Pearl Pay is airdropping 500,000 PRLPAY Coins!
Participate here https://t.co/WOo3n2GTN4
@airdropking_io @Airdrop_Expert @coinairdrop
--------------
#airdrop #Airdrops #airdropalert #airdrophunters #airdropgiveways #PRLPAY
bblurock26-Jul-18 06:36 AM
Hi, team, thanks for the awesome project ! I have few questions regarding remittance.
I see this line in the whitepaper: “PRLPAY Coin shall be used as a medium of exchange which will allow our OFW to convert their fiat currency into PRLPAY Coins, Pearl Pay Exchange shall immediately and automatically convert the OFW PRLPAY Coins into the Philippine peso equivalent.”
For the case of remittance, it will be all buy token order on the sending side and all sell token order on the receiving side(if i understand it right, converting the coin to peso means someone must buy the coin and sell their peso), how is it possible to keep the token price from collapsing?
Who will want to buy the token (e.g use ph peso to buy the token) on the receiving side? Does the buyer in ph has any use of the token? Why will someone in ph want to do that if they have no use of the coin?
If it is the Pearl-pay doing it, you will end up with a lot of other countries’ fiat currency hold up overseas and spending a lot of peso in ph?
noashh26-Jul-18 02:48 PM
test
dolladollaiv16-Aug-18 08:06 PM
Anyone know why im getting a "bad transaction inputs spent" message on the Pearl pay faucet?? Thanks
miles14-Sep-18 08:47 PM
Is there anyone from PearlPay project looking at this channel?
DesignBlock04-Oct-18 12:06 AM
Hello there
Maybe using just $PRL is better.
Audo13-Nov-18 10:08 PM
Hey Komodo Projects,
Komodo team is looking to know better the projects which are building with Komodo. We ask you to fill out this form so that we get information about each project and the rapidly growing ecosystem.
https://airtable.com/shrKBzMwUddQ4ggET
Fill out the "Submit New Project" form quickly and securely on Airtable.
SHossain15-Dec-18 12:51 AM
PRLPAY transition at 188643 (188642,<PHONE_NUMBER>) -> (188643,<PHONE_NUMBER>)
SET SAPLING ACTIVATION height.188703
PRLPAY sapling activation at 188703
Deleted User26-May-19 06:35 AM
Hi here :).
Barterlly is now open on BETA mode, and will provide tools for users and CoinOwners to perform OTC trades in a safe way.
Any KMD assetchain dPowed will be listed, and supported, for free.
Other coins not already listed can submit a listing application at : https://barterlly.typeform.com/to/iqpS1H
During the BETA, Barterlly won't charge any fee other than the transaction ones. after the release we will charge 1% on top of every transaction.
Our goal is to provide premium tools for coins listed on the platform. (Discord swapbot, twitter integration, public orders, wallet integration, API, custom templating, and many more).
Feel free to join us on our Discord.
https://discord.gg/RHc95zw
The app link is located at : https://app.barterlly.io
We are open to suggestions, and partnerships.
See you soon !
Barterlly's team


Does Good Governance Reduce Inequality in Sub-saharan Africa?
Good Governance (Mean)
Voice and Accountability
Political Stability
Gov Effectiveness
Regulatory Quality
Rule of Law
Control of Corruption
#
Country
WGI Good Governance Indicator
Mean Gini from 1914-2011
Period
Region
-2.5
0
2.5
0
1


We are the home of quality software with a focus on simplicity, usability, security and minimalism.
No bullshit, no politics, all genuine. Made by hackers with love that were just having fun.


This is an example of default functionalities in Custom element Ribbon
Save
Save As
Open
Close
Home
Help
Paste
Cut
Copy
Format Painter
Clipboard
Font
Alignment
Help
About
Update


Stylistic Transformations on Fonts
- Change Weight dialog
- Italic dialog
- Condense/Extend dialog
- Change X-Height
- Change Glyphs
- Small Caps dialog
- Subscripts/superscripts dialog
The Style sub-menu provides a series of dialogs which allow you to create some common stylistic variations of latin fonts.
- Stems and their widths
Modification of a Stem's width makes the font appear Bolder or Lighter - Counters and their widths (a counter is the white space between stems)
Modification of a Counter's width makes the font appear Expanded or Condensed - Left and Right Side Bearings
Behavior similar to Counter's
The results will probably always need to be examined and fixed up by the human eye, but they may provide a help in changing a font's attributes.
It "works" best on sans serif, non-Oblique fonts.
Bold
Bold fonts have thicker stems and are slightly more extended than normal fonts. In Knuth's Computers & Typesetting, the bold fonts have a stem width that is approximately 1.6 (1.68(at 12pt)-1.5(at 5pt)) times the stem width of the normal font. This is very similar to the 1.75 suggested by Microsoft's ratio of 700/400 (700 being the numeric weight of a bold font, and 400 being the numeric weight of a normal font).
In Knuth's Computer Modern Bold Extended Roman, the "m" glyph is extended to 1.15 times the width of the "m" in Computer Modern Roman, and the x-height is 1.03 times higher.
| Font Arial Times New Roman Computer Modern Roman Adobe Helvetica Adobe Times Garamond Antiqua | Ratio of Bold/Regular Stems 1.5 1.7 1.68(at 12pt) - 1.5(at 5pt) 1.6 1.56 | Ratio of DemiBold/Regular 1.5 | Expansion 1 1 1.15 1.17 | Bold serif height/Regular serif 1 1.10 1.05 | Bold serif width/regular .98 .97 .90 |
Point Size
At first glance this does not seem like much of a transformation, after all postscript and truetype fonts can be drawn at any pointsize. But traditionally, as the point-size decreases the boldness (thickness of the stems) increases slightly, the counters and side bearings also change, and the overshoot increases. For metal type there were generally three drawings for a glyph in a given font, one for pointsizes less than 10, one for pointsizes 10,11 and 12, and one for display sizes (above 12). Most computer vector fonts do not show this change, while Knuth's Computer Modern fonts have a continuum:
Stem width, scaled by point size, made relative to 12pt
17pt
12pt
10pt
9pt
8pt
7pt
6pt
5pt
(12pt compared to cmr 12pt)
cmr
83%
100%
109%
116%
120%
124%
130%
139%
Computer Modern Roman
100%
cmti
100%
106%
112%
115%
122%
Computer Modern Text Italic
94%
cmbx
100%
105%
108%
112%
117%
120%
123%
Computer Modern Bold Extended
170%
cmtt
100%
109%
116%
120%
Computer Modern Typewriter
100%
cmss
99%
100%
102%
109%
113%
Computer Modern Sans Serif
120%
To the left is an example of the same word (taken from a font specimen sheet) printed at 3 different point sizes (8,12 and 24) and then scaled up to the same size. The most obvious difference is that the glyphs are proportionally wider at the smaller pointsizes. It is less apparent that the stems of the letters are different:
24pt
12pt
8pt
stem of the "n" (compared to 12pt)
89%
100%
117%
counter of the "n" (compared to 12pt)
104%
100%
89%
width of "originality" (compared to 12pt)
93%
100%
104%
### SmallCaps
A SmallCaps font is made by scaling the capital letters approximately to the x-height (so that they are the same height as lower case letters without ascenders) and then adjusting the stem widths (emboldening) so that they too will match stem widths of the lower case.
Italic
The Italic transformation contains at least five parts: A change in the letterforms of the lowercase letters, a slight decrease in x-height, a skew, and a condensation and a narrowing of the vertical stems..
| Italic Angle | Condensation | Stem width change | X-Height change | |
| Computer Modern Text Italic | 14º | 91% | 94% | 100% |
| Times New Roman | 16º | 100% | 91% | 96% |
| Adobe Times | 15 | 100% | 92% | 95% |
Letterform changes in Galliard:
Letterform changes in Caslon:
(These glyphs have been deskewed to display the shape transformation better.)
Cyrillic Letterform changes:
(These glyphs are also deskewed.)
This is not a complete list, but it shows most of the salient features of such a transformation.
Oblique
The Oblique transformation is a simple skew,
| Computer Modern Slanted Sans Serif Arial Italic (actually an oblique) Adobe Helvetica Oblique | 9.5º 12º 12º |
Extended/Condensed
In these two transformations the stem width is held constant but the horizontal counter sizes and side bearings are increased (or decreased for condensed).
The Change Weight dialog
The Change Weight dialog starts out by stroking the glyph (Element->Expand Stroke) and removing the internal contour. This means that each stem in the glyph will now be wider by the number of em units specified at the top of the dialog. Of course, this number may be negative, in which case you will be making a lighter, rather than a bolder variant of the glyph.
You may find that in some cases the Change Glyphdialog will do a better job of emboldening or thinning a font. Instead of increasing all stems by the same fixed amount it will increase the thickness of each stem proportionate to its current thickness.
For CJK fonts, with complex shapes but without the constraint of the latin baseline and cap height, this expansion is probably enough. The image at right shows the Hiragana DA syllable -- the original glyph shape is in the background, and the expanded shape is in the foreground.
However if we do that to a latin (or Greek, or Cyrillic) glyph the result is rather odd because the glyph no longer rests on the baseline, and also extends above the cap-height (or x-height, or whatever line bounds this particular glyph).
Here the glyph has been expanded as if it were a CJK glyph. Note that it now extends below the baseline and above the cap height. That is not good.
Here the glyph has been expanded as before, but the bottom stem has been moved up just enough so that it now rides on the base line, and the top stem has been moved down so it sits on the cap height.
But the counters are now much narrower than they were in the original glyph, and the left and right side bearings have become squeezed.
In the final example, the glyph is expanded, the top and bottom stems moved appropriately, the side bearings restored to their original size, and the internal counters expanded to be closer to their original size.
Now consider the case of a serifed font. The serifs on the B above have become huge, disproportionally bigger than they were in the original glyph.
Going back to the original dialog. The first field specifies the amount by which each stem should get bigger.
The radio buttons let you choose which method to use. CJK simply expands the glyph and leaves it at that. LCG expands the glyph and then forces it between the baseline and caps/x-height. Auto will chose which of those methods to apply. Custom will basically use the LCG method but allows you to specify, manually, what the interesting regions are in this particular glyph.
Any point above or on "Top Hint" will be moved down. Or if a point is on a hint which surrounds "Top Hint" it will also be moved down. (Points on the top stem of "B")
Any point below or on "Bottom Hint" will be moved up. Or if a point is on a hint which surrounds "Bottom Hint" it will also be moved up. (Points on the bottom stem of "B")
Any point which is on a hint which falls somewhere between Top Zone and Bottom Zone will be fixed where it is. (Points on the middle stem of "B").
Any point which is Serif Height above the "Bottom Hint" (or Serif Height below Top Hint) will remain where it is, meaning that some simple serifs will not be expanded to an inappropriate size.
Any other points will be interpolated between the points which move (rather like the TrueType IUP instruction -- indeed, the process of making a glyph bolder is very like instructing a glyph).
[] Cleanup Self Intersect has the same meaning as the same field in the Expand Stroke dialog.
And for the counters, <> Squish will result in the small counters that come from expanding the glyph without doing anything to the counters, <>Retain will attempt to retain the counters, and <>Auto will Squish CJK glyphs and Retain LCG glyphs.
Italic dialog
Let me reiterate that the italic transformation is quite different and much more complex than the oblique transformation. Oblique fonts are made by the same simple mathematical operation applied to the entire font. The italic transformation can be different for each glyph.
Let me further add that FontForge will never be able to do everything that should be done to make a good italic font from an upright font. It may provide a helpful starting point. Some of my friends who know more about typography than I have urged me not to write this dialog, saying that each italic font should be made by hand, and there is much truth to their view. I made the dialog anyway because I found it interesting to do so. Be warned: It isn't complete. You need to examine what it has done and be prepared to redo many characters (especially lower case letters) which it has not been able to adapt.
The complexities of italic design stem from its origin. The Latin alphabet as we now know it evolved over time. The upper case letters come from the style the Romans used when carving inscriptions on their monuments. The lower case letters come from a monastic script style, uncials, which were later paired with the monumental capitals. The italic hand was another script, initially monocase. Just as the lower case letters come from a different stylistic tradition than the upper case (and hence look markedly dissimilar) so the italic lower case comes from yet another tradition and looks different from upright forms. Italic upper case were a much later addition and are also based on the monumental capitals.
The italic lower case is
- slanted -- this is extremely obvious (so obvious that when I compare upright and italic glyphs I always deslant the italic to make other differences more visible)
- condensed -- less obvious. Generally it will be condensed by about 90% which isn't noticeable unless you look hard. Stems may be condensed at a different percentage than counters (indeed, different stems may be condensed differently, but fontforge doesn't support that because I don't find any consistency in behavior to emulate).
- smaller x-height -- because a slanted line that reaches from baseline to a given height is longer than the corresponding vertical line, it will also appear (to the eye) to be slightly higher. To correct for this optical illusion, the x-height of an italic font will generally be a little lower than the xheight of its companion roman font. Note -- if the xheight changes, you should adjust the BlueValues (and perhaps the FamilyBlues) with the Font Info dialog.
- more flowing -- This may be extremely obviousor more subtle -- in some fonts even the apparently straight sides of "l" will have a slight curve to them.
- different serifs -- The baseline serifs for the last stem on a glyph change , while those of intermediate stems become degenerate
- different letterforms -- Some letters simply have different shapes in italic:
The italic upper case is also slanted (and by the same angle), generally condensed (but often less so than the lower case), and usually its serifs and letter forms do not change significantly (though there can be exceptions: )
In typographic tradition serifed fonts have a paired italic font, while sans-serif fonts have an oblique font.
The italic dialog attempts to give you control over as much of this as fontforge thinks it can do. The dialog displays the steps mentioned above, but backwards.
First there are a series of check boxes for gross letterform changes. The "a" glyph generally turns into a something that looks like the "d" glyph without the ascender. The "f" glyph has (at least) two variants -- in one the curved top is duplicated at the bottom, and in the other the main stem is extended below the baseline but the serif is removed.
In actual practice these changes are more complex. If examined closely the bottom part of the f doesn't look precisely like the top. FontForge isn't up to such subtleties however.
The [] f checkboxes control additional characters which are similar to "f", "long-s" for example, also the "fi", "fl", "ff", "ffi", "ffl", "longs_longs", "longs_t", etc. ligatures. FontForge determines what glyphs it applies to by examining the glyph name and unicode encoding; it does NOT do a sophisticated analysis of the glyph's shape.
This does not exhaust the list of changes that could or should be done -- Merely the list of what FontForge thinks it can do. There should also be checkboxes for: and many more.
FontForge will change serifs in various places.
- baseline serifs -- The final stem of a glyph almost always undergoes a serif transformation at the baseline. Previous stems generally have their serifs become degenerate (flat lines). This transformation almost always happens.
- xheight serifs -- This transformation frequently happens.
- ascender serifs -- This transformation happens occasionally. Sometimes the serif becomes very swash, somethings nothing changes.
- descender serifs -- Usually serifs on descenders degenerate into flat lines.
- diagonal serifs -- This transformation usually happens
When a serif becomes degenerate (as the first two do in the "m" above) they often become flat with the baseline, but sometimes they will have a slant to them.
Next is a matrix of compression factors (expressed as percentages). You can control left and right side bearings, as well as stem and counter widths. You may specify different values for lower case, upper case and symbols.
Finally we come to the italic angle. This will generally be between -10 and -15 degrees.
Condense/Extend dialog ---------------------------------------------
This dialog allows you to change counter sizes without changing stem sizes (in theory. It doesn't work too well with diagonal stems). You can make counters bigger or smaller by a percentage, or by adding a fixed amount to them.
If the font has and Italic Angle specified in Font Info, then fontforge will first unskew the glyph in the hopes of getting some vertical stems, then Condense it, and the reskew it.
Change X-Height dialog -----------------------------------------------
This changes the x-height of a font. The dialog shows the current x-height (or what it thinks is the current x-height), and you can chose an new value for it. If the font has serifs and you don't want the serifs to change in height then specify the current serif height. If you do want the serifs to change, then set this field to 0.
Change Glyphs dialog --------------------------------------------
The change glyphs dialog allows you to do a number of changes to all the currently selected glyphs. It can
- Increase or decrease the stem size (making the font bolder or less bold)
- Change the size of horizontal counters (Condense/Extend)
- Manipulate alignment zones with respect to one another (Change the x-height)
The dialog has three panes; each controls one of these funtions.
The first dialog affects the stem width (or height, as the case may be). In most cases you will want to scale horizontal and vertical stems by the same proportion, so there is a check box to fix them together.
Generally you will also want to control diagonal stems to, but there are still times when the algorithm is less than perfect.
Generally a proportional scale is more appropriate than adding a fixed amount to each stem -- at least for Latin glyphs. But there may be cases where you do what to add a fixed amount.
There are a few restrictions if you specify an additive amount here (again due to imperfections of the algorithm). The additive amounts must have the same sign for both horizontal and vertical stems (both negative, both zero, or both positive). And the ratio of the two can't be more than 4.
You have various options for controlling horizontal contours. For monospace fonts (or CJK fonts) you probably want to select the first option. For proportional Latin fonts, select one of the other two.
Latin glyphs are asymetric in their behavior along the horizontal and vertical axes. Vertically glyphs are aligned at certain fixed heights (baseline, x-height, cap-height, etc.), while horizontally there are no corresponding alignment zones. So the vertical part of this dialog looks quite different from the horizontal.
In CJK glyphs it may make sense to control vertical glyphs.
But in latin it makes more sense to map alignment zones. Here there is a overall (default) scaling factor. If you don't adjust the zones yourself then changing the scale factor will change the "Resultant Y Position" by the obvious amount.
Small Capitals dialog ------------------------------------------
This dialog allows you to create a series of small caps glyphs. As the dialog says, it is unlike most commands in that it does not change the selected glyphs, instead it uses them to decide what glyphs to create (or if the glyphs already exist, what glyphs to change).
So if you select "A" FontForge will create a glyph named "a.sc" copy the outlines of "A" into that glyph, and then modify them. If you select lower case "a", FontForge will again create "a.sc" and will copy the outlines of upper case "A".
FontForge will also create two lookups, one which maps upper case letters to small caps variants, and the other which maps lower case letters to the small caps glyph. These will be bound to the "c2sc" and "smcp" features respectively.
OpenType supports two different variants of small caps, the normal small caps, and something called petite caps. Petite caps should be smaller than small caps (the example given in the opentype docs is for a font with a small x-height, small caps will be bigger than the x-height and petite caps will be at the x-height). Like small caps, there are two features for petite caps: "c2pc" and "pcap" (capital to petite caps and lowercase to petite caps).
If you turn on the [] Create small caps variants for symbols
checkbox, then any selected symbols will also be converted. However most symbols don't have upper and lower case variants (one could argue that digits do, but I shall ignore that complication here), so each selected symbol glyph will get both feature mappings attached to it. Furthermore, symbols seem to use a different glyph extension so the created glyphs will be "nine.taboldstyle" rather than "nine.sc".
The default behavior is to transform the outlines by scaling the upper case outlines so that the cap height becomes the small cap height, and scaling the stems so that the upper case stem width becomes the lower case stem width. Often the small cap height will be a little taller than the x-height -- though the exact value will change from font to font -- the x-height is as good a default as any. If you do not like the default behavior you have all the options of the Change Glyphsdialog to play with.
Note:The default sizes are the same for both small caps and petite caps. If you want both features you will need to change settings for at least one of them!
Subscipt/Superscript dialog -----------------------------------------------
There are several OpenType features which produce small variants of standard glyphs. Often the stems are scaled differently (made bolder) from the remainder of glyph.
As with the previous dialog this one does not modify the selected glyphs. Instead it uses their outlines to create new glyphs (with the indicated glyph extension) and creates a lookup mapping the original glyph to the new glyph.
So in the example at right, if you selected all the digits, then FontForge would create a new set of glyphs named "zero.superior", "one.superior" ... "nine.superior". It would create a new lookup bound to the feature "sups" which would map "zero" to "zero.superior", etc. By default each new glyph will be scaled down to be 2/3rds the original size, but the stems would only be scaled by 3/4 (so the glyph will look proportionately darker). Finally each new glyph will be moved up by 450 em-units. Again if you don't like these defaults you have all the options of the Change Glyphs dialog to play with.
### Caveat
Then the bowsprit got mixed with the rudder sometimes,
A thing as the Bellman remarked
That frequently happens in tropical climes,
When a vessel is, so to speak, "Snarked". The Hunting of the Snark, Lewis Carroll
These commands are not perfect. If there just isn't room in the glyph for the desired transformation contours may overlap. Do look at your results and be prepared to fix them up.


Ciroc confirms partnership deal with Tacha
Fans of controversial BBNaija star, Tacha, have been thrown into excitement following Ciroc's confirmation of their partnership with the Rivers born reality star.
Earlier on, the reality star and entrepreneur had taken to her Instagram page to announce in a rather interesting way, that she had signed a partnership deal with the French brand.
While her fans rejoiced over the new endorsement deal, a confirmation from the horse's mouth has left them more than ecstatic and may have given them reasons to shade other housemates.
A fan of Tacha, had inquired to know when the variety of the liquor named after Tacha would be available for purchase. Replying to the question, the official account of the liquor brand confirmed Tacha's partnership deal.
PAY ATTENTION: Personal letter from the Editor-in-Chief of Legit.ng (former NAIJ.com)
See screenshot below:
PAY ATTENTION: Get the Latest Nigerian News on Legit.ng News App
BBNaija Tacha shows off video call with Twitter CEO Jack Dorsey on his birthday
This comes shortly after BBNaija winner, Mercy Eke, also signed a partnership deal with the same liquor brand. Just like Tacha, she took to her Instagram page to share an interesting video to announce the good news. In the video, she talks about once being a small girl with big dreams and later achieving her goals.
PAY ATTENTION: Do you have news to share? Contact Legit.ng instantly
Meanwhile, Mercy and Tacha have been in the news of late and not for the right reasons. The two ladies who fought back in the BBNaija house appear to have resumed their beef for each other and are busy throwing shades on social media.
Legit.ng earlier shared how Tacha warned against 'getting too close to the heater, as plastic melts'. Her post was taken by many to be a message for Mercy who is alleged to have gone under the knife to enhance her behind. Mercy also appeared to have taken shots of her own when she said something about dancing on Instagram, a one-time proud past time of Tacha. However, the war seems far from over as Tacha recently threw another heavy shade on her Instagram page.
Don’t stand too close to the heater babe, plastic melts - BBNaija Tacha throws shade
BBNaija Exclusive: Evicted housemates reveal their true feelings about Tacha| Legit TV


class Sections(object):
plot sections through an objective function.
A first rational thing to do, when facing an (expensive) application. By default 6 points in each coordinate are evaluated. This class is still experimental.
Examples
import cma, numpy as np s = cma.Sections(cma.ff.rosen, np.zeros(3)).do(plot=False) s.do(plot=False) # evaluate the same points again, i.e. check for noise try: s.plot() except: print('plotting failed: matplotlib.pyplot package missing?')
Details
Data are saved after each function call during do
. The filename
is attribute name and by default str(func), see __init__
.
A random (orthogonal) basis can be generated with cma.Rotation()(np.eye(3)).
CAVEAT: The default name is unique in the function name, but it
should be unique in all parameters of __init__
but plot_cmd
and load
. If, for example, a different basis is chosen, either
the name must be changed or the .pkl file containing the
previous data must first be renamed or deleted.
s.res is a dictionary with an entry for each "coordinate" i and with an entry 'x', the middle point. Each entry i is again a dictionary with keys being different dx values and the value being a sequence of f-values. For example s.res[2][0.1] == [0.01, 0.01], which is generated using the difference vector s .basis[2] like
s.res[2][dx] += func(s.res['x'] + dx * s.basis[2]).
| See Also | |
__init__ |
| Method | __init__ |
objective function |
| Method | do |
generates, plots and saves function values func(y), where y is 'close' to x (see __init__() ). The data are stored in the res attribute and the class instance is saved in a file with (the weired) name str(func)... |
| Method | flattened |
return flattened data (x, f) such that for the sweep through coordinate i we have for data point j that f[i][j] == func(x[i][j]) |
| Method | load |
load from file |
| Method | plot |
plot the data we have, return self |
| Method | save |
save to file |
| Instance Variable | args |
Undocumented |
| Instance Variable | basis |
Undocumented |
| Instance Variable | func |
Undocumented |
| Instance Variable | name |
Undocumented |
| Instance Variable | plot |
Undocumented |
| Instance Variable | res |
Undocumented |
| Instance Variable | x |
Undocumented |
- func
- objective function
- x
- point in search space, middle point of the sections
- args
- arguments passed to
func
- basis
- evaluated points are func(x + locations[j] * basis[i])
for i in len(basis) for j in len(locations),
see
do()
- name
- filename where to save the result
- plot_cmd
- command used to plot the data, typically matplotlib pyplots
plot
orsemilogy
- load
- load previous data from file str(func) + '.pkl'
generates, plots and saves function values func(y),
where y is 'close' to x
(see __init__()
). The data are stored in
the res attribute and the class instance is saved in a file
with (the weired) name str(func).
Parameters
- repetitions
- for each point, only for noisy functions is >1 useful. For repetitions==0 only already generated data are plotted.
- locations
- coordinated wise deviations from the middle point given in
__init__


Booked for:
Friday 25 December
9-10am
Delivering to:
Address line 1
Address line 2
Address town
Address region
Address postcode
Delivery slot booked for Friday 25 December 9-10am. Delivering
to Address line1, Address line 2, Address town, Address
region, Address postcode. Change slot.
Change slot


| DOSE: |
4.5 hits |
oral |
LSD |
(liquid) |
I had always heard people say that LSD often times leads to life changing experiences or profound prophecies, but I never believed them. I was one of those 'hey dude lets take acid for some cool visuals' kind of tripper. I would take as many hits as I was dared to just because I thought I was the king of LSD. All of this changed, however, when I had a true LSD experience.
I was thrilled when my girlfriend came home with a vial one Tuesday. Even though I had classes the next day I was eager to try out the new stuff. I took pride in the fact that I was always the guinea pig, for the first trip out of the vial was always free. After she distributed all of the liquid onto sweet tarts, I took 4 of them plus the extra half hit that was in the vile. My friend who had never tripped before took two hits, and we waited like we were little boys eager to find the toy in our Happy Meals. I told him him not to ever panic, that it was only a drug.
The first four hours of the trip were very normal. When it kicked in, I turned on some Aphrodite and danced to satisfy my increasing energy. The visuals kicked in very soon and I took my friend to the woods for a hike. I knew this was some good stuff and my journey had officially begun. We had a lot of fun and upon returning 5 hours later I was drained (I was still tripping very hard at this point). This is where the unexplainable happens.
For some reason, before we even stepped foot into the apartment, I wanted to see my girlfriend really bad. I felt a strong emotional attachment like I had never felt before. It was like I loved her more than ever. When I finally got inside she was off to bed (she didn't trip) and I followed her even though I was still very much out of it. When I got into bed and shut the lights out, my life would forever be changed.
I immediately had an out of body experience. It was as though I was dead and I was watching myself screw up in life through these unusual 'scenes'. I literally saw myself partying and failing out of school. I also saw myself not paying much attention to my girlfriend which would lead to a break up. I saw myself taking the wrong paths but I couldn't tell myself I was taking it. I screamed and yelled, but 'he' kept on going anyway. All at once I realized that I was 'he', and that I did have control of my life. I came to a realization that these prophecies could come true if I didn't change.
I got out of bed to go and talk with my friend to see if anything unordinary had happened to him. Right when I got to his place, however, I suddenly became fearful. I couldn't say an intelligent sentence if my life depended in on it. I felt as though I was on the brink of insanity.  Was it too late to change my life for the better? Was I doomed? Ironically, my rookie friend talked me out of my fears. Acid had put me in my place. 'It' grabbed my ego from deep within my soul and threw it away forever. I realized I never had control of acid, rather it had control of me.
Although some would say I had a 'bad trip', I look at it as the best trip of my life. My GPA drastically improved in one semester and my girlfriend and I are happier than ever. I also realized LSD probably isn't good to do every week, but doing it every once in a while is good to gain some insight into your life. You just have to be open to what you learn.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


| TegMeR 804 Special General Information
-
| Synonyms: |
Tetraethylene glycol di-(2-ethylhexoate); Polyethylene glycol 200 di-(2-ethylhexoate); 2-(2-{2-[2-(2-ethylhexanoyloxy)ethoxy]ethoxy}ethoxy)ethyl 2-ethylhexanoate |
| Molecular Formula: |
C24H46O7 |
| CAS Registry No.: |
18268-70-7 |
| Chemical Category: |
Glycols |
| Hydroxyl Number, mg KOH/g: |
10 |
| Moisture Content, wt. %: |
0.05 |
Usage and Performance Characteristics
-
| Manufacturer: |
C. P. Hall Company |
| Used for Polymeric Materials: |
Thermoplastics |
Physical Properties
-
| Specific Gravity: |
0.98 (20°C); 0.9805 (25°C) |
| Aggregate State at 25°C: |
Liquid |
Optical Properties
-
| Color, Platinum-Cobalt Scale: |
100 |
| Refractive Index: |
1.447 (n20D) |
Hazard-Related Data
-
| OSHA Hazard Class: |
Not considered a hazardous substance |
| Eye Irritation (human): |
May cause slight irritation |
| Flash Point Temperature, °C: |
>218 |
| HMIS Personal protection: |
Gloves, safety glasses |
| Skin Irritation: |
Prolonged contact may cause irritation |
Environmental Parameters
-
| Octanol-Water Partition Coeff., log Kow: |
5.33 |
| Theoretical Oxygen Demand, ThOD, g/g: |
2.29 |
Animal Toxicity
-
| Rabbit Dermal, LD50, mg/kg: |
20,000 |
| Rat Oral, LD50, mg/kg: |
18,000 |
Plasticizers Database (2nd Electronic Edition) Copyright © 2004 by ChemTec Publishing |


--- layout: post title: "My Week in Review" date: 2017-08-27 09:50:00 +0000 tags: image: https://s3.amazonaws.com/audreywatters/2017-08-27-nyc.jpg imagecredits: https://www.flickr.com/photos/kinlane/36655833162 ---
Icon credits: The Noun Project


Content-type: text/html
#include <libtecla.h> int gl_io_mode(GetLine *gl, GlIOMode mode); int gl_raw_io(GetLine *gl); int gl_normal_io(GetLine *gl); int gl_tty_signals(void (*term_handler)(int), void (*susp_handler)(int), void (*cont_handler)(int), void (*size_handler)(int)); void gl_abandon_line(GetLine *gl); void gl_handle_signal(int signo, GetLine *gl, int ngl); GlPendingIO gl_pending_io(GetLine *gl);
The gl_get_line() function, which is documented separately in the gl_get_line(3) man page, supports two different I/O modes. These are selected by calling the gl_io_mode() function.
int gl_io_mode(GetLine *gl, GlIOMode mode);
The mode argument of this function specifies the new I/O mode, and must be one of the following.
GL_NORMAL_MODE - Select the normal blocking-I/O mode. In this mode gl_get_line() doesn't return until either an error occurs of the user finishes entering a new line. This mode is the focus of the gl_get_line(3) man page. GL_SERVER_MODE - Select non-blocking server I/O mode. In this mode, since non-blocking terminal I/O is used, the entry of each new input line typically requires many calls to gl_get_line() from an external I/O-driven event loop. This mode is the focus of this man page.
Newly created GetLine objects start in normal I/O mode, so to switch to non-blocking server mode requires an initial call to gl_io_mode().
In non-blocking server I/O mode, the application is required to have an event loop which calls gl_get_line() whenever the terminal file descriptor can do the type I/O that gl_get_line() is waiting for. To determine which type of I/O gl_get_line() is waiting for, the application calls the gl_pending_io() function.
GlPendingIO gl_pending_io(GetLine *gl);
The return value of this function is one of the following two enumerated values.
GLP_READ - gl_get_line() is waiting to write a character to the terminal. GLP_WRITE - gl_get_line() is waiting to read a character from the keyboad.
If the application is using either the select() or poll() system calls to watch for I/O on a group of file descriptors, then it should call the gl_pending_io() function before each call to these functions to see which direction of I/O it should tell them to watch for, and configure their arguments accordingly. In the case of the select() system call, this means using the FD_SET() macro to add the terminal file descriptor either to the set of file descriptors to be watched for readability, or the set to be watched for writability.
As in normal I/O mode, the return value of gl_get_line() is either a pointer to a completed input line, or NULL. However, whereas in normal I/O mode a NULL return value always means that an error occurred, in non-blocking server mode, NULL is also returned when gl_get_line() can't read or write to the terminal without blocking. Thus in non-blocking server mode, in order to determine when a NULL return value signifies that an error occurred or not, it is necessary to call the gl_return_status() function. If this function returns the enumerated value, GLR_BLOCKED, as documented in the gl_get_line(3) man page, this means that gl_get_line() is waiting for I/O, and no error has occurred.
When gl_get_line() returns NULL and gl_return_status() indicates that this is due to blocked terminal I/O, the application should call gl_get_line() again when the type of I/O reported by gl_pending_io() becomes possible. The prompt, start_line and start_pos arguments of gl_get_line() will be ignored on these calls. If you need to change the prompt of the line that is currently being edited, then you can call the gl_replace_prompt() function (documented in the gl_get_line(3) man page) between calls to gl_get_line().
A complication that is unique to non-blocking server mode is that it requires that the terminal be left in raw mode between calls to gl_get_line(). If this weren't the case, the external event loop wouldn't be able to detect individual key-presses, and the basic line editing implemented by the terminal driver would clash with the editing provided by gl_get_line(). What this means is that any time that the terminal needs to be used for other things than entering a new input line with gl_get_line(), it needs to be restored to a usable state. In particular, whenever the process is suspended or terminated, the terminal must be returned to a normal state. If this isn't done, then depending on the characteristics of the shell that was used to invoke the program, the user may end up with a hung terminal. To this end, the gl_normal_io() function is provided for switching the terminal back to the state that it was in when raw mode was last established.
int gl_normal_io(GetLine *gl);
What this function does is first flush any pending output to the terminal, then move the cursor to the start of the terminal line which follows the end of the incompletely entered input line. At this point it is safe to suspend or terminate the process, and it is safe for the application to read and write to the terminal. To resume entry of the input line, the application should call the gl_raw_io() function.
int gl_raw_io(GetLine *gl);
This function starts a new line, redisplays the partially completed input line (if any), restores the cursor position within this line to where it was when gl_normal_io() was called, then switches back to raw, non-blocking terminal mode ready to continue entry of the input line when gl_get_line() is next called.
Note that in non-blocking server mode, if gl_get_line() is called after a call to gl_normal_io(), without an intervening call to gl_raw_io(), gl_get_line() will call gl_raw_mode() itself, and the terminal will remain in this mode when gl_get_line() returns.
In the previous section it was pointed out that in non-blocking server mode, the terminal must be restored to a sane state whenever a signal is received that either suspends or terminates the process. In normal I/O mode, this is done for you by gl_get_line(), but in non-blocking server mode, since the terminal is left in raw mode between calls to gl_get_line(), this signal handling has to be done by the application. Since there are many signals that can suspend or terminate a process, as well as other signals that are important to gl_get_line(), such as the SIGWINCH signal, which tells it when the terminal size has changed, the gl_tty_signals() function is provided for installing signal handlers for all pertinent signals.
int gl_tty_signals(void (*term_handler)(int), void (*susp_handler)(int), void (*cont_handler)(int), void (*size_handler)(int));
What this does is use gl_get_line()'s internal list of signals to assign specified signal handlers to groups of signals. The arguments of this function are as follows.
term_handler - This is the signal handler that is to be used to trap signals that by default terminate any process that receives them (eg. SIGINT or SIGTERM). susp_handler - This is the signal handler that is to be used to trap signals that by default suspend any process that receives them, (eg. SIGTSTP or SIGTTOU). cont_handler - This is the signal handler that is to be used to trap signals that are usually sent when a process resumes after being suspended (usually SIGCONT). Beware that there is nothing to stop a user from sending one of these signals at other times. size_handler - This signal handler is used to trap signals that are sent to processes when their controlling terminals are resized by the user (eg. SIGWINCH).
These arguments can all be the same, if so desired, and you can specify SIG_IGN (ignore this signal) or SIG_DFL (use the system-provided default signal handler) instead of a function where pertinent. In particular, it is rarely useful to trap SIGCONT, so the cont_handler argument will usually be SIG_DFL or SIG_IGN.
The gl_tty_signals() function uses the POSIX sigaction() function to install these signal handlers, and it is careful to use the sa_mask member of each sigaction structure to ensure that only one of these signals is ever delivered at a time. This guards against different instances of these signal handlers from simultaneously trying to write to common global data, such as a shared sigsetjmp() buffer or a signal-received flag.
The signal handlers that are installed by this function, should call the gl_handle_signal().
void gl_handle_signal(int signo, GetLine *gl, int ngl);
The signo argument tells this function which signal it is being asked to respond to, and the gl argument should be a pointer to the first element of an array of ngl GetLine objects. If your application only has one of these objects, just pass its pointer as the gl argument and specify ngl as 1.
Depending on the signal that is being handled, this function does different things.
If the signal indicates that the terminal was resized, then it arranges for the next call to gl_get_line() to ask the terminal for its new size and redraw the input line accordingly. In order that gl_get_line() be called as soon as possible to do this, gl_handle_signal() also arranges that the next call to gl_pending_io() will return GLP_WRITE. Thus if the application waits for I/O in select() or poll(), then the application needs to ensure that these functions will be reliably aborted when a signal is caught and handled by the application. More on this below.
If the signal that was caught is one of those that by default terminates any process that receives it, then gl_handle_signal() does the following steps.
1. First it blocks the delivery of all signals that can be
blocked (ie. SIGKILL and SIGSTOP can't be blocked)
2. Next it calls gl_normal_io() for each of the ngl
GetLine objects. Note that this does nothing to any of the
GetLine objects that aren't currently in raw mode.
3. Next it sets the signal handler of the signal to its default,
process-termination disposition.
4. Next it re-sends the process the signal that was caught.
5. Finally it unblocks delivery of this signal, which
results in the process being terminated.
If the default disposition of the signal is to suspend the process, the same steps are executed as for process termination signals, except that when the process is later resumed, gl_handle_signal() continues, and does the following steps.
6. It re-blocks delivery of the signal.
7. It reinstates the signal handler of the signal to the one
that was displaced when its default disposition was substituted.
8. For any of the GetLine objects that were in raw mode when
gl_handle_signal() was called, gl_handle_signal() then
calls gl_raw_io(), to resume entry of the input lines on
those terminals.
9. Finally, it restores the signal process mask to how it
was when gl_handle_signal() was called.
Note that the process is suspended or terminated using the original signal that was caught, rather than using the uncatchable SIGSTOP and SIGKILL signals. This is important, because when a process is suspended or terminated, the parent of the process may wish to use the status value returned by the wait() system call to figure out which signal was responsible. In particular, most shells use this information to print a corresponding message to the terminal. Users would be rightly confused if when their process received a SIGPIPE signal, the program responded by sending itself a SIGKILL signal, and the shell then printed out the provocative statement, "Killed!".
If a signal is caught and handled when the application's event loop is waiting in select() or poll(), these functions will be aborted with errno set to EINTR. When this happens the event loop should call gl_pending_io(), before calling select() or poll() again. It should then arrange for select() or poll() to wait for the type of I/O that this reports. This is necessary, because any signal handler which calls gl_handle_signal(), will frequently change the type of I/O that gl_get_line() is waiting for.
Unfortunately, if a signal arrives between the statements which configure the arguments of select() or poll() and the calls to these functions, then the signal will not be seen by these functions, which will then not be aborted. If these functions are waiting for keyboard input from the user when the signal is received, and the signal handler arranges to redraw the input line to accomodate a terminal resize or the resumption of the process, then this redisplay will be end up being delayed until the user hits the next key. Apart from puzzling the user, this clearly isn't a serious problem. However there is a way, albeit complicated, to completely avoid this race condition. The following steps illustrate this.
1. Block all of the signals that gl_get_line() catches,
by passing the signal set returned by gl_list_signals() to
sigprocmask().
2. Call gl_pending_io() and set up the arguments of
select() or poll() accordingly.
3. Call sigsetjmp() with a non-zero savesigs argument.
4. Initially this sigsetjmp() statement will return zero,
indicating that control isn't resuming there after a matching
call to siglongjmp().
5. Replace all of the handlers of the signals that gl_get_line()
is configured to catch, with a signal handler that first records
the number of the signal that was caught, in a file-scope variable,
then calls siglongjmp() with a non-zero value argument, to
return execution to the above sigsetjmp()
statement. Registering these signal handlers can conveniently be
done using the gl_tty_signals() function.
6. Set the file-scope variable that the above signal handler uses to
record any signal that is caught to -1, so that we can check
whether a signal was caught by seeing if it contains a valid signal
number.
7. Now unblock the signals that were blocked in step 1. Any signal
that was received by the process in between step 1 and now will
now be delivered, and trigger our signal handler, as will any
signal that is received until we block these signals again.
8. Now call select() or poll().
9. When select() returns, again block the signals that were
unblocked in step 7.
If a signal is arrived any time during the above steps, our signal handler will be triggered and cause control to return to the sigsetjmp() statement, where this time, sigsetjmp() will return non-zero, indicating that a signal was caught. When this happens we simply skip the above block of statements, and continue with the following statements, which are executed regardless of whether or not a signal is caught. Note that when sigsetjmp() returns, regardless of why it returned, the process signal mask is returned to how it was when sigsetjmp() was called. Thus the following statements are always executed with all of our signals blocked.
9. Reinstate the signal handlers that were displaced in step 5.
10. Check wether a signal was caught, by checking the file-scope
variable that the signal handler records signal numbers in.
11. If a signal was caught, send this signal to the application
again, and unblock just this signal, so that it invokes the
signal handler which we just reinstated in step 10.
12. Unblock all of the signals that were blocked in step 7.
Since this is complicated, note that demo3.c includes a working example of how to do this. The method used there however, is more general than the above. What it provides is a wrapper function around select() which encompasses steps 3 to 11. In this wrapper, rather than use gl_list_signals() to figure out the signals to block, and and gl_tty_signals() to assign and revert signal handlers, one of its arguments is a sigset_t which specifies which signals to block and assign signal handlers to. This function thus doesn't depend on gl_get_line() and can thus be used in other situations where race-condition-free signal handling is required.
Since the application is expected to handle signals in non-blocking server mode, gl_get_line() doesn't attempt to duplicate this when it is being called. If one of the signals that it is configured to catch is sent to the application while gl_get_line() is being called, gl_get_line() reinstates the caller's signal handlers, then just before returning, re-sends the signal to the process to let the application's signal handler handle it. If the process isn't terminated by this signal, gl_get_line() returns NULL, and a following call to gl_return_status() returns the enumerated value GLR_SIGNAL.
Often, rather than letting it terminate the process, applications respond to the SIGINT user-interrupt signal by aborting the current input line. The way to do this in non-blocking server-I/O mode is to not call gl_handle_signal() when this signal is caught, but instead to call the gl_abandon_line().
void gl_abandon_line(GetLine *gl);
This function arranges that when gl_get_line() is next called, it first flushes any pending output to the terminal, then discardes the current input line, outputs a new prompt on the next line, and finally starts accepting input of a new input line from the user.
Provided that certain rules are followed, the following functions can have been written to be safely callable from signal handlers. Other functions in this library should not be called from signal handlers.
gl_normal_io() gl_raw_io() gl_handle_signal() gl_abandon_line()
In order for this to be true, all signal handlers that call these functions must be registered in such a way that only one instance of any one of them can be running at one time. The way to do this is to use the POSIX sigaction() function to register all signal handlers, and when doing this, use the sa_mask member of the corresponding sigaction structure, to indicate that all of the signals who's handlers invoke the above functions, should be blocked when the current signal is being handled. This prevents two signal handlers from operating on a GetLine object at the same time.
To prevent signal handlers from accessing a GetLine object while gl_get_line() or any of its associated public functions are operating on it, all public functions associated with gl_get_line(), including gl_get_line() itself, temporarily block the delivery of signals when they are accessing GetLine objects. Beware that the only signals that they block are the signals that gl_get_line() is currently configured to catch, so be sure that if you call any of the above functions from signal handlers, that the signals that these handlers are assigned to are configured to be caught by gl_get_line() (see gl_trap_signal()).
If instead of using select() or poll() to wait for I/O, your application just needs to get out of gl_get_line() periodically to briefly do something else before returning to accept input from the user, this can be done in non-blocking server mode by using the gl_inactivity_timeout() function (see gl_get_line(3)), to specify that a callback function that returns GLTO_CONTINUE should be called whenever gl_get_line() has been waiting for I/O for more than a specified amount of time.
When this callback is triggered, gl_get_line() will return NULL, and a following call to gl_return_status() will return GLR_BLOCKED.
Beware that gl_get_line() won't return until the user hasn't typed a key for the specified interval, so if the interval is long, and the user keeps typing, gl_get_line() may not return for a while. In other words there is no guarantee that it will return in the time specified.
The demo3 program that is distributed with the library, provides a working example of how to use non-blocking server I/O mode in a real program. As far as the user is concerned, this program operates identically to the main demo program (called demo), except that whereas the main demo program uses the normal blocking I/O mode, demo3 using non-blocking I/O and an external event loop. The source code can be found in demo3.c, and the comments therein explain the various steps.
libtecla.a - The tecla library libtecla.h - The tecla header file.
libtecla(3), gl_get_line(3), tecla(7), ef_expand_file(3), cpl_complete_word(3), pca_lookup_file(3)


Constructor
new ReferenceRange(translationnullable, bookName, from, to)
Parameters:
| Name | Type | Attributes | Description |
|---|---|---|---|
translation |
Translation |
<nullable> |
The referenced bible translation |
bookName |
BookName | The name of the bible book |
|
from |
VerseLocation | The location of the first verse in the range |
|
to |
VerseLocation | The location of the last verse in the range, or null if the range is open |
Members
bookName
Properties:
| Name | Type | Description |
|---|---|---|
bookName |
BookName | The bible book this reference is pointing at |
from
Properties:
| Name | Type | Description |
|---|---|---|
from |
VerseLocation | The location of the first chapter or verse |
to
Properties:
| Name | Type | Attributes | Description |
|---|---|---|---|
to |
VerseLocation |
<nullable> |
The location of the last chapter or verse, or null if the range is open |
translation
Properties:
| Name | Type | Description |
|---|---|---|
translation |
Translation | The bible translation the reference is pointing at |
Methods
format(library, opt) → {string}
Format the reference range.
Parameters:
| Name | Type | Description |
|---|---|---|
library |
Library | The library to use for loading format resources |
opt |
FormatOptions | An object with formatting options |
Returns:
The formatted reference range
- Type
- string
isChapterMatch(chapterNo) → {boolean}
Checks whether the chapterNo matches the reference.
Parameters:
| Name | Type | Description |
|---|---|---|
chapterNo |
number | The number of the chapter in question |
Returns:
true if this reference is pointing at the given chapter; otherwise false
- Type
- boolean
isVerseMatch(chapterNo, verseNo) → {boolean}
Checks whether the given chapterNo and verseNo matches the reference.
Parameters:
| Name | Type | Description |
|---|---|---|
chapterNo |
number | The number of the chapter in question |
verseNo |
number | The number of the verse in question |
Returns:
true if the given chapterNo and verseNo matches the reference; otherwise false
- Type
- boolean
multiChapter() → {boolean}
Checks whether the reference spans over more than one chapter
Returns:
true if the reference spans more than one chapter; otherwise false
- Type
- boolean
toString() → {string}
Returns:
A text representation of this reference range
- Type
- string


Jordan Peterson gives his thoughts on the world of productivity. Is it possible to let go of always feeling the need to be productive?
Thoughts on constant improvement? Do we need to learn to push ourselves past our limits? Should we always be chasing improvement?
you ready for this it dosent matter who we put in Sate House. if you dont work hard & smart at personal level, poverty shall know you by name


 If someone knows of previous art, please point me in the right direction. I know Fiery Robot’s and Mike Ash’s, but they solve different problems.
Have you ever noticed how hard it is to write a repeating NSTimer
that doesn’t create a retain loop? Almost always you wind up with something like this:
[NSTimer scheduledTimerWithTimeInterval:1
target:self
selector:@selector(something)
userInfo:nil
repeats:YES];
Seems easy enough, except it’s a retain loop. Mike Ash does a nice job of explaining it and walking you through the hoops you need to avoid it. For such a common thing, you’d think this would be easy. And it should be, so I fixed it. I just still can’t quite believe I’m the first to do so.
Anyway, for your consideration I present a very simple class called RNTimer
. Right now it just handles the most common case: a repeating timer that does not generate a retain loop and automatically invalidates when it is released. It could of course be expanded to handle more NSTimer functionality if there is interest. Let me know if you have a use case that the current implementation doesn’t address.
You may find it along with further information at GitHub.


Crash Reporting is not working
This is a checklist to help find the issue if crashes do not appear in HockeyApp or the dialog asking if crashes should be send doesn’t appear:
Check if the
BETA_IDENTIFIER
orLIVE_IDENTIFIER
matches the App ID in HockeyApp.Check if CFBundleIdentifier in your Info.plist matches the Bundle Identifier of the app in HockeyApp. HockeyApp accepts crashes only if both the App ID and the Bundle Identifier equal their corresponding values in your plist and source code.
Unless you have set
[BITCrashManager setCrashManagerStatus:]
toBITCrashManagerStatusAutoSend
: If your app crashes and you start it again, is the alert shown which asks the user to send the crash report? If not, please crash your app again, then connect the debugger and set a break point inBITCrashManager
.m
, methodstartManager
to see why the alert is not shown.Enable the debug logging option and check the output if the Crash Manager gets
Setup
,Started
, returns no error message and sending the crash report to the server results in no error:[[BITHockeyManager shareHockeyManager] setDebugLogEnabled: YES];
Make sure Xcode debugger is not attached while causing the app to crash
Are you trying to catch “out of memory crashes”? This is NOT possible! Out of memory crashes are actually kills by the watchdog process.  The crash reports for those that you see on iTunes Connect, are arbitrary reports written by the watchdog process that did the kill. So they only system that can provide information about these, is iOS itself.
If you are using
#ifdef (CONFIGURATION_something)
, make sure that thesomething
string matches the exact name of your Xcode build configuration. Spaces are not allowed!Remove or at least disable any other exception handler or crash reporting framework.
If it still does not work, please contact us.


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The “Data()” class¶
The Data
class is the main container for smFRET measurements.
It contains timestamps, detectors and all the results of data processing
such as background estimation, burst data, fitted FRET and so on.
It can be loaded xxx.
Summary information¶
List of Data
attributes and
methods providing summary information on the measurement:
Analysis methods¶
-
class
functions.data.
Data
(filepath, filename)¶ Data object contains the information of a dataset (e.g. dimensions, frame numbers), and provides SOFI methods to perform analysis and visualization on the dataset (moments reconstruction, cumulants reconstruction, shrinking kernel deconvolution, etc…).
When loading a tiff file, a Data() object is created and further SOFI analysis can be preformed. All the standard data-attributes are listed below. New data-attributes can be added or updated using ‘.add()’ function.
- Parameters
filapath (str) – Path to the tiff file.
filename (str) – Name of the tiff file.
-
filename
¶ - Type
str
-
filepath
¶ - Type
str
-
ave
¶ The average image of the image stack / tiff video.
- Type
ndarray
-
finterp_factor
¶ The interpolation factor for Fourier interpolation.
- Type
int
-
morder_lst
¶ All orders of moments-reconstructions that have been calculated.
- Type
list
-
morder_finterp_lst
¶ All orders of moments-reconstructions after Fourier interpolation that have been calculated.
- Type
list
-
moments_set
¶ moment order (int) -> moment-reconstructed image (ndarray) A dictionary of orders and corrensponding reconstructions.
- Type
dict
-
cumulants_set
¶ cumulant order (int) -> cumulant-reconstructed image (ndarray) A dictionary of orders and corrensponding reconstructions.
- Type
dict
-
morder
¶ The highest order of moment reconstruction that has been calculated.
- Type
int
-
corder
¶ The highest order of cumulant reconstruction that has been calculated.
- Type
int
-
n_frames
¶ The number of frames of the image stack / tiff video.
- Type
int
-
xdim
¶ The number of pixels in x dimension.
- Type
int
-
ydim
¶ The number of pixels in y dimension.
- Type
int
Notes
For SOFI processing, after loading the tiff video into the Data object, a pipeline of 1) fourier interpolation, 2) moments reconstrtuction or cumulants reconstruction, 3) noise filtering 1, 4) shrinking kernel de- convolution, 5) noise filtering 2, and 6) ldrc. The processed video will be saved into a new tiff file with the colormap user selects.
References
- 1
Xiyu Yi, Sungho Son, Ryoko Ando, Atsushi Miyawaki, and Shimon Weiss,
“Moments reconstruction and local dynamic range compression of high order superresolution optical fluctuation imaging,” Biomed. Opt. Express 10, 2430-2445 (2019).
-
add
(**kwargs)¶ Add or update elements (attributes and/or dict entries).
-
add_filtered
(image, filter_name='noise filter')¶ Add (noise) filtered image as an attribute of the object.
-
average_image
()¶ Calculate average image of the tiff video.
-
calc_moments_set
(highest_order=4, mean_im=None)¶ Calculate moment-reconstructed images to the highest order.
- Parameters
highest_order (int) – The highest order number of moment-reconstructed images.
mean_im (ndarray) – Average image of the tiff stack.
- Returns
moments_set – order number (int) -> image (ndarray) A dictionary of calcualted moment-reconstructed images.
- Return type
dict
-
cumulants_images
(highest_order=4, m_set=None)¶ Calculate cumulant-reconstructed images to the highest order.
- Parameters
highest_order (int) – The highest order number of cumulant-reconstructed images.
m_set (dict) – order number (int) -> image (ndarray) A dictionary of calcualted moment-reconstructed images.
- Returns
cumulants – order number (int) -> image (ndarray) A dictionary of calcualted cumulant-reconstructed images.
- Return type
dict
-
deconvsk
(est_psf=array([[0.0, 0.0, 0.0, ..., 0.0, 0.0, 0.0], [0.0, 0.0, 0.0, ..., 0.0, 0.0, 0.0], [0.0, 0.0, 0.0, ..., 0.0, 0.0, 0.0], ..., [0.0, 0.0, 0.0, ..., 0.0, 0.0, 0.0], [0.0, 0.0, 0.0, ..., 0.0, 0.0, 0.0], [0.0, 0.0, 0.0, ..., 0.0, 0.0, 0.0]]), input_im=None, deconv_lambda=1.5, deconv_iter=20)¶ Perform serial Richardson-Lucy deconvolution with a series of PSFs on the input image. For details of shrinking kernel deconvolution, refer to deconvsk.py and [1].
- Parameters
est_psf (ndarray) – Estimated PSF.
input_im (ndarray) – Input image that need deconvolution.
deconv_lambda (float) – Lambda for the exponent between. It is an empirical parameter within the range of (1,2).
deconv_iter (int) – Number of iterations for each deconvolution.
- Returns
deconv – Deconvoluted image.
- Return type
ndarray
-
finterp_image
(input_im=None, interp_num_lst=[2, 4])¶ Performs fourier interpolation on an image array.
-
finterp_tiffstack
(interp_num_lst=[2, 4], mvlength=None, save_option=True, return_option=False)¶ Performs fourier interpolation on a tiff image (stack) with a list of interpolation factors (the number of pixels to be interpolated between two adjacent pixels).
- Parameters
interp_num_lst (list (int)) – A list of interpolation factors.
mvlength (int) – The frame number of the tiff file (1 for images).
save_option (bool) – Whether to save the interpolated images into tiff files (each interpolation factor seperately).
return_option (bool) – Whether to return the interpolated image series as 3d arrays.
- Returns
finterps – A list of interpolated image sereis corresponding to the interpolation factor list.
- Return type
list (ndarray)
-
get_dims
()¶ Get dimensions and frame number of the tiff video.
-
get_frame
(frame_num=0)¶ Get one frame of the tiff video.
- Parameters
frame_num (int) – The frame number (e.g. 0 for the first frame).
- Returns
frame_im – Frame array.
- Return type
ndarray
-
ldrc
(order=6, window_size=[25, 25], mask_im=None, input_im=None)¶ Compress the dynamic range of moments-/cumulants reconstruced image with ldrc method. For details of ldrc, refer to ldrc.py and [1].
- Parameters
order (int) – The order of the reconstructed image.
window_size ([int, int]) – The [x, y] dimension of the scanning window.
mask_im (ndarray) – A reference image. Usually a average/sum image or second-order SOFI image is used.
input_im (ndarray) – An input image, usually a high-order moment- or cumulant- reconstructed image.
- Returns
ldrc_image – The compressed image with the same dimensions of input_im.
- Return type
ndarray
-
moment_image
(order=6, mean_im=None, mvlength=0, finterp=False, interp_num=1)¶ Calculate the moment-reconstructed image of a defined order.
- Parameters
order (int) – The order number of the moment-reconstructed image.
mean_im (ndarray) – Average image of the tiff stack.
mvlength (int) – Length of the video to calculate moments-reconstruction.
finterp (bool) – Whether to first conduct Fourier interpolation then calculate moments-reconstructions.
interp_num (int) – The interpolation factor.
- Returns
moment_im – The calculated moment-reconstructed image.
- Return type
ndarray


Return of the Jedi.
(interactive CV)
Type "start" to begin.
error error error error error error
error error error error error error
error error error error error error
error error error error error error
error error error error error error
error error error error error error
error error error
^1000 Just kidding. ^800
You are looking for something... ^500 or somebody. ^500
My name is Yoda ^700 and I'll help you. ^700
What's your name?
Nice to meet you, ! ^1000 Welcome to my home.^500
Before we get started^500, I have one last question.^500
What's your current salary? (e.g. 60000)
^200Great!^300 Now let me write a function^500
that will help us find what you want.^1000
function findBestEmployee(yourName, yourSalary) {
var Jedi = {
name: "Sam Aiken",
contact: "http://samai-software.github.io/",
theForce: {
side: "light",
SE: ["JS","JQuery","D3.js","C++"],
UX: ["LP","Apps","Games","A/B"],
DS: ["R","GA","Excel"],
PM: "Vision"
},
hiredBy: {
name: yourName,
salary: yourSalary
},
special: function(){
this.hiredBy.salary *= 1.5;
}
};
Jedi.special();
return Jedi;
}^2000
-------------------------------------------
Here it is.^400 Looks pretty solid to me.^500
Ready to run this script? y/n:
Processing^200.^200.^200.^200.^200.
Success!^400 I've found the best candidate for you.^500
His name is Sam Aiken.^400
Open his profile? y/n:
Name: Sam Aiken
// Resume
Interactive (this.codepen)
Video CV (YouTube)
Text CV (GitHub)
// Hired by
Your name:
Your salary: $ (soon)
YouTube: bit.ly/SamAI_YT
Website: samai-software.github.io
LinkedIn: linkedin.com/in/samaisoftware
GitHub: github.com/SamAI-Software
CodePen: codepen.io/SamAI-Software
FCC: freecodecamp.com/samaiware
// May the force be with you


Meet Larry at 6pm
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Team Session
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Date with babe
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Hover Style #8
A wonderful serenity has taken possession of my entire soul, like these sweet mornings of spring which I enjoy with my whole heart.
Read MoreHover Style #8
A wonderful serenity has taken possession of my entire soul, like these sweet mornings of spring which I enjoy with my whole heart.
Read MoreHover Style #8
A wonderful serenity has taken possession of my entire soul, like these sweet mornings of spring which I enjoy with my whole heart.
Read MoreHover Style #8
A wonderful serenity has taken possession of my entire soul, like these sweet mornings of spring which I enjoy with my whole heart.
Read More


Service Intro
We denounce with righteous indige nation and dislike men who are so beguiled and demo realized by the charms of pleasure of the moment, so blinded by desire, that they cannot foresee the pain and trouble that are bound to ensue cannot foresee. These cases are perfectly simple and easy to distinguish. In a free hour, when our power of choice is untrammelled data structures manages data in technology.
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Digital Technology on The Cutting Edge
Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum. Souvlaki ignitus carborundum e pluribus unum. Defacto lingo est igpay atinlay. Marquee selectus non provisio incongruous feline nolo contendre.
- How will digital activities impact traditional manufacturing.
- All these digital elements and projects aim to enhance .
- I monitor my staff with software that takes screenshots.
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Gratuitous octopus niacin, sodium glutimate. Quote meon an estimate et non interruptus stadium data structures manages data lingo est igpay atinlay marquee.
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consequatur aut perferendis doloribus asperiores repellat. The wise man therefore always holds in these matters to this principle of selection: he rejects pleasures to secure other greater pleasures, or else he endures pains to avoid worse pains. pleasures have to be repudiated and annoyances accepted.
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The theme is fine. It is customizable and its demos are great. The education plugin also works fine. But, although I like it so much, I want to point out a few shortcomings. Theme is appropriate, I agree.
These guys are awesome! Each time I needed their help, their response was quick and very helpful. Also, the theme is very flexible. Five stars from me for everything! I truly recommend this theme!!!
The theme is fine. It is customizable and its demos are great. The education plugin also works fine. But, although I like it so much, I want to point out a few shortcomings. Theme is appropriate, I agree.


You Must Be Signed In To Use Your Dashboard
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Use the Custom Slug Registration Wizard and get a custom URL for your API's documentation. E.g. <slug>.smart-api.info


CaptureError
Encapsulates the error code resulting from a failed media capture operation.
Properties
- code: One of the pre-defined error codes listed below.
Constants
-
CaptureError.
CAPTURE_INTERNAL_ERR
: Camera or microphone failed to capture image or sound. -
CaptureError.
CAPTURE_APPLICATION_BUSY
: Camera application or audio capture application is currently serving other capture request. -
CaptureError.
CAPTURE_INVALID_ARGUMENT
: Invalid use of the API (e.g. limit parameter has value less than one). -
CaptureError.
CAPTURE_NO_MEDIA_FILES
: User exited camera application or audio capture application before capturing anything. -
CaptureError.
CAPTURE_NOT_SUPPORTED
: The requested capture operation is not supported.


---
layout: post
title: More and more people’s jobs are made up of dozens or even hundreds of e-mails
a day
date: '2010-12-18T14:55:00.003-06:00'
author: Jabell
tags:
- Quotes
- Productivity
modified_time: '2010-12-18T17:11:16.682-06:00'
blogger_id: tag:blogger.com,1999:blog-19739956.post-8428453644505325122
blogger_orig_url: http://theabellsix.blogspot.com/2010/12/more-and-more-peoples-jobs-are-made-up.html
---
“What you’ve probably discovered, at least at some level, is that a calendar, though important, can really effectively manage only a small portion of what you need to organize. And daily to-do lists and simplified priority coding have proven inadequate to deal with the volume and variable nature of the average professional’s workload.  There are a few people who can (or even should) expect to code everything an “A,” a “B,” or a “C” priority, or who can maintain some predetermined list of to-dos that the first telephone call or interruption from their boss won’t totally undo.”
—David Allen, Getting Things Done: The Art of Stress-Free Productivity, p. 8


Hi Prof. Sinn and Rita
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2020 MG HS: Chinese Mazda CX-5 rival priced from $30,990
MG has a replacement for the ageing GS. With more space, more tech, and a sharp starting price, it's here to take on the strong-selling CX-5 and RAV4.
by Trent Nikolic- shares
The 2020 MG HS will launching Australia priced from $30,990 drive away for the price-leading Vibe variant, with the range-topping Excite priced from $33,990 drive away.
The MSRP for those two models are $29,990 and $32,990 respectively, and the HS replaces the previous GS that Australian buyers will be familiar with.
Danny Lenartic, MG marketing and product director, is positive about where the brand is headed in Australia.
"The Australian market has helped us to continue to grow in what has been a challenging year in Australia," he said.
"We've had opening orders for our first electric model, we've opened our flagship store here at Sydney City MG, which is located in an automotive hub and it's also our spiritual home in Australia."
“The HS is our new flagship, the most stylish, savvy and our most refined vehicle to date," Lenartic went on to say.
"The level of tech is unparalleled by any previous MG model launched in Australia, it will be available in two specifications, and is designed to be purposeful, sporty and at home on Australian roads.”
Akshat Ahuja, MG product planning manager, explained the evolution of the HS and the two model structure.
"The entry-level is called Vibe, while top spec is called Excite," he said. "The design language evolved from the ZS, now takes the shape of the HS."
MG HS is well specified, with LED daytime running lights standard – and while Vibe gets halogen headlights, the Excite gets full LED lights as standard.
Vibe is fitted with 17-inch alloy wheels, while Excite gets 18-inch alloy wheels as standard equipment. Excite also gets LED tail-lights and sequential illumination.
HS will compete in the ever-growing and fiercely-competitive Medium SUV segment, dominated by the likes of Toyota's RAV4, Mazda's CX-5 and Mitsubishi's Outlander but at launch the dimensions look right.
It's 4574mm long, 1876mm wide, 1685mm high and sits on a 2720mm wheelbase. Those dimensions are 74mm longer, 21mm wider, and 20mm lower with a wheelbase that's 17mm longer than the ZS.
Despite initial speculation that a 2.0-litre engine might power the HS, it has launched with a 1.5-litre, turbocharged four-cylinder engine that generates 125kW and 250Nm and is mated to a seven-speed twin-clutch transmission.
Crucial safety assistance systems have been included on the HS, and the headline act is 'MG Pilot', which is standard across both variants. There's a visible radar mounted in the front bumper and a camera at the top of the windscreen.
Both work to activate the MG Pilot systems including adaptive cruise control, forward collision warning and automatic emergency braking, lane departure warning, traffic jam assist, intelligent cruise assist, blind spot detection, rear cross traffic alert, intelligent headlamp control, speed assistance systems (a system that illustrates the legal speed limit).
The HS does have cyclist detection as well and has been put through ANCAP testing, but MG isn't reporting the rating at the moment.
Inside the HS cabin there's a flat-bottomed steering wheel, while the Excite gets a Super Sport mode activated by a steering wheel mounted button.
It increases throttle response, shifts at higher RPM, delivers more precise steering, and the ambient lights inside the cabin change to red.
Both models have steering wheel mounted shift paddles and a 10.1-inch touchscreen. Excite gets standard on-board satellite navigation, while both variants are Apple CarPlay and Android Auto compatible.
There's enough room for the family in the second row, along with a substantial luggage space offering 463 litres with the second row in play. That second row is a 60/40 split fold design and the space opens out to 1287 litres with the seats down.
The MG HS will come with MG's seven-year/unlimited kilometre warranty and roadside assistance for the same period.
2020 MG HS pricing
- HS Vibe - $30,990
- HS Excite - $33,990
All prices are drive-away.
1
17
nextprevious
2020 MG HS: Chinese Mazda CX-5 rival priced from $30,990


MARSHAL is a maize root system hydraulic architecture solver that combines the root architecture model CRootBox (Schnepf et al. 2018) with the method for solving water flow in RSHA of Meunier et al. (2017) and with the method for computing macroscopic parameter of Couvreur et al. (2012).
The model computes water flow at the level of root segments, quantifies the contribution of the water flows of each of the root segments, and predicts the whole conductivity of the root system (Krs) [cm3.hPa-1.d-1] and the potential transpiration, as well as the actual one [cm3 d-1].
MARSHAL was coded in R, and is therefore platform independant. It can be run on Windows, Linux and MacOS
The first step before running MARSHAL is to install a working version for R. Installation of R are available here: https://cran.r-project.org/
The source code of MARSHAL is available on github: https://github.com/MARSHAL-ROOT/marshal
The fast way is to write down the following lines in your R environment.
install.packages("devtools") library(devtools) install_github("MARSHAL-ROOT/marshal") library(marshal)
MARSHAL is built upon a handfull of external libraries. You will need to install them before using the solver.
data.table
tidyverse
Matrix
readxl
Once you have install all the packages
You do not need your own data to try it out.
To run MARSHAL in the R environment, one easy way is to look at the illustration pipeline.
It allows you to:
The SUF in 3D !
MARSHAL uses four input files:
MARSHAL output comes out in a list of elements:
MARSHAL was developed at the Université catholique de Louvain, in the Earth and Life Insititute, in the lab of Mathieu Javaux. The primary developpers of the model are Félicien Meunier, Adrien Heymans, Xavier Draye, Valentin Couvreur, Guillaume Lobet, and Mathieu Javaux.
MARSHAL article is available:
MARSHAL, a novel tool for virtual phenotyping of maize root system hydraulic architectures Félicien Meunier, Adrien Heymans, Xavier Draye, Valentin Couvreur, Mathieu Javaux, Guillaume Lobet
in silico Plants, 2019


FedEx (FDX) Roadshow Presentation - Slideshow
by SA Transcripts, https://seekingalpha.com/author/sa-transcriptsThe following slide deck was published by FedEx Corporation in conjunction with this event.
The following slide deck was published by FedEx Corporation in conjunction with this event.


creative developer company
*Do you guys thinking programming is hard!
**Some discription about begainer
*some service about our company
*we are here to help you
1.How can you improve yourself?
Next, start looking at what you see going on around you: the people, the trees,
the billboards, the shop windows.Now, turn your attention to sounds. Don’t get
caught up in thinking about objects, just be aware of them as you pass by.
Smell comes next. Note how the mind wants to create a story out of each smell.
Notice any physical sensations. Perhaps it’s the feeling of warm sunshine,
the soles of your feet touching the ground, or your bad knee flaring up again.
Pay attention to feelings that come up. For instance, what happens when your
rhythm is broken by a red light? And when the light turns green, do you speed up
to pass that man on your left? Don’t judge yourself—just notice your thoughts and let them go.
7. Take a coffee break with a friend.
Socializing is not only a pleasant way to spend time, it’s actually good for your brain. Lighthearted, friendly conversation has cognitive benefits.
Studies have found that talking and socializing can make it easier for us to solve problems. But remember to play nice with others -- conversations that are competitive or aggressive have no such benefits.
Researchers have found that engaging in just 10 minutes of conversation boosted people’s performance on common cognitive tasks. So taking a quick coffee break with a friend can give you a competitive edge when you go back to work.
 Take a coffee break with a friend.
Going outside and stretching your legs for just 10 minutes is enough to improve brain function, concentration and focus. A walk can ease depression, improve bone health, reduce stress and promote a healthy heart.
Spending just 10 minutes a day outside may also be key to helping your body absorb the necessary amount of vitamin D it needs. It turns out that vitamin D can be hard for our bodies to absorb just from eating well. We actually get 80 to 90 percent of our vitamin D from the sun.
But spending too much time outside without sunscreen isn’t good either, and can lead to sun-damaged skin. A 10-minute break outside will help you get what you need from the sun without doing any harm.
9. Set yourself up to be successful tomorrow.
Your last 10 minutes of the work day are crucial for setting yourself up for a productive tomorrow. Before you leave for the night, take a few minutes and go through your day’s to-do list -- did you finish everything or are there items that need to be moved to the next day?
Do a quick brain dump -- write down all the things that are clogging up your mind; all the nitty-gritty details you want to remember for things you’re working on. Use that brain dump organize and prioritize tomorrow’s to-do list.
Finish by signing out of email and taking a moment to organize and tidy up your desk and workspace. Ta-da! You’re done for the day, and you have a head start on tomorrow.
9. Set yourself up to be successful tomorrow.
Get yourself in the right frame of mind for sleep by spending the last 10 minutes before bed writing in your journal. Simply report to yourself what you did that day. If your handwriting is hard to read, try keeping a journal on your computer.
However you decide to journal, make sure you accurately and honestly share how your day went, your wins and losses. This will give your day a sense of closure and help you process all that went on.
As you look back on your day, what could you have done differently? Ten minutes of introspection will help you learn and grow from your experiences. Finish by writing what you hope to see happen tomorrow, making sure you stay optimistic and positive.
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Thank You For View


$ git cherry-pick topic^ <1> $ git diff <2> $ git reset --merge ORIG_HEAD <3> $ git cherry-pick -Xpatience topic^ <4>
git-cherry-pick(1) Manual Page
NAME
git-cherry-pick - Apply the changes introduced by some existing commits
SYNOPSIS
git cherry-pick [--edit] [-n] [-m parent-number] [-s] [-x] [--ff] <commit>... git cherry-pick --continue git cherry-pick --quit git cherry-pick --abort
DESCRIPTION
Given one or more existing commits, apply the change each one introduces, recording a new commit for each. This requires your working tree to be clean (no modifications from the HEAD commit).
When it is not obvious how to apply a change, the following happens:
The current branch and HEAD pointer stay at the last commit successfully made.
The CHERRY_PICK_HEAD ref is set to point at the commit that introduced the change that is difficult to apply.
Paths in which the change applied cleanly are updated both in the index file and in your working tree.
For conflicting paths, the index file records up to three versions, as described in the "TRUE MERGE" section of git-merge(1). The working tree files will include a description of the conflict bracketed by the usual conflict markers <<<<<<< and >>>>>>>.
No other modifications are made.
See git-merge(1) for some hints on resolving such conflicts.
OPTIONS
- <commit>...
Commits to cherry-pick. For a more complete list of ways to spell commits, see gitrevisions(7). Sets of commits can be passed but no traversal is done by default, as if the --no-walk option was specified, see git-rev-list(1). Note that specifying a range will feed all <commit>... arguments to a single revision walk (see a later example that uses maint master..next).
- -e
- --edit
With this option, git cherry-pick will let you edit the commit message prior to committing.
- -x
When recording the commit, append a line that says "(cherry picked from commit ...)" to the original commit message in order to indicate which commit this change was cherry-picked from. This is done only for cherry picks without conflicts. Do not use this option if you are cherry-picking from your private branch because the information is useless to the recipient. If on the other hand you are cherry-picking between two publicly visible branches (e.g. backporting a fix to a maintenance branch for an older release from a development branch), adding this information can be useful.
- -r
It used to be that the command defaulted to do -x described above, and -r was to disable it. Now the default is not to do -x so this option is a no-op.
- -m parent-number
- --mainline parent-number
Usually you cannot cherry-pick a merge because you do not know which side of the merge should be considered the mainline. This option specifies the parent number (starting from 1) of the mainline and allows cherry-pick to replay the change relative to the specified parent.
- -n
- --no-commit
Usually the command automatically creates a sequence of commits. This flag applies the changes necessary to cherry-pick each named commit to your working tree and the index, without making any commit. In addition, when this option is used, your index does not have to match the HEAD commit. The cherry-pick is done against the beginning state of your index.
This is useful when cherry-picking more than one commits' effect to your index in a row.
- -s
- --signoff
Add Signed-off-by line at the end of the commit message.
- --ff
If the current HEAD is the same as the parent of the cherry-pick'ed commit, then a fast forward to this commit will be performed.
- --allow-empty
By default, cherry-picking an empty commit will fail, indicating that an explicit invocation of git commit --allow-empty is required. This option overrides that behavior, allowing empty commits to be preserved automatically in a cherry-pick. Note that when "--ff" is in effect, empty commits that meet the "fast-forward" requirement will be kept even without this option. Note also, that use of this option only keeps commits that were initially empty (i.e. the commit recorded the same tree as its parent). Commits which are made empty due to a previous commit are dropped. To force the inclusion of those commits use --keep-redundant-commits.
- --allow-empty-message
By default, cherry-picking a commit with an empty message will fail.  By default these redundant commits are ignored. This option overrides that behavior and creates an empty commit object. Implies --allow-empty.
- --strategy=<strategy>
Use the given merge strategy. Should only be used once. See the MERGE STRATEGIES section in git-merge(1) for details.
- -X<option>
- --strategy-option=<option>
Pass the merge strategy-specific option through to the merge strategy. See git-merge(1) for details.
SEQUENCER SUBCOMMANDS
- --continue
Continue the operation in progress using the information in .git/sequencer. Can be used to continue after resolving conflicts in a failed cherry-pick or revert.
- --quit
Forget about the current operation in progress. Can be used to clear the sequencer state after a failed cherry-pick or revert.
- --abort
Cancel the operation and return to the pre-sequence state.
EXAMPLES
- git cherry-pick master
Apply the change introduced by the commit at the tip of the master branch and create a new commit with this change.
- git cherry-pick ..master
- git cherry-pick ^HEAD master
Apply the changes introduced by all commits that are ancestors of master but not of HEAD to produce new commits.
- git cherry-pick maint next ^master
- git cherry-pick maint master..next
Apply the changes introduced by all commits that are ancestors of maint or next, but not master or any of its ancestors. Note that the latter does not mean maint and everything between master and next; specifically, maint will not be used if it is included in master.
- git cherry-pick master~4 master~2
Apply the changes introduced by the fifth and third last commits pointed to by master and create 2 new commits with these changes.
- git cherry-pick -n master~1 next
Apply to the working tree and the index the changes introduced by the second last commit pointed to by master and by the last commit pointed to by next, but do not create any commit with these changes.
- git cherry-pick --ff ..next
If history is linear and HEAD is an ancestor of next, update the working tree and advance the HEAD pointer to match next. Otherwise, apply the changes introduced by those commits that are in next but not HEAD to the current branch, creating a new commit for each new change.
- git rev-list --reverse master -- README | git cherry-pick -n --stdin
Apply the changes introduced by all commits on the master branch that touched README to the working tree and index, so the result can be inspected and made into a single new commit if suitable.
The following sequence attempts to backport a patch, bails out because the code the patch applies to has changed too much, and then tries again, this time exercising more care about matching up context lines.
apply the change that would be shown by git show topic^. In this example, the patch does not apply cleanly, so information about the conflict is written to the index and working tree and no new commit results.
summarize changes to be reconciled
cancel the cherry-pick. In other words, return to the pre-cherry-pick state, preserving any local modifications you had in the working tree.
try to apply the change introduced by topic^ again, spending extra time to avoid mistakes based on incorrectly matching context lines.
SEE ALSO
GIT
Part of the git(1) suite


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Experiance: 5 Years
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Vendor Type Min rate: TK 400
Vendor Name
Experiance: 5 Years
Address: Jayanagar 4th Block, Dhaka, Bangladesh
Vendor Type Min rate: TK 400
Vendor Name
Experiance: 5 Years
Address: Jayanagar 4th Block, Dhaka, Bangladesh