretty much who I am.