Though Mitya spoke sullenly, it was evident that he was trying more than ever not to forget or miss a single detail of his story. He told them how he had leapt over the fence into his father's garden; how he had gone up to the window; told them all that had passed under the window. Clearly, precisely, distinctly, he described the feelings that troubled him during those moments in the garden when he longed so terribly to know whether Grushenka was with his father or not. But, strange to say, both the lawyers listened now with a sort of awful reserve, looked coldly at him, asked few questions. Mitya could gather nothing from their faces.
“They're angry and offended,” he thought. “Well, bother them!”
When he described how he made up his mind at last to make the “signal” to his father that Grushenka had come, so that he should open the window, the lawyers paid no attention to the word “signal,” as though they entirely failed to grasp the meaning of the word in this connection: so much so, that Mitya noticed it. Coming at last to the moment when, seeing his father peering out of the window, his hatred flared up and he pulled the pestle out of his pocket, he suddenly, as though of design, stopped short. He sat gazing at the wall and was aware that their eyes were fixed upon him.
“Well?” said the investigating lawyer. “You pulled out the weapon and ... and what happened then?”
“Then? Why, then I murdered him ... hit him on the head and cracked his skull.... I suppose that's your story. That's it!”
His eyes suddenly flashed. All his smothered wrath suddenly flamed up with extraordinary violence in his soul.
“Our story?” repeated Nikolay Parfenovitch. “Well—and yours?”
Mitya dropped his eyes and was a long time silent.
“My story, gentlemen? Well, it was like this,” he began softly. “Whether it was some one's tears, or my mother prayed to God, or a good angel kissed me at that instant, I don't know. But the devil was conquered. I rushed from the window and ran to the fence. My father was alarmed and, for the first time, he saw me then, cried out, and sprang back from the window. I remember that very well. I ran across the garden to the fence ... and there Grigory caught me, when I was sitting on the fence.”
At that point he raised his eyes at last and looked at his listeners. They seemed to be staring at him with perfectly unruffled attention. A sort of paroxysm of indignation seized on Mitya's soul.
“Why, you're laughing at me at this moment, gentlemen!” he broke off suddenly.
“What makes you think that?” observed Nikolay Parfenovitch.
“You don't believe one word—that's why! I understand, of course, that I have come to the vital point. The old man's lying there now with his skull broken, while I—after dramatically describing how I wanted to kill him, and how I snatched up the pestle—I suddenly run away from the window. A romance! Poetry! As though one could believe a fellow on his word. Ha ha! You are scoffers, gentlemen!”
And he swung round on his chair so that it creaked.
“And did you notice,” asked the prosecutor suddenly, as though not observing Mitya's excitement, “did you notice when you ran away from the window, whether the door into the garden was open?”
“No, it was not open.”
“It was not?”
“It was shut. And who could open it? Bah! the door. Wait a bit!” he seemed suddenly to bethink himself, and almost with a start:
“Why, did you find the door open?”
“Yes, it was open.”
“Why, who could have opened it if you did not open it yourselves?” cried Mitya, greatly astonished.
“The door stood open, and your father's murderer undoubtedly went in at that door, and, having accomplished the crime, went out again by the same door,” the prosecutor pronounced deliberately, as though chiseling out each word separately. “That is perfectly clear. The murder was committed in the room and not through the window; that is absolutely certain from the examination that has been made, from the position of the body and everything. There can be no doubt of that circumstance.”
Mitya was absolutely dumbfounded.
“But that's utterly impossible!” he cried, completely at a loss. “I ... I didn't go in....  I only stood at the window and saw him through the window. That's all, that's all.... I remember to the last minute. And if I didn't remember, it would be just the same. I know it, for no one knew the signals except Smerdyakov, and me, and the dead man. And he wouldn't have opened the door to any one in the world without the signals.”
“Signals? What signals?” asked the prosecutor, with greedy, almost hysterical, curiosity. He instantly lost all trace of his reserve and dignity. He asked the question with a sort of cringing timidity. He scented an important fact of which he had known nothing, and was already filled with dread that Mitya might be unwilling to disclose it.
“So you didn't know!”  “What if I won't tell you? From whom could you find out? No one knew about the signals except my father, Smerdyakov, and me: that was all. Heaven knew, too, but it won't tell you. But it's an interesting fact. There's no knowing what you might build on it. Ha ha! Take comfort, gentlemen, I'll reveal it. You've some foolish idea in your hearts. You don't know the man you have to deal with! You have to do with a prisoner who gives evidence against himself, to his own damage! Yes, for I'm a man of honor and you—are not.”
The prosecutor swallowed this without a murmur. He was trembling with impatience to hear the new fact. Minutely and diffusely Mitya told them everything about the signals invented by Fyodor Pavlovitch for Smerdyakov. He told them exactly what every tap on the window meant, tapped the signals on the table, and when Nikolay Parfenovitch said that he supposed he, Mitya, had tapped the signal “Grushenka has come,” when he tapped to his father, he answered precisely that he had tapped that signal, that “Grushenka had come.”
“So now you can build up your tower,” Mitya broke off, and again turned away from them contemptuously.
“So no one knew of the signals but your dead father, you, and the valet Smerdyakov? And no one else?” Nikolay Parfenovitch inquired once more.
“Yes. The valet Smerdyakov, and Heaven. Write down about Heaven. That may be of use. Besides, you will need God yourselves.”
And they had already, of course, begun writing it down. But while they wrote, the prosecutor said suddenly, as though pitching on a new idea:
“But if Smerdyakov also knew of these signals and you absolutely deny all responsibility for the death of your father, was it not he, perhaps, who knocked the signal agreed upon, induced your father to open to him, and then ... committed the crime?”
Mitya turned upon him a look of profound irony and intense hatred. His silent stare lasted so long that it made the prosecutor blink.
“You've caught the fox again,” commented Mitya at last; “you've got the beast by the tail. Ha ha! I see through you, Mr. Prosecutor.  Confess that's what you thought. Confess, and I'll go on.”
But the prosecutor did not confess. He held his tongue and waited.
“You're mistaken. I'm not going to shout ‘It's Smerdyakov,’ ” said Mitya.
“And you don't even suspect him?”
“Why, do you suspect him?”
“He is suspected, too.”
Mitya fixed his eyes on the floor.
“Joking apart,” he brought out gloomily. “Listen. From the very beginning, almost from the moment when I ran out to you from behind the curtain, I've had the thought of Smerdyakov in my mind. I've been sitting here, shouting that I'm innocent and thinking all the time ‘Smerdyakov!’ I can't get Smerdyakov out of my head. In fact, I, too, thought of Smerdyakov just now; but only for a second. Almost at once I thought, ‘No, it's not Smerdyakov.’ It's not his doing, gentlemen.”
“In that case is there anybody else you suspect?” Nikolay Parfenovitch inquired cautiously.
“I don't know any one it could be, whether it's the hand of Heaven or Satan, but ... not Smerdyakov,” Mitya jerked out with decision.
“But what makes you affirm so confidently and emphatically that it's not he?”
“From my conviction—my impression. Because Smerdyakov is a man of the most abject character and a coward. He's not a coward, he's the epitome of all the cowardice in the world walking on two legs. He has the heart of a chicken. When he talked to me, he was always trembling for fear I should kill him, though I never raised my hand against him. He fell at my feet and blubbered; he has kissed these very boots, literally, beseeching me ‘not to frighten him.’ Do you hear? ‘Not to frighten him.’ What a thing to say! Why, I offered him money. He's a puling chicken—sickly, epileptic, weak-minded—a child of eight could thrash him. He has no character worth talking about. It's not Smerdyakov, gentlemen. He doesn't care for money; he wouldn't take my presents. Besides, what motive had he for murdering the old man? Why, he's very likely his son, you know—his natural son. Do you know that?”
“We have heard that legend.  And a nasty, mean one, too! I'm not afraid! Oh, gentlemen, isn't it too base of you to say that to my face? It's base, because I told you that myself. I not only wanted to murder him, but I might have done it. And, what's more, I went out of my way to tell you of my own accord that I nearly murdered him. But, you see, I didn't murder him; you see, my guardian angel saved me—that's what you've not taken into account. And that's why it's so base of you.
He was almost choking. He had not been so moved before during the whole interrogation.
“And what has he told you, gentlemen—Smerdyakov, I mean?” he added suddenly, after a pause. “May I ask that question?”
“You may ask any question,” the prosecutor replied with frigid severity, “any question relating to the facts of the case, and we are, I repeat, bound to answer every inquiry you make. We found the servant Smerdyakov, concerning whom you inquire, lying unconscious in his bed, in an epileptic fit of extreme severity, that had recurred, possibly, ten times. The doctor who was with us told us, after seeing him, that he may possibly not outlive the night.”
“Well, if that's so, the devil must have killed him,” broke suddenly from Mitya, as though until that moment he had been asking himself: “Was it Smerdyakov or not?”
“We will come back to this later,” Nikolay Parfenovitch decided. “Now, wouldn't you like to continue your statement?”
Mitya asked for a rest. His request was courteously granted. After resting, he went on with his story. But he was evidently depressed. He was exhausted, mortified and morally shaken. To make things worse the prosecutor exasperated him, as though intentionally, by vexatious interruptions about “trifling points.” Scarcely had Mitya described how, sitting on the wall, he had struck Grigory on the head with the pestle, while the old man had hold of his left leg, and how he had then jumped down to look at him, when the prosecutor stopped him to ask him to describe exactly how he was sitting on the wall. Mitya was surprised.
“Oh, I was sitting like this, astride, one leg on one side of the wall and one on the other.”
“And the pestle?”
“The pestle was in my hand.”
“Not in your pocket? Do you remember that precisely?  But why do you ask?”
“Would you mind sitting on the chair just as you sat on the wall then and showing us just how you moved your arm, and in what direction?”
“You're making fun of me, aren't you?” asked Mitya, looking haughtily at the speaker; but the latter did not flinch.
Mitya turned abruptly, sat astride on his chair, and swung his arm.
“This was how I struck him! That's how I knocked him down! What more do you want?”
“Thank you. May I trouble you now to explain why you jumped down, with what object, and what you had in view?”
“Oh, hang it!... I jumped down to look at the man I'd hurt ... I don't know what for!”
“Though you were so excited and were running away?”
“Yes, though I was excited and running away.”
“You wanted to help him?”
“Help!... Yes, perhaps I did want to help him.... I don't remember.”
“You don't remember? Then you didn't quite know what you were doing?”
“Not at all. I remember everything—every detail. I jumped down to look at him, and wiped his face with my handkerchief.”
“We have seen your handkerchief. Did you hope to restore him to consciousness?”
“I don't know whether I hoped it. I simply wanted to make sure whether he was alive or not.”
“Ah! You wanted to be sure? Well, what then?”
“I'm not a doctor. I couldn't decide. I ran away thinking I'd killed him. And now he's recovered.”
“Excellent,” commented the prosecutor. “Thank you. That's all I wanted. Kindly proceed.”
Alas! it never entered Mitya's head to tell them, though he remembered it, that he had jumped back from pity, and standing over the prostrate figure had even uttered some words of regret: “You've come to grief, old man—there's no help for it. Well, there you must lie.”
The prosecutor could only draw one conclusion: that the man had jumped back “at such a moment and in such excitement simply with the object of ascertaining whether the only witness of his crime were dead; that he must therefore have been a man of great strength, coolness, decision and foresight even at such a moment,” ... and so on. The prosecutor was satisfied: “I've provoked the nervous fellow by ‘trifles’ and he has said more than he meant to.”
With painful effort Mitya went on. But this time he was pulled up immediately by Nikolay Parfenovitch.
“How came you to run to the servant, Fedosya Markovna, with your hands so covered with blood, and, as it appears, your face, too?”
“Why, I didn't notice the blood at all at the time,” answered Mitya.
“That's quite likely. It does happen sometimes.” The prosecutor exchanged glances with Nikolay Parfenovitch.
“I simply didn't notice. You're quite right there, prosecutor,” Mitya assented suddenly.
Next came the account of Mitya's sudden determination to “step aside” and make way for their happiness. But he could not make up his mind to open his heart to them as before, and tell them about “the queen of his soul.” He disliked speaking of her before these chilly persons “who were fastening on him like bugs.”  What had I left to live for? That question stared me in the face. Her first rightful lover had come back, the man who wronged her but who'd hurried back to offer his love, after five years, and atone for the wrong with marriage.... So I knew it was all over for me.... And behind me disgrace, and that blood—Grigory's.... What had I to live for? So I went to redeem the pistols I had pledged, to load them and put a bullet in my brain to-morrow.”
“And a grand feast the night before?”
“Yes, a grand feast the night before.  Do make haste and finish it. I meant to shoot myself not far from here, beyond the village, and I'd planned to do it at five o'clock in the morning. And I had a note in my pocket already. I wrote it at Perhotin's when I loaded my pistols. Here's the letter. Read it! It's not for you I tell it,” he added contemptuously. He took it from his waistcoat pocket and flung it on the table. The lawyers read it with curiosity, and, as is usual, added it to the papers connected with the case.
“And you didn't even think of washing your hands at Perhotin's? You were not afraid then of arousing suspicion?”
“What suspicion? Suspicion or not, I should have galloped here just the same, and shot myself at five o'clock, and you wouldn't have been in time to do anything. If it hadn't been for what's happened to my father, you would have known nothing about it, and wouldn't have come here. Oh, it's the devil's doing. It was the devil murdered father, it was through the devil that you found it out so soon.  It's marvelous, a dream!”
“Mr. Perhotin informed us that when you came to him, you held in your hands ... your blood-stained hands ... your money ... a lot of money ... a bundle of hundred-rouble notes, and that his servant-boy saw it too.”
“That's true, gentlemen. I remember it was so.”
“Now, there's one little point presents itself. Can you inform us,” Nikolay Parfenovitch began, with extreme gentleness, “where did you get so much money all of a sudden, when it appears from the facts, from the reckoning of time, that you had not been home?”
The prosecutor's brows contracted at the question being asked so plainly, but he did not interrupt Nikolay Parfenovitch.
“No, I didn't go home,” answered Mitya, apparently perfectly composed, but looking at the floor.
“Allow me then to repeat my question,” Nikolay Parfenovitch went on as though creeping up to the subject. “Where were you able to procure such a sum all at once, when by your own confession, at five o'clock the same day you—”
“I was in want of ten roubles and pledged my pistols with Perhotin, and then went to Madame Hohlakov to borrow three thousand which she wouldn't give me, and so on, and all the rest of it,” Mitya interrupted sharply. “Yes, gentlemen, I was in want of it, and suddenly thousands turned up, eh? Do you know, gentlemen, you're both afraid now ‘what if he won't tell us where he got it?’ That's just how it is. I'm not going to tell you, gentlemen. You've guessed right. You'll never know,” said Mitya, chipping out each word with extraordinary determination. The lawyers were silent for a moment.
“You must understand, Mr. Karamazov, that it is of vital importance for us to know,” said Nikolay Parfenovitch, softly and suavely.
“I understand; but still I won't tell you.”
The prosecutor, too, intervened, and again reminded the prisoner that he was at liberty to refuse to answer questions, if he thought it to his interest, and so on. But in view of the damage he might do himself by his silence, especially in a case of such importance as—
“And so on, gentlemen, and so on. Enough! I've heard that rigmarole before,” Mitya interrupted again. “I can see for myself how important it is, and that this is the vital point, and still I won't say.”
“What is it to us? It's not our business, but yours.
“You see, gentlemen, joking apart”—Mitya lifted his eyes and looked firmly at them both—“I had an inkling from the first that we should come to loggerheads at this point. But at first when I began to give my evidence, it was all still far away and misty; it was all floating, and I was so simple that I began with the supposition of mutual confidence existing between us. Now I can see for myself that such confidence is out of the question, for in any case we were bound to come to this cursed stumbling-block. And now we've come to it! It's impossible and there's an end of it! But I don't blame you. You can't believe it all simply on my word. I understand that, of course.”
He relapsed into gloomy silence.
“Couldn't you, without abandoning your resolution to be silent about the chief point, could you not, at the same time, give us some slight hint as to the nature of the motives which are strong enough to induce you to refuse to answer, at a crisis so full of danger to you?”
Mitya smiled mournfully, almost dreamily.
“I'm much more good-natured than you think, gentlemen. I'll tell you the reason why and give you that hint, though you don't deserve it. I won't speak of that, gentlemen, because it would be a stain on my honor. The answer to the question where I got the money would expose me to far greater disgrace than the murder and robbing of my father, if I had murdered and robbed him. That's why I can't tell you. I can't for fear of disgrace. What, gentlemen, are you going to write that down?”
“Yes, we'll write it down,” lisped Nikolay Parfenovitch.
“You ought not to write that down about ‘disgrace.’ I only told you that in the goodness of my heart. I needn't have told you. I made you a present of it, so to speak, and you pounce upon it at once. Oh, well, write—write what you like,” he concluded, with scornful disgust.  Nikolay Parfenovitch hazarded.
The prosecutor frowned darkly.
“No, no, c'est fini, don't trouble yourselves. It's not worth while soiling one's hands. I have soiled myself enough through you as it is. You're not worth it—no one is ... Enough, gentlemen. I'm not going on.”
This was said too peremptorily. Nikolay Parfenovitch did not insist further, but from Ippolit Kirillovitch's eyes he saw that he had not given up hope.
“Can you not, at least, tell us what sum you had in your hands when you went into Mr. Perhotin's—how many roubles exactly?”
“I can't tell you that.”
“You spoke to Mr. Perhotin, I believe, of having received three thousand from Madame Hohlakov.”
“Perhaps I did. Enough, gentlemen. I won't say how much I had.”
“Will you be so good then as to tell us how you came here and what you have done since you arrived?”
“Oh! you might ask the people here about that. But I'll tell you if you like.”
He proceeded to do so, but we won't repeat his story. He told it dryly and curtly. Of the raptures of his love he said nothing, but told them that he abandoned his determination to shoot himself, owing to “new factors in the case.” He told the story without going into motives or details. And this time the lawyers did not worry him much. It was obvious that there was no essential point of interest to them here.
“We shall verify all that. We will come back to it during the examination of the witnesses, which will, of course, take place in your presence,” said Nikolay Parfenovitch in conclusion. “And now allow me to request you to lay on the table everything in your possession, especially all the money you still have about you.”
“My money, gentlemen? Certainly. I understand that that is necessary. I'm surprised, indeed, that you haven't inquired about it before. It's true I couldn't get away anywhere. I'm sitting here where I can be seen. But here's my money—count it—take it. That's all, I think.”
 They counted the money, which amounted to eight hundred and thirty-six roubles, and forty copecks.
“And is that all?” asked the investigating lawyer.
“Yes.”
“You stated just now in your evidence that you spent three hundred roubles at Plotnikovs'. You gave Perhotin ten, your driver twenty, here you lost two hundred, then....”
 Mitya helped him readily. They recollected every farthing and included it in the reckoning. Nikolay Parfenovitch hurriedly added up the total.
“With this eight hundred you must have had about fifteen hundred at first?”
“I suppose so,” snapped Mitya.
“How is it they all assert there was much more?”
“Let them assert it.”
“But you asserted it yourself.”
“Yes, I did, too.”
“We will compare all this with the evidence of other persons not yet examined. Don't be anxious about your money. It will be properly taken care of and be at your disposal at the conclusion of ... what is beginning ... if it appears, or, so to speak, is proved that you have undisputed right to it. Well, and now....”
Nikolay Parfenovitch suddenly got up, and informed Mitya firmly that it was his duty and obligation to conduct a minute and thorough search “of your clothes and everything else....”
“By all means, gentlemen. I'll turn out all my pockets, if you like.”
And he did, in fact, begin turning out his pockets.
“It will be necessary to take off your clothes, too.”
“What! Undress? Ugh!  Won't you search me as I am! Can't you?”
“It's utterly impossible, Dmitri Fyodorovitch.  Who will search them?”
“Behind the curtains, of course.”
Nikolay Parfenovitch bent his head in assent. His small face wore an expression of peculiar solemnity.


Benton man arrested on suspicion of fourth OWI
by Logan RudeBENTON, Wis. - A Benton man was arrested Sunday on suspicion of operating while intoxicated, fourth offense according to a news release.
John Christensen, 50, was transported to the Lafayette County Jail, where he is in custody, police said.


Create button-like checkboxes and radio buttons by using button
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Company profile - Canadian Company Capabilities
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GCI (genn consulting inc.)
Legal Name:
GCI (genn consulting inc.)
Operating Name:
metrax.ca
Alternate Name:
SCR
Stakeholder Cost Reporting (SCR)
Mailing Address:
3815 7th St SWCALGARY, Alberta
T2T 2Y4
Location Address:
3815 7th St SWCALGARY, Alberta
T2T 2Y4
Tel.:<PHONE_NUMBER>
Fax:
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Company Profile
metrax.ca is a business systems consulting company that creates strategic advantage for our clients. We think globally with an awareness for local social cultures and requirements while offering the following:
ERP Solutions
Project management
User requirement studies
Business system automation
Digital document strategies
Business intelligence solutions
Technical writing of manuals, policy and procedure, RFP.....etc.
Unique business information solutions that create strategic advantage. iTrac, metrax, SCR ....
Successful system implementations require the seamless integration of people, data and systems. Before any existing systems are changed, management needs to understand their critical business metrics, the best source for accumulating related data, and who needs to be empowered with what data to drive operational efficiencies into daily business practice.
GCI deploys cloud computing solutions for clients with staff residing in different physical locations, to provide them with efficient and effective IT infrastructure.
To date GCI has empowered energy companies, retail organizations, engineering firms, modularized residential construction in production line environments and mining companies that harvest precious metal and mineral resources while establishing humanitarian initiatives for locals to benefit from their natural resources.
Full profile
Full profile
Contact information
Company description
Product / Service / Licensing
providing meaningful information to different levels of the organization with the same data. Tactical data, which is typically more granular in nature, is used at the operational level to drive operational efficiency, is simultaneously mapped to strategic data, which is used at the executive level to support long term corporate planning.
enabling a digital document strategy to minimize costs associated with manual paper records, systems, human resources and professional audit services.
creating a blue sky view of programs and projects as well as immediate access to detail including the originating source document.
establishing business process for corporate metrics to be captured and reported. The process is well documented and easy to maintain by people and requires little training. The process also creates a segregation of duties, authorization accountability, continuous audit trails and automatic tracking reports for individuals required to monitor and process tasks.
impacting the ERP implementation strategy, by allowing smaller organizational units to adopt a Best of Breed (BOB) application strategy, while improving value of the data provided to the ERP system. SCR facilitates BOB by ensuring that islands of data have a single source of data that is shared by all systems, including the data requirements of the corporate ERP system. ERP implementation ROI is improved by having ERP functionality at the core of the organization where change is minimal, while the BOB approach is implemented in the peripheral Business Units where change is rapid and continuous.
supporting a flat BU organizational structure with powerful reporting features to create a transparent team environment. When transparency is used with a well-defined business process, team politics are minimized and people tend to focus on their specific duties, which improves the performance of the whole team.
facilitating cost allocation techniques that are developed and consistently applied to deliver on the unique reporting requirements of every client stakeholder.
people, while improving job satisfaction of the most important
corporate assets, your staff,
DataTrac was developed specifically for Resource companies to
manage operations:
1. Improve management of Joint Venture Billing issues with
less effort
Increase cash flow with better controls over cash in and
cash out
Enhance Joint Venture (JB) partner relationships with
accurate and timely information
Manage complex JV agreements with the same effort as
standard agreements
2. Grow field operations without growing overhead to manage the growth
Empower employees to do more with less while improving the work environment
3. Manage paper effectively in a digital medium, position
the company for E-commerce· It is important to increase the
productivity of your employees and the best way to do that is to
start today and grow your expertise with DataTrac
4. Improve operating decisions with accurate, current and
easy to access information. The need to maximize communication
and your ability to do so in a productive manner, whether your
partners, employees orvendors are across the hallway or on the
other side of the world, will become more important with time.
DataTrac was developed on the Microsoft suite of products which
most people already know how to use without formal training.
Implementation of the product will enable the seamless
integration of the various technologies already on your desktop
to empower users and increase their productivity as well as job
satisfaction.
For those companies that hesitant about upgrading accounting systems, DataTrac facilitates electronic transfer of data to those
accounting systems capable of importing data.
development, project design and system implementations.
technology to different cultures and a wide range of disciplines.
the management thereof.
B302-Feasibility Studies (non-construction)
B308-Accounting/Financial Management Studies
B329-Other Administrative Support Studies
R100-Intelligence Services
R103-Courier and Messenger Services
R107-Library Services
R111-Personal Property Management Services
R112-Information Retrieval (non-automated)
R113-Data Collection Services
R115-Contract, Procurement, and Acquisition Support Services
R122-Program Management/Support Services
R123-Program Review/Development Services
R199-Other Administrative and Management Support Services
Technology profile
The following is a summary of how internally developed products are used to manage operations and projects. The appeal of these products from an international perspective is that they are based on remote access technologies and therefore very portable to, and locally supportable in all locations around the world.
Stakeholder Cost Reporting is a great tool for those organizations that need:
· quick access to accurate data and related specific documents
· more detail than typically available in conventional accounting systems
· to analyze trends on specific expenditures / suppliers,
· a document management strategy to maintain and archive both financial and related technical data
· to efficiently work with commonly used technologies such as spreadsheets and word processing
· to proactively manage relationships with senior management, shareholders, joint venture partners.....
These products are ideal for corporations wishing to benefit from powerful Document and Data Management features that perform well in Project Management environments.
Market profile
Alliances:
- Sales/Marketing
- Technology
Strategic alliances:
Currently provide multilingual (Spanish, French, English, Arabic) integrated information systems/ERP solutions. Prepared to setup a global office with partners in other countries.Industry sector market interests:
- Agriculture
- Construction
- Consumer Products
- Culture
- Environment
- Fishery
- Forestry
- Information Technology and Telecommunications
- Manufacturing
- Medical/Biotechnology/Chemical
- Mining/Petroleum/Gas
- Service Industry
- Tourism
- Transportation
- Wholesale/Retail
- Aerospace
- Defence
- Automotive
Geographic markets:
Actively pursuing:
- Angola
- Argentina
- Bolivia, Plurinational State of
- Burundi
- Cameroon
- Central African Republic
- Chile
- China
- Colombia
- Congo, The Democratic Republic of the
- Ecuador
- Peru
- Philippines
- Tanzania, United Republic of
- Venezuela, Bolivarian Republic of
- Zambia
Sector information
Classification codes
Unique applications:
Developed Quality Control, Human Resource and Cost Allocation models for Home Builders (http://stakeholdercostreporting.com)Developed Cost Control System for EPCM projects
Developed an integrated joint venture management
application named DataTrac for an oil and gas
company in the USA that paid for itself within
the first six months of operations. The software
included document management, project management
and property management features blended together
in a unique manner that gave the client a
solution he has trying to achieve for the
previous 18 years. Check out www.gcica.com for
more information.
Success stories:
Recently managed the development of a web basedAsset Management System that has provided the
client with an extreme competitive edge. Within
months of completing the application, the client
signed up new business with international
accounts which they had been chasing for years.
Testimonial:
Available upon request.International capital projects:
Corporate Expertise:-----------------------
Digital Document Strategies, Work Flow Analysis, Business Intelligence, Risk Intelligence
Applied Information Technology studies that address the
following issues.
Information Technology Investment Strategy
Integrated Information Systems
Document Management
Joint Venture (JV) Management
Data Warehouse
A typical GCI project includes the following Project phases:
I. Requirements Analysis
II. Technology acquisition, modification, documentation
III. System installation and training
REQUIREMENTS ANALYSIS
A comprehensive study thoroughly evaluates the clients'
objectives, requirements and allocated data management
resources. The study provides the client with a detailed
report summarizing study findings, information technology
strategy, recommendations, implementation plan, projected
budget and related time frames.
TECHNOLOGY ACQUISITION, MODIFICATION AND DOCUMENTATION
The primary focus of this project phase is development of
Policy, Procedures and Software. Additional activities
typically include asset acquisition, software
modifications, system testing, documentation, etc., and any
other activity required to facilitate the subsequent
project implementation phase. Software may be purchased and
modified, custom developed, or a combination of both, to
meet client requirements.
Policy and Procedure manuals are developed to meet the
specific needs of each client based on the users
requirements and typically include all of the components
required to administer corporate information and/or an
independent data centre.
SYSTEM INSTALLATION AND TRAINING
Hardware and software systems are installed with a focus on
technology transfer to the client. Training programs are
developed to meet the unique requirements of the client and
include additional tasks and procedures as formulated and
recommended by GCI.
Corporate Language Capabilities:
-----------------------
English
Proj: Corporate Data Management System
Country: Ghana
Contribution:
Turn-key system upgrades to provide a safe and organized
repository for all corporate data on behalf of the National
Research Centre of Ghana. Developed Policy and Procedures,
managed procurement of all equipment, designed and
developed data management systems, designed storage systems
and developed training programs for personnel assigned to
operate the facility.
Proj: Energy Sector Database Study
Country: Libyan Arab. Jam.
Contribution:
Managed a team to review existing systems and data
requirements of a large Oil and Gas company. The objective
of the study was to develop a long-term information
technology strategy and implementation plan.
Proj: ERP System Development & Implementation
Country: United States
Contribution:
Installed integrated information systems into a number of
small to medium size Oil and Gas companies with offices in
Kansas, Montana, Wyoming, Colorado, and Texas.
Systems facilitate the management of joint venture related
operations involved in production and distribution of oil
and gas.
Proj: Geoscience Data Centre
Country: Morocco
Contribution:
Turnkey facilities and systems to provide a safe and
organized repository for geological well data on behalf of
the national oil company of Morocco. Developed Policy and
Procedures, managed procurement of all equipment, designed
and developed data management systems, designed storage
systems and developed training programs for personnel
assigned to operate the facility.
Proj: Requirements Study - Aman
Country: Jordan
Contribution:
Completed the analysis and design of data management
systems and storage facilities for the national oil company
in Jordan
Proj: Requirements Study - Banjul
Country: Gambia
Contribution:
Completed the analysis and design of data management
systems for national oil company in The Gambia. Created
project execution plan for data storage facilities and
information systems.
Proj: Requirements Study - Dakar
Country: Senegal
Contribution:
Completed the analysis and design of data management
systems for national oil company in Senegal. Created
project execution plan for data storage facilities and
information systems.
Proj: Requirements Study - Rabat
Country: Morocco
Contribution:
Completed the analysis and design of data management
systems for national oil company in Morocco. Created
project execution plan for data storage facilities and
information systems.
Third-Party Information Liability Disclaimer
Some of the information on this Web page has been provided by external sources. The Government of Canada is not responsible for the accuracy, reliability or currency of the information supplied by external sources. Users wishing to rely upon this information should consult directly with the source of the information. Content provided by external sources is not subject to official languages, privacy and accessibility requirements.
Contacts
Contact information
Description
Company description
Products, services and licensing
Product / Service / Licensing
providing meaningful information to different levels of the organization with the same data. Tactical data, which is typically more granular in nature, is used at the operational level to drive operational efficiency, is simultaneously mapped to strategic data, which is used at the executive level to support long term corporate planning.
enabling a digital document strategy to minimize costs associated with manual paper records, systems, human resources and professional audit services.
creating a blue sky view of programs and projects as well as immediate access to detail including the originating source document.
establishing business process for corporate metrics to be captured and reported. The process is well documented and easy to maintain by people and requires little training. The process also creates a segregation of duties, authorization accountability, continuous audit trails and automatic tracking reports for individuals required to monitor and process tasks.
impacting the ERP implementation strategy, by allowing smaller organizational units to adopt a Best of Breed (BOB) application strategy, while improving value of the data provided to the ERP system. SCR facilitates BOB by ensuring that islands of data have a single source of data that is shared by all systems, including the data requirements of the corporate ERP system. ERP implementation ROI is improved by having ERP functionality at the core of the organization where change is minimal, while the BOB approach is implemented in the peripheral Business Units where change is rapid and continuous.
supporting a flat BU organizational structure with powerful reporting features to create a transparent team environment. When transparency is used with a well-defined business process, team politics are minimized and people tend to focus on their specific duties, which improves the performance of the whole team.
facilitating cost allocation techniques that are developed and consistently applied to deliver on the unique reporting requirements of every client stakeholder.
people, while improving job satisfaction of the most important
corporate assets, your staff,
DataTrac was developed specifically for Resource companies to
manage operations:
1. Improve management of Joint Venture Billing issues with
less effort
Increase cash flow with better controls over cash in and
cash out
Enhance Joint Venture (JB) partner relationships with
accurate and timely information
Manage complex JV agreements with the same effort as
standard agreements
2. Grow field operations without growing overhead to manage the growth
Empower employees to do more with less while improving the work environment
3. Manage paper effectively in a digital medium, position
the company for E-commerce· It is important to increase the
productivity of your employees and the best way to do that is to
start today and grow your expertise with DataTrac
4. Improve operating decisions with accurate, current and
easy to access information. The need to maximize communication
and your ability to do so in a productive manner, whether your
partners, employees orvendors are across the hallway or on the
other side of the world, will become more important with time.
DataTrac was developed on the Microsoft suite of products which
most people already know how to use without formal training.
Implementation of the product will enable the seamless
integration of the various technologies already on your desktop
to empower users and increase their productivity as well as job
satisfaction.
For those companies that hesitant about upgrading accounting systems, DataTrac facilitates electronic transfer of data to those
accounting systems capable of importing data.
development, project design and system implementations.
technology to different cultures and a wide range of disciplines.
the management thereof.
B302-Feasibility Studies (non-construction)
B308-Accounting/Financial Management Studies
B329-Other Administrative Support Studies
R100-Intelligence Services
R103-Courier and Messenger Services
R107-Library Services
R111-Personal Property Management Services
R112-Information Retrieval (non-automated)
R113-Data Collection Services
R115-Contract, Procurement, and Acquisition Support Services
R122-Program Management/Support Services
R123-Program Review/Development Services
R199-Other Administrative and Management Support Services
Technology
Technology profile
The following is a summary of how internally developed products are used to manage operations and projects. The appeal of these products from an international perspective is that they are based on remote access technologies and therefore very portable to, and locally supportable in all locations around the world.
Stakeholder Cost Reporting is a great tool for those organizations that need:
· quick access to accurate data and related specific documents
· more detail than typically available in conventional accounting systems
· to analyze trends on specific expenditures / suppliers,
· a document management strategy to maintain and archive both financial and related technical data
· to efficiently work with commonly used technologies such as spreadsheets and word processing
· to proactively manage relationships with senior management, shareholders, joint venture partners.....
These products are ideal for corporations wishing to benefit from powerful Document and Data Management features that perform well in Project Management environments.
Market
Market profile
Alliances:
- Sales/Marketing
- Technology
Strategic alliances:
Currently provide multilingual (Spanish, French, English, Arabic) integrated information systems/ERP solutions. Prepared to setup a global office with partners in other countries.Industry sector market interests:
- Agriculture
- Construction
- Consumer Products
- Culture
- Environment
- Fishery
- Forestry
- Information Technology and Telecommunications
- Manufacturing
- Medical/Biotechnology/Chemical
- Mining/Petroleum/Gas
- Service Industry
- Tourism
- Transportation
- Wholesale/Retail
- Aerospace
- Defence
- Automotive
Geographic markets:
Actively pursuing:
- Angola
- Argentina
- Bolivia, Plurinational State of
- Burundi
- Cameroon
- Central African Republic
- Chile
- China
- Colombia
- Congo, The Democratic Republic of the
- Ecuador
- Peru
- Philippines
- Tanzania, United Republic of
- Venezuela, Bolivarian Republic of
- Zambia
Sector
Sector information
Classification codes
Unique applications:
Developed Quality Control, Human Resource and Cost Allocation models for Home Builders (http://stakeholdercostreporting.com)Developed Cost Control System for EPCM projects
Developed an integrated joint venture management
application named DataTrac for an oil and gas
company in the USA that paid for itself within
the first six months of operations. The software
included document management, project management
and property management features blended together
in a unique manner that gave the client a
solution he has trying to achieve for the
previous 18 years. Check out www.gcica.com for
more information.
Success stories:
Recently managed the development of a web basedAsset Management System that has provided the
client with an extreme competitive edge. Within
months of completing the application, the client
signed up new business with international
accounts which they had been chasing for years.
Testimonial:
Available upon request.International capital projects:
Corporate Expertise:-----------------------
Digital Document Strategies, Work Flow Analysis, Business Intelligence, Risk Intelligence
Applied Information Technology studies that address the
following issues.
Information Technology Investment Strategy
Integrated Information Systems
Document Management
Joint Venture (JV) Management
Data Warehouse
A typical GCI project includes the following Project phases:
I. Requirements Analysis
II. Technology acquisition, modification, documentation
III. System installation and training
REQUIREMENTS ANALYSIS
A comprehensive study thoroughly evaluates the clients'
objectives, requirements and allocated data management
resources. The study provides the client with a detailed
report summarizing study findings, information technology
strategy, recommendations, implementation plan, projected
budget and related time frames.
TECHNOLOGY ACQUISITION, MODIFICATION AND DOCUMENTATION
The primary focus of this project phase is development of
Policy, Procedures and Software. Additional activities
typically include asset acquisition, software
modifications, system testing, documentation, etc., and any
other activity required to facilitate the subsequent
project implementation phase. Software may be purchased and
modified, custom developed, or a combination of both, to
meet client requirements.
Policy and Procedure manuals are developed to meet the
specific needs of each client based on the users
requirements and typically include all of the components
required to administer corporate information and/or an
independent data centre.
SYSTEM INSTALLATION AND TRAINING
Hardware and software systems are installed with a focus on
technology transfer to the client. Training programs are
developed to meet the unique requirements of the client and
include additional tasks and procedures as formulated and
recommended by GCI.
Corporate Language Capabilities:
-----------------------
English
Proj: Corporate Data Management System
Country: Ghana
Contribution:
Turn-key system upgrades to provide a safe and organized
repository for all corporate data on behalf of the National
Research Centre of Ghana. Developed Policy and Procedures,
managed procurement of all equipment, designed and
developed data management systems, designed storage systems
and developed training programs for personnel assigned to
operate the facility.
Proj: Energy Sector Database Study
Country: Libyan Arab. Jam.
Contribution:
Managed a team to review existing systems and data
requirements of a large Oil and Gas company. The objective
of the study was to develop a long-term information
technology strategy and implementation plan.
Proj: ERP System Development & Implementation
Country: United States
Contribution:
Installed integrated information systems into a number of
small to medium size Oil and Gas companies with offices in
Kansas, Montana, Wyoming, Colorado, and Texas.
Systems facilitate the management of joint venture related
operations involved in production and distribution of oil
and gas.
Proj: Geoscience Data Centre
Country: Morocco
Contribution:
Turnkey facilities and systems to provide a safe and
organized repository for geological well data on behalf of
the national oil company of Morocco. Developed Policy and
Procedures, managed procurement of all equipment, designed
and developed data management systems, designed storage
systems and developed training programs for personnel
assigned to operate the facility.
Proj: Requirements Study - Aman
Country: Jordan
Contribution:
Completed the analysis and design of data management
systems and storage facilities for the national oil company
in Jordan
Proj: Requirements Study - Banjul
Country: Gambia
Contribution:
Completed the analysis and design of data management
systems for national oil company in The Gambia. Created
project execution plan for data storage facilities and
information systems.
Proj: Requirements Study - Dakar
Country: Senegal
Contribution:
Completed the analysis and design of data management
systems for national oil company in Senegal. Created
project execution plan for data storage facilities and
information systems.
Proj: Requirements Study - Rabat
Country: Morocco
Contribution:
Completed the analysis and design of data management
systems for national oil company in Morocco. Created
project execution plan for data storage facilities and
information systems.


gets a list of users
gets a list of all lines
gets a line by date
posts a new line, will fail if a line for the date exists for that user_id
register an account
login and get a token
note: username key will work with both matching username or email value for account.
update a users info
delete user and corresponding lines
get all lines of user on token
get line by date (please use leading 0s for days/months 1-9
get array of lines matching the month and year
add new line for user on token
update a line's information
deletes line of specified id
Test Lines: Lines for both test users have been added for dates: Jan/Feb, 1st-9th, 2009-2019


Here is an exact replica of the homepage of the Washington Post website. The purpose of this project was to combine html elements with bootstrap classes and a custom css styleheet.
languages used: html, css, bootstrap
Here you can view photos of different cities in Spain and learn about the different things to do throughout the country. This vacation website was created to practice bootstrap elements such as using a container, a jumbotron, creating rows and columns, and using blockquotes.
languages used: html, css, bootstrap
This website highlights the Blind Owl Band, a bluegrass band from Saranac Lake, NY. View photos of the band and check out where they will be touring next. Creating this website was an introuction to using floats for creating sidebars and columns.
languages used: html, css
This website is about my dog Pepper. Follow his life and interests, see his favorite places around Portland, find out his favorite snacks, and see how adorable he looks in his new fall fashion sweater.
languages used: html, css
This is a mock website for a Multnomah County Animal Shelter. The content includes photos and animal profiles created to practice cascading styles and the box model.
languages used: html, css
On this website you can check out the most popular cupcakes, and the seasonal flavor at the Cupcake Shop. This page includes text and images that are styled with classes.
languages: html, css


23 was my final bug count for the day. Too much fun, but my head's a bit fuzzy now.
8/19/2008, 5:55:08 PM
Favs: 0
Retweets: 0
link--- layout: tweet ---
23 was my final bug count for the day. Too much fun, but my head's a bit fuzzy now.
8/19/2008, 5:55:08 PM
Favs: 0
Retweets: 0
link


|
GNSDK C API Reference
<IP_ADDRESS>2
|
| #define GNSDK_LANG_ARABIC "ara" |
Language value for Arabic. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 743 of file gnsdk_manager.h.
| #define GNSDK_LANG_BAHASA_INDONESIA "ind" |
Language value for Indonesian Bahasa. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 751 of file gnsdk_manager.h.
| #define GNSDK_LANG_BULGARIAN "bul" |
Language value for Bulgaria. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 783 of file gnsdk_manager.h.
| #define GNSDK_LANG_CHINESE_SIMP "qtb" |
Language value for Simplified Chinese. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 568 of file gnsdk_manager.h.
| #define GNSDK_LANG_CHINESE_TRAD "qtd" |
Language value for Traditional Chinese. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 576 of file gnsdk_manager.h.
| #define GNSDK_LANG_CROATIAN "scr" |
Language value for Croatian. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 775 of file gnsdk_manager.h.
| #define GNSDK_LANG_CZECH "cze" |
Language value for Czech. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 711 of file gnsdk_manager.h.
| #define GNSDK_LANG_DANISH "dan" |
Language value for Danish. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 799 of file gnsdk_manager.h.
| #define GNSDK_LANG_DUTCH "dut" |
Language value for Dutch. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 584 of file gnsdk_manager.h.
| #define GNSDK_LANG_ENGLISH "eng" |
Language value for English. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 560 of file gnsdk_manager.h.
| #define GNSDK_LANG_FARSI "per" |
Language value for Farsi. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 687 of file gnsdk_manager.h.
| #define GNSDK_LANG_FINNISH "fin" |
Language value for Finnish. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 759 of file gnsdk_manager.h.
| #define GNSDK_LANG_FRENCH "fre" |
Language value for French. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 592 of file gnsdk_manager.h.
| #define GNSDK_LANG_GERMAN "ger" |
Language value for German. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 600 of file gnsdk_manager.h.
| #define GNSDK_LANG_GREEK "gre" |
Language value for Greek. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 735 of file gnsdk_manager.h.
| #define GNSDK_LANG_HUNGARIAN "hun" |
Language value for Hungarian. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 703 of file gnsdk_manager.h.
| #define GNSDK_LANG_ITALIAN "ita" |
Language value for Italian. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 608 of file gnsdk_manager.h.
| #define GNSDK_LANG_JAPANESE "jpn" |
Language value for Japanese. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 616 of file gnsdk_manager.h.
| #define GNSDK_LANG_KOREAN "kor" |
Language value for Korean. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 624 of file gnsdk_manager.h.
| #define GNSDK_LANG_NORWEGIAN "nor" |
Language value for Norwegian. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 767 of file gnsdk_manager.h.
| #define GNSDK_LANG_POLISH "pol" |
Language value for Polish. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 679 of file gnsdk_manager.h.
| #define GNSDK_LANG_PORTUGUESE_BRAZIL "por" |
Language value for Brazilian Portuguese. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 631 of file gnsdk_manager.h.
| #define GNSDK_LANG_ROMANIAN "rum" |
Language value for Romanian. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 727 of file gnsdk_manager.h.
| #define GNSDK_LANG_RUSSIAN "rus" |
Language value for Russian. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 639 of file gnsdk_manager.h.
| #define GNSDK_LANG_SERBIAN "scc" |
Language value for Serbian. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 791 of file gnsdk_manager.h.
| #define GNSDK_LANG_SLOVAK "slo" |
Language value for Slovak. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 719 of file gnsdk_manager.h.
| #define GNSDK_LANG_SPANISH "spa" |
Language value for Spanish. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 647 of file gnsdk_manager.h.
| #define GNSDK_LANG_SWEDISH "swe" |
Language value for Swedish. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 655 of file gnsdk_manager.h.
| #define GNSDK_LANG_THAI "tha" |
Language value for Thai. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 663 of file gnsdk_manager.h.
| #define GNSDK_LANG_TURKISH "tur" |
Language value for Turkish. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 671 of file gnsdk_manager.h.
| #define GNSDK_LANG_VIETNAMESE "vie" |
Language value for Vietnamese. The library uses these language values to request a preferred language for metadata, which is retrieved from Gracenote. Currently, gnsdk_manager_list_retrieve() uses these values.
Definition at line 695 of file gnsdk_manager.h.
How can we improve this topic?
Copyright © 2000-present. Gracenote, Inc. All rights reserved. Generated on Tue Jan 8 2013 07:40:57.


Dogma (1999)
Linda Fiorentino, Ben Affleck, Matt Damon, Alan Rickman, Chris Rock, Jason Mewes, Kevin Smith, Jason Lee, George Carlin, Salma Hayek, Janeane Garofalo, Bud Cort, Alanis Morissette, Barrett Hackney, Jared Pfenningwerth, Kitao Sakurai. Music by Howard Shore. Cinematography by Robert D. Yeoman. Written and directed by Kevin Smith. 125 minutes.
Rated R, 4 stars (out of five stars)
Review by Ed Johnson-Ott, NUVO Newsweekly www.nuvo-online.com Archive reviews at http://us.imdb.com/ReviewsBy?Edward+Johnson-Ott
To receive reviews by e-mail at no charge, send subscription requests to<EMAIL_ADDRESS>or e-mail<EMAIL_ADDRESS>with the word "subscribe" in the subject line.
At one point in the controversial religious comedy "Dogma," an irritated apostle turns to a human and snaps, "I have issues with anyone who treats God like a burden rather than a blessing, the way some of you Catholics do.  Amen! There are few things more annoying than "true believers" who squander the miracle of life by trudging joylessly through their days, scowling at the wonders around them while passing judgment on anyone who does not adhere to their particular interpretation of "divine truth."
Take, for example, the Catholic League, who has spent months campaigning against "Dogma." They haven't actually seen the film, mind you, but they did read a version of the script over the Internet and that was good enough to set off a series of protests from the outraged members.

Writer, director and practicing Catholic Kevin Smith, the man behind "Clerks," "Mallrats" and "Chasing Amy," tackles a lot in his fourth feature. If anything, "Dogma" suffers from trying to cram too many ideas into one movie. Stripped of its mountain of biblically sound exposition, the story boils down to this: two renegade angels, cast out of Heaven, find a theological loophole that will allow them back in. Unfortunately, if they succeed in their quest, they will prove God fallible and our world will wink out of existence. So a distant descendent of a pivotal religious figure gets recruited to stop them.
"Dogma" is a wildly uneven film. Dense and overly talky, it is consistently funny, vulgar and thought provoking.   Simple, eloquent statements about spirituality collide with self-righteous tirades as excessively pious as those typically made by the organized religion blowhards being satirized. "Dogma" is a mess, but a glorious one. This is clearly a labor of love and devotion.  Another script rewrite and some severe editing would help the story immeasurably. Still, "Dogma" remains an exhilarating treat that couldn't have been created by any other author.
Your enjoyment of the film will depend in large part on your reaction to Jay and Silent Bob, two mainstays of Kevin Smith movies who get a lion's share of screen time here. I find the hapless stoners hilarious. Jay (Jason Mewes) is an explosive motormouth obsessed with getting laid (after an encounter with a deity in female form, he confesses to getting a stiffy). His constant companion Silent Bob (director Kevin Smith) is a stout, stoic soul who always manages to come through when it counts. Together they make up the funniest duo since Abbott and Costello.
But Jay and Silent Bob are just two of a cavalcade of unique characters. Matt Damon and Ben Affleck do fine work as Loki and Bartleby, the rampaging angels causing all the trouble. Their squabbles and philosophical discussions are consistently engaging. Chris Rock is a hoot as Rufus, the smart aleck 13th apostle (he believes he was edited out of the Bible because of his skin color). Salma Hayek and Jason Lee make lively appearances as a pair of muses with decidedly different outlooks. And, get this: George Carlin plays Cardinal Glick, the personification of all that is wrong with organized religion. To make the church more palatable to contemporary citizens, he cooks up a public relations campaign called "Catholicism - - Wow!" that replaces the old, "depressing" crucifix with a new icon, the "Buddy Christ": a cheesy, brightly colored Jesus who flashes a toothy smile while pointing at the faithful and giving them a big thumbs-up.
Anchoring all this lunacy is Metatron (Alan Rickman), a weary angel who serves as the earthly voice of God, and Bethany (Linda Fiorentino) a faith-impaired Catholic reluctantly drawn into the role of savior. Rickman and Fiorentino are wonderful as the best-drawn characters in the story. A subdued waterside conversation between the two marks one of the most touching parts of the film.
The release of "Dogma" will likely bring a storm of damnation from various commentators representing the religious establishment. I suggest you see the film and decide for yourself. Despite its flaws and excesses, I found the production extremely entertaining and very spiritual. I lost both of my parents over the last year and, in the months since, have found myself numb in areas of faith. The night after seeing "Dogma," I finally closed my eyes and had a long conversation with God. Thanks for the nudge, Kevin.
© 1999 Ed Johnson-Ott
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Generated on Mon Oct 9 17:56:28 2006 for spiceweasel by
1.4.7


version 3.695
Drawtree
© Copyright 1990-2013 by The University of
Washington. Written by Joseph Felsenstein and Jim McGill. Permission is granted to copy
this document provided that no fee is charged for it and that this copyright
notice is not removed.
Drawtree interactively plots an unrooted tree diagram, with many options
including orientation of tree and branches, label sizes and angles, and margin
sizes. Particularly if you can use your computer screen to
preview the plot, you can very effectively adjust the details of the plotting
to get just the kind of plot you want.
To understand the working of Drawtree you should first
read the Tree Drawing Programs web page
in this documentation.
Java Interface
All Phylip programs will get Java interfaces in the 4.0 release. But under
some operating systems there are currently serious problems with Drawtree, so
it has received its Java interface early as part of the 3.695 bug fix release.
We do not anticipate changing this Java interface substantially in the 4.0
release, but don't be surprised if we do.
This new Java interface supersedes the old character-mode menu interface.
PHYLIP also contains versions of Drawgram and Drawtree that have the
character-mode menu interface. We have kept these available because PHYLIP
is used in many places as part of pipelines driven by scripts. Since these
scripts do not usually invoke the preview mode of Drawtree, we have disabled
the previewing of tree plotting in Drawtree in this release. Previewing is
available in the version of Drawtree that has the interactive Java interface.
The Java interface is different from the previous character-mode menu
interface; it calls the C code of Drawgram, which is in a dynamic library.
Thus, after the previewing is done, the code producing final plot file
should make plots that are indistinguishable from those produced by
previous versions of Drawgram.
Java Menu Interface
The Java Drawtree Interface is a modern GUI. It will run only on a machine that
has a recent version of Oracle Java installed. This is not a
serious limitation because Java is freeware that is universally available.
When you start the Drawtree Java interface it looks similar to the following, which has been edited to generate the plot which follows:
It has all the usual GUI functionality: input and output file selectors, drop
down menu options, data entry boxes and toggles. "Preview" brings up a nearly
WYSIWYG preview window that displays the Postscript plot created by the current
settings:
Each time you select "Preview" another preview window is generated, so that
multiple previews can be visible. This allows you to compare various display
options. When the plot has been fine tuned, clicking "Create Plot File" writes
the Postscript file that generated the last Preview to the plot file
specified. Note that if there are multiple preview windows open, the most recent
one is the one that shows how the tree in the final plot file
will look, since it will be plotted using the most recent settings.
All the functionality in the Java GUI is the same as in the equivalent menu
item in the character-mode menu interface. To ease the transition, we have
kept the text in the Java GUI as close as possible to the description in the
character-mode menu interface. So, for example, "L" in the old
interface, which has the helper message "Angle of labels",
maps to "Angle of labels" in the new interface. All the
detailed explanations of each label are found below.
Command Line Interface
The Command Line Interface gives the user access to a huge collection of
both display systems and output formats (some of them are historical
curiosities at this point, but they still work so there is no reason to remove
them). It can also be driven by scripting because it is a command line
interface. But, as most users have little experience with command line
systems, it is a bit daunting.
As with Drawgram, to run Drawtree you need a compiled copy of the
program, a font file, and a tree file. The tree file has a default name
of intree. The font file has a default name of "fontfile". If there is
no file of that name, the program will ask you for the name of a font file
(we provide ones that have the names font1 through font5).
Once you decide on a favorite one of these, you could make a copy of it
and call it fontfile, and it will then be used by default.
Once these choices have been made you will see the central menu of the
program, which looks like this:
Unrooted tree plotting program version 3.695
Here are the settings:
0 Screen type (IBM PC, ANSI)? ANSI
P Final plotting device: Postscript printer
B Use branch lengths: (no branch lengths available)
L Angle of labels: branch points to Middle of label
R Rotation of tree: 90.0
I Iterate to improve tree: Equal-Daylight algorithm
D Try to avoid label overlap? No
S Scale of branch length: Automatically rescaled
C Relative character height: 0.3333
F Font: Times-Roman
M Horizontal margins: 1.65 cm
M Vertical margins: 2.16 cm
# Page size submenu: one page per tree
Y to accept these or type the letter for one to change
|
These are the settings that control the appearance of the tree, which
has already been read in. You can either accept these as is, in which
case you would answer Y to the question and press the Return or Enter
key, or you can answer N if you want to change one, or simply type the
character corresponding to the one you want to change (if you answer N it
will just immediately ask you for that number anyway).
For a first run in the Java interface version you might accept
these default values and see what the result looks like.
You can resize the preview window,
though you may have to ask the system to redraw the
preview to see it at the new window size.
Once you are finished looking at the preview, you will want to
specify whether the program should make the final plot or change some of
the settings. The possible settings are listed below.
When you are ready to produce the final plot file, you should use the button
"Create Plot File" (if you are using the Java interface) or you should
type Y (if you are using the character-mode menu). In the Java-interface
version, the name of the plot file has been set in the dialog box near the
top of the Java window. It defaults to plotfile.ps. In the
character-mode menu, the file name defaults to plotfile.
If there is already a file of that name, the program will ask you whether
you want to Overwrite the file, Append to the file, or Quit (in the
character-mode menu version it also gives the option of writing to a new file
whose name you will be asked to supply.
THE OPTIONS
Below I will describe the options one
by one; you may prefer to skip reading this unless you are puzzled about
one of them.
- Postscript Font
- (In the character-mode menu version, selection F).
Allows you to select the name of the font that you will use for the species
names. For each of the plot file formats, this will either choose the
Postscript font (if they allow Postscript fonts) or the built-in
Hershey font that most closely matches it. Please understand
that for plot file formats that lack Postscript
font support, you will get one of our five Hershey fonts. The plot file types
that allow Postscript fonts are (as far as we know): Postscript, FIG 2.0, and
Idraw. In the preview of the tree in the Java-interface version, actual
Postscript fonts are always used, but with any plot file type other then these
three, the font is replaced by the closest Hershey font.
The size of the characters in the species names is
scaled according to the character heights you have selected in the menu,
whether plotter fonts or the Hershey font are used. Note that for some
plotter drivers (in particular FIG 2.0 and PICT) Postscript fonts can be
used in the final plot file only if the
species labels are horizontal or vertical (at angles of 0 degrees or
90 degrees). Otherwise Hershey fonts will be used.
- Use branch lengths
- (In the character-mode menu version, selection B). Whether the tree has Branch lengths that are
being used in the diagram. If the tree that was read in had a full set
of branch lengths, it will be assumed as a default that you want to use
them in the diagram, but you can specify that they are not to be used. If
the tree does not have a full set of branch lengths then this will
be indicated, and if you try to use branch lengths the program will
refuse to allow you to do so. Note that there is no way to use
negative branch lengths, so Drawtree automatically takes their absolute
values, and thus will plot a branch that has length -0.1 as if it has
length 0.1.
- Angle of labels
- (In the character-mode menu version, selection L). The angle of the Labels. Initially the branches connected to
the tips will point to the middles of the labels.
If you want to change the way the labels are drawn, the program
will offer you a choice between Middle, Fixed, Radial, and Along as the
ways the angles of the labels are to be determined. If you choose
Fixed, you will be asked if you want labels to be at some fixed
angle. This can be between 90.0 and
-90.0 degrees and you can specify that. You may have to try different angles
to find one that keeps the
labels from colliding: I have not guarded against this. However there
are additional options. Middle has the branch connected to that tip
point to the midpoint of the label. It puts the label at a fixed angle of 0.
Radial indicates that the labels are all aligned so as to
point toward the root node of the tree. Along aligns them to have the
same angle as the branch connected to that tip. This is particularly
likely to keep the labels from colliding, but it may give a misleading
impression that the final branch is long.
- Angle of tree
- (In the character-mode menu version, selection R). The rotation of the tree. This is
initially 90.0 degrees. The angle is read out counterclockwise from the
right side of the tree, so that increasing this angle will rotate the
tree counterclockwise, and decreasing it will rotate it clockwise.
The meaning of this angle is explained further under option A.
As you rotate the tree, the appearance (and size) may change, but the
labels will not rotate if they are drawn at a Fixed angle.
- Arc of tree
- (In the character-mode menu version, selection A). The Angle through which the tree is plotted.
This is by default 360.0 degrees. The tree is in the shape of an
old-fashioned hand fan. The tree fans out from its root node, each of
the subtrees being allocated part of this angle, a part proportional to
how many tips the subtree contains. If the rotation of the tree is (say)
90.0 degrees (the default under option R), the fan starts at +270
degrees and runs clockwise around to -90 degrees (i.e., it starts at the
bottom of the plot and runs clockwise around until it returns to the
bottom). Thus the center of the fan runs from the root upwards (which is
why we say it is rotated to 90.0 degrees). By changing option R we can
change the direction of the fan, and by changing option A we can change
the width of the fan without changing its center line. If you want the
tree to fan out in a semicircle, a value of a bit greater than 180
degrees would be appropriate, as the tree will not completely fill the
fan. Note that using either of the iterative improvement methods
mentioned below is impossible if the angle is not 360 degrees.
- Iterate to improve tree
- (In the character-mode menu version, selection I).
Whether the tree angles will be Iteratively
improved. There are three methods available:
- no (Equal Arc)
- This method, invented by Christopher Meacham in
PLOTREE, the predecessor to this program, starts from the root of the tree
and allocates arcs of angle to each subtree proportional to the number of
tips in it. This continues as one moves out to other nodes of the tree and
subdivides the angle allocated to them into angles for each of that node's
dependent subtrees. This method is fast, and never results in lines of the
tree crossing. However, it may result in rather large empty areas between
subtrees. It is the method used to make a starting tree all three
methods, so that the selection "no" leaves us with this tree and does not
improve the tree beyond this.
- Equal-Daylight algorithm
- This is the default method.
It iteratively improves an initial tree by
successively going to each interior node, looking at the subtrees (often
there are 3 of them) visible from there, and swinging them so that the
arcs of "daylight" visible between them are equal. This is not as fast as
Equal Arc but should never result in lines crossing. It gives particularly
good-looking trees, and it is the default method for this program. It will
be described in a future paper by me. This method has also been adopted by
David Swofford in his program PAUP*.
- n-Body algorithm
- This assumes that there are electrical charges located
along all the branches, and that they repel each other with a force
that varies (as electrical repulsion would) as the inverse square of the
distance between them. The tree adjusts its shape until the forces balance.
This can be computationally slow, and can result in lines crossing. I find
the trees inferior to the Equal-Daylight algorithm, but it is often worth a try.
- Maximum Iterations
- (Not available in the character-mode menu version). This is for the
Equal-Daylight algorithm or the n-Body algorithm. It sets how many passes
through the tree will be made when trying to achieve a good placement. The
more the greater the accuracy of the solution will be, but the slower the
program will run.
- Regularize the angles
-
(in the character-mode menu version, selection G).
If iterative improvement is not
turned on in option I (so that we are employing the Equal Arc method), this
option appears in the menu. It controls
whether the angles of lines will be "regularized".
Regularization is off by default. It takes the angles of the branches
coming out from each node, and changes them so that they are "rounded
off". This process (which I will not fully describe) will make the
lines vertical if they are close to vertical, horizontal if they are
close to horizontal, 45 degrees if they are close to that, and so on.
It will lead to a tree in which angles look very regular. The size of
angle to which they will round off the angles varies with the number
of tips on the tree. You may or
may not want that. If you are unhappy with the appearance of the tree
when using this option,
you could try rotating the angle of the tree slightly, as that may cause some
branches to change their angle by a large amount, by having the angles
be "rounded off" to a different value.
- Try to aboid label overlap
- (In the character-mode menu version, selection D).
Whether the program tries to avoiD overlap of the labels.
We have left this off by default, because it is a rather feeble option
that is frequently unsuccessful, and often make the trees look weird.
Nevertheless it may be worth a try.
- Branch lengths
- (In the character-mode menu version, selection S). On what
Scale the branch lengths will be translated
into distances on the output device. Note that when branch lengths
have not been provided, there are implicit branch lengths of 1.0 per
branch. This option will toggle back and forth between automatic
adjustment of branch lengths so that the diagram will just fit into the
margins, and you specifying how many centimeters there will be per unit
branch length. This is included so that you can plot different trees
to a common scale, showing which ones have longer or shorter branches than
others. Note that if you choose too large a value for centimeters per
unit branch length, the tree will be so big it will overrun the plotting
area and may cause failure of the diagram to display properly.
- Relative character height
- (In the character-mode menu version,
selection C).
The Character height, measured as a fraction
of a quantity which is the horizontal space available for the tree,
divided by one less than the number of tips. You need not worry about
exactly what this is: you can always change the value (which is
initially 0.3333) to make the labels larger or smaller. On output devices
where line thicknesses can be varied, the thickness of the tree lines will
automatically be adjusted to be proportional to the character height,
which is an additional reason you may want to change character height.
- Scale of branch length
- (In the character-mode menu version,
selection R). How the branch lengths will be recalculated into distances on the
output device. Note that when branch lengths have not been provided, there are
implicit branch lengths specified by the type of tree being drawn. In the Java
interface version, you can enter how many centimeters there will be per unit
branch length. In the character-mode version the selection will toggle back
and forth between letting you select the scale and automatically
rescaling the tree so
that the diagram will just fit into the margins.
This is included so that you
can plot different trees to a common scale, showing which ones have longer or
shorter branches than others. Note that if you choose too large a value for
centimeters per unit branch length, the tree will be so big it will overrun the
plotting area and may cause failure of the diagram to display properly.
- Margins:
- (In the character-mode menu version, selection M). The
horizontal and vertical margins in
centimeters. You can enter new margins (you enter new values for
both horizontal and vertical margins, though these need not be different
from the old values). For the moment I do not allow you to specify left
and right margins separately, or top and bottom margins separately. In
a future release I hope to do so.
- Final plot file type
- (in the character-mode menu version, menu
selection P). This allows you to choose the Plotting device or file
format. We have discussed the possible choices in the
draw programs documentation web page.
In the Java version they are Postscript, PICT, PCL, Windows BMP, FIG 2.0,
Idraw, VRML, or PCX. In the character-mode menu version there is a longer
list of plot file types.
- #
- (charater-mode menu version only) The number of pages
per tree. Defaults to one, but if
you need a physically large tree you may want to choose a larger
number. For example, to make a big tree for a poster, choose a larger
number of pages horizontally and vertically (the program will ask you
for these numbers), get out your scissors and paste or tape, and
go to work.
- O
- (character-mode menu version only) This is an option
that allows you to change the menu window
to emulate an ANSI terminal or an IBM PC terminal. Generally you will not
want to change this.
I recommend that you try all of these options (particularly if you can
preview the trees). It is of particular use to try trees with different
iteration methods (option I) and
with regularization (option G).
You will find that a variety of effects can be achieved.
Afterword
I would appreciate suggestions for improvements in Drawtree, but please
be aware that the source code is already very large and I may not be
able to implement all suggestions.


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|
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| PREV NEXT | FRAMES NO FRAMES |
| Packages that use org.apache.batik.ext.awt.image.renderable | |
|---|---|
| org.apache.batik.bridge | Provides an API for mapping and maintaining consistency between the SVG DOM tree and the GVT tree. |
| org.apache.batik.ext.awt.image | Contains extensions to the java.awt.image package. |
| org.apache.batik.ext.awt.image.codec.imageio | |
| org.apache.batik.ext.awt.image.codec.jpeg | |
| org.apache.batik.ext.awt.image.codec.png | |
| org.apache.batik.ext.awt.image.codec.tiff | |
| org.apache.batik.ext.awt.image.renderable | |
| org.apache.batik.ext.awt.image.spi | |
| org.apache.batik.extension.svg | |
| org.apache.batik.gvt | Contains all of the interfaces for describing and painting vector graphics as Java objects. |
| org.apache.batik.gvt.filter | Contains all of the interfaces for describing a set of standard image processing filters Java objects. |
| org.apache.batik.gvt.renderer |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.bridge | |
|---|---|
| ClipRable
Implements a clip operation. |
|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.ext.awt.image | |
|---|---|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.ext.awt.image.codec.imageio | |
|---|---|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.ext.awt.image.codec.jpeg | |
|---|---|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.ext.awt.image.codec.png | |
|---|---|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.ext.awt.image.codec.tiff | |
|---|---|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.ext.awt.image.renderable | |
|---|---|
| AbstractColorInterpolationRable
This is an abstract base class that adds the ability to specify the Color Space that the operation should take place in (linear sRGB or gamma corrected sRBG). |
|
| AbstractRable
This is an abstract base class that takes care of most of the normal issues surrounding the implementation of the RenderableImage interface. |
|
| AffineRable
Adjusts the input images coordinate system by a general Affine transform |
|
| ClipRable
Implements a clip operation. |
|
| ColorMatrixRable
Defines the interface expected from a color matrix operation |
|
| ComponentTransferRable
Defines the interface expected from a component transfer operation. |
|
| CompositeRable
Composites a list of images according to a single composite rule. |
|
| ConvolveMatrixRable
Convolves an image with a convolution matrix. |
|
| DiffuseLightingRable
This filter primitive lights an image using the alpha channel as a bump map. |
|
| DisplacementMapRable
Implements a DisplacementMap operation, which takes pixel values from another image to spatially displace the input image |
|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
|
| FilterChainRable
Implements a filter operation. |
|
| FilterColorInterpolation
This is an extension of our Filter interface that adds support for a color-interpolation specification which indicates what colorspace the operation should take place in. |
|
| FilterResRable
Interface for implementing filter resolution. |
|
| FloodRable
Fills the input image with a given paint |
|
| GaussianBlurRable
Implements a GaussianBlur operation, where the blur size is defined by standard deviations along the x and y axis. |
|
| MorphologyRable
Implements a Morphology operation, where the kernel size is defined by radius along the x and y axis. |
|
| PadRable
Pads image to the given Rectangle (the rect may be smaller than the image in which case this is actually a crop). |
|
| PaintRable
Interface for Rable's that can more efficently represent there action as a paint method instead of a RenderedImage when going to a Graphics2D anyways. |
|
| SpecularLightingRable
This filter follows the specification of the feSpecularLighting filter in the SVG 1.0 specification. |
|
| TileRable
A renderable that can tile its source into the tile region. |
|
| TurbulenceRable
Creates a sourceless image from a turbulence function. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.ext.awt.image.spi | |
|---|---|
| DeferRable
This class allows for the return of a proxy object quickly, while a heavy weight object is constrcuted in a background Thread. |
|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.extension.svg | |
|---|---|
| AbstractColorInterpolationRable
This is an abstract base class that adds the ability to specify the Color Space that the operation should take place in (linear sRGB or gamma corrected sRBG). |
|
| AbstractRable
This is an abstract base class that takes care of most of the normal issues surrounding the implementation of the RenderableImage interface. |
|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
|
| FilterColorInterpolation
This is an extension of our Filter interface that adds support for a color-interpolation specification which indicates what colorspace the operation should take place in. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.gvt | |
|---|---|
| ClipRable
Implements a clip operation. |
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| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.gvt.filter | |
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| AbstractRable
This is an abstract base class that takes care of most of the normal issues surrounding the implementation of the RenderableImage interface. |
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| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
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| PaintRable
Interface for Rable's that can more efficently represent there action as a paint method instead of a RenderedImage when going to a Graphics2D anyways. |
| Classes in org.apache.batik.ext.awt.image.renderable used by org.apache.batik.gvt.renderer | |
|---|---|
| Filter
This is an extension of RenderableImage that adds some needed functionality for tracking dirty regions and determining image dependancies. |
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