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on 2009/01/20 13:50


Thai cooking places emphasis on lightly prepared dishes with strong aromatic components and a spicy edge
It is known[by whom?] .
for its complex interplay of at least three and up to four or five fundamental taste senses
in each dish or the overall meal: sour, sweet, salty, bitter,.
and spicy. Australian chef David Thompson,
a prolific chef and expert on Thai food, observes that unlike many other cuisines,[1] .
Thai cooking rejects simplicity
and is about "the juggling of disparate elements to create a harmonious finish". Thai chef McDang characterises
Thai food as demonstrating "intricacy; attention to detail; texture; color; taste; and the use of ingredients with
medicinal benefits,.
as well as good flavor", as well as care being given to the food's appearance, smell and context..


Tycho provides a set of classes that are not meant to be used directly in scripts, but are rather meant to serve as base classes for more elaborate derived classes. These classes collect common infrastructure.
Tycho Home Page


RunExample
(paths are relative to the main
installation directory):
| |
|
You can substitute HelloWorld
for an Example
implementation of your choice. Although shown here, the
tools.jar
is optional. There is a
helloworld.sh
script in the ./bin
directory
that runs exactly what is shown above. I've also written a
helloworld.bat
file, but I have my doubts about its
operability.


Click here to start the game.
The objective of this game is to memorise sequences of sights and sounds. Every three seconds you will see a square appear in one of eight possible locations and hear one of eight possible letters. You have to remember whether any of the following have repeated:
Here is an example of three intervals:
When the game starts you have to identify where both the visual and audio have repeated 1 interval ago. So, in the above example, you can see that:
After every twenty intervals, the size of the interval within which you have to memorise the visual and audio targets may change, depending on your performance.
Click here to start the game.


--- layout: page title: "jQuery UI" prev: OEBPS/pr01s07.html next: OEBPS/ch01s02.html book_path: books/eric-sarrion-jquery-ui-_oeb/ --- {% include JB/setup %} {% raw %}
jQuery UI is a set of plug-ins for jQuery that add new functionalities to the jQuery core library. In this chapter, we will install the jQuery UI library and briefly examine its content. The following chapters will detail each of the jQuery UI features.
You can download the library at http://jqueryui.com. Click the Stable link. This leads directly to a ZIP file containing the sources, examples, and documentation for jQuery UI. Once the file is downloaded, transfer the contents to a jqueryui directory.
This jqueryui directory now contains the following:
A css subdirectory containing the CSS files associated with jQuery UI. You will see that jQuery UI handles CSS themes to give a custom look to the interface elements it manages. For example, the display of sliders may be different from one theme to another, as well as other items like calendars and tabs.
A js subdirectory containing the JavaScript files for jQuery UI. This directory contains a compressed file of all jQuery UI features and the jQuery library file.
A development-bundle subdirectory containing various subdirectories—demos (jQuery UI sample files), docs (files containing the jQuery UI documentation), themes (files for each of the CSS themes associated with jQuery UI), and ui (jQuery UI JavaScript files).
An index.html file that allows you to view some of the features of jQuery UI in a browser.


{{ submission.status }}
| Minimum Variant Quality | {{ submission.min_variant_quality|jinja_filter_add_number_commas }} |
|---|---|
| Minimum Quality by Depth | {{ submission.min_quality_depth|jinja_filter_add_number_commas }} |
| Homozygosity Window Size | {{ submission.homozyg_window_size|jinja_filter_add_number_commas }} |
| Heterozygous Calls Allowed in Window | {{ submission.heterozyg_calls|jinja_filter_add_number_commas }} |
{% if submission.started %} {% endif %} {% if submission.finished %} {% endif %}


Highcharts Examples
Line and scatter charts
Basic line
Ajax loaded data, clickable points
With data labels
Time series, zoomable
Spline with inverted axes
Spline with symbols
Spline with plot bands
Time data with irregular intervals
Logarithmic axis
Scatter plot
Area charts
Basic area
Area with negative values
Stacked area
Percentage area
Area with missing points
Inverted axes
Area-spline
Column and bar charts
Basic bar
Stacked bar
Bar with negative stack
Basic column
Column with negative values
Stacked column
Stacked and grouped column
Stacked percentage column
Column with rotated labels
Column with drilldown
Data defined in a HTML table
Pie charts
Pie chart
Pie with gradient fill
Donut chart
Pie with legend
Dynamic charts
Spline updating each second
Click to add a point
Master-detail chart
Combinations
Column, line and pie
Dual axes, line and column
Multiple axes
Scatter with regression line
More chart types
Angular gauge
Clock
Gauge with dual axes
VU meter
Area range
Column range
Polar chart
Spiderweb
Wind rose


neophilia
`Prev `__
N
`Next `__
--------------
**neophilia**: /nee\`oh·fil'·ee·@/, n.
The trait of being excited and pleased by novelty. Common among most
hackers, SF fans, and members of several other connected leading-edge
subcultures, including the pro-technology ‘Whole Earth’ wing of the
ecology movement, space activists, many members of Mensa, and the
Discordian/neo-pagan underground (see `*geek* <../G/geek.html>`__). All
these groups overlap heavily and (where evidence is available) seem to
share characteristic hacker tropisms for science fiction,
`*music* <../M/music.html>`__, and `*oriental
food* <../O/oriental-food.html>`__. The opposite tendency is neophobia.
--------------
+------------------------------+----------------------------+-------------------------+
| `Prev `__ | `Up <../N.html>`__ | `Next `__ |
+------------------------------+----------------------------+-------------------------+
| neep-neep | `Home <../index.html>`__ | nerd |
+------------------------------+----------------------------+-------------------------+


Id = 329
Nombre Personajen = Snuffles (Snowball)
Status = Alive
Specie = Animal
Origen = Earth (C-137)
Tipo = Intelligent dog
Locacion = unknown
Id Locacion = ['Sin Localizar']
Episodio = ['https://rickandmortyapi.com/api/episode/2', 'https://rickandmortyapi.com/api/episode/7', 'https://rickandmortyapi.com/api/episode/10', 'https://rickandmortyapi.com/api/episode/15', 'https://rickandmortyapi.com/api/episode/16', 'https://rickandmortyapi.com/api/episode/24', 'https://rickandmortyapi.com/api/episode/29', 'https://rickandmortyapi.com/api/episode/30']
Id Episodio = ['2', '7', '10', '15', '16', '24', '29', '30']
URL Personaje = https://rickandmortyapi.com/api/character/329


Shakespeare in Love (1998)
Director: John Madden Cast: Joseph Fiennes, Gwyneth Paltrow, Geoffrey Rush, Ben Affleck, Colin Firth, Judi Dench, Simon Callow Screenplay: Marc Norman, Tom Stoppard Producers: Donna Gigliotti, Marc Norman, David Parfitt, Harvey Weinstein, Edward Zwick Runtime: 122 min. US Distribution: Universal Rated R: sex, nudity, brief profanity
Copyright 1998 Nathaniel R. Atcheson
Playwright Tom Stoppard and screenwriter Marc Norman took on an astonishingly difficult task: they wanted to write a script about William Shakespeare that parallels Shakespeare's works. They also wanted to poke fun at the way all of us envision Shakespeare: I mean, really, who doesn't think of Shakespeare as a guy seething with so much passion that he can barely write a play without exploding into a passionate, introspective verbal couplet of iambic pentameter? Stoppard and Norman are men who love Shakespeare, and they wanted to make a movie for everyone else who loves Shakespeare.
And, despite the difficulty of their task, they have succeeded. Shakespeare in Love is one of the smartest, funniest, most touching films of the year. It's so rare that a picture with such high aspirations succeeds in all of its endeavors, but here we have a movie that defines success: it is at once charmingly acted and flawlessly written. It could have been a smug, self-important movie that panders to die-hard Shakespeare fans, but the appeal of this film is almost universal: if you've ever read a play by Shakespeare, or know anything about his life, it's likely that you'll find grand entertainment in Shakespeare in Love.
Joseph Fiennes, brother of Ralph, stars as Shakespeare himself; he's a delightful, irresistible lad, concerned mostly with women and detached from life's more serious problems (debt, plague, etc.). He's commissioned to write plays for various people: Queen Elizabeth (Judi Dench) wants comedies, while local slimeball Philip Henslowe (Geoffrey Rush) needs him to write a play so that he can pay off his debts to Hugh Fennymann (Tom Wilkinson). Shakespeare, however, has trouble focusing on his work. He begins work on a comedy about a boy named Romeo and a girl named Ethel.
This all changes, however, when he meets Viola De Lesseps (a radiant Gwyneth Paltrow), a young heiress set to marry the financially-oriented Lord Wessex (Colin Firth). Shakespeare instantly falls in love with her; he first meets her when she pretends to be a man to try out for the part of Romeo. He discovers her identity and confronts her later; she, of course, falls in love with him, although their love is doomed because she absolutely must marry the tyrannical Lord Wessex. But she continues to act because she loves Shakespeare's writing so much, and soon the production (which later becomes Romeo and Juliet) is set to be performed.
Shakespeare in Love is an amazingly good film, not because it works as great entertainment, but because it pays attention to detail and knows its subject matter. I was instantly won over by Joseph Fiennes in the lead role: he has such searing optimism and energy; he's clearly a man who admires Shakespeare, and even in the shortcomings that he gives his character (inability to turn away from women, attention deficit disorder), we sense a great deal of affection and care. He practically overflows with passion in every scene. Fiennes is matched by Paltrow (whose English accent is so good that wonder where she actually comes from); she is an actress who exudes strength and conviction in every performance I've seen her in. The two performers work perfectly together, taking the passionate scenes as far as possible without making them melodramatic, and wringing the comedic scenes for every conceivable laugh.
Of course, it doesn't hurt that they have a masterful script to work with. Stoppard, whose play Rozencrantz and Guildenstern are Dead inspired an interesting film, is full of dry wit and boundless understated humor (all of his plays have similarly dry humor). The first intelligent step Stoppard and Norman took was harmonizing the events of the film with Romeo and Juliet. One of the funniest scenes in the film is an imitation of the famous terrace scene from the play; in the movie, Shakespeare is bumbling about while Viola is trying to fend off her nurse maid. Director John Madden does a fantastic job dabbling in slapstick humor -- scenes like these would have seemed obtuse in the hands of a lesser director.
I'm going to have to see the movie again; I'm certain there are numerous references that I missed. In fact, I doubt it's possible to gather everything with just one viewing. Stoppard is a master of detail: you'll notice familiar lines placed throughout the film, not as lines of a play, but as dialogue, suggesting that Shakespeare simply spoke like that all the time. There's also a brilliant running joke in which Shakespeare is in constant competition with Christopher Marlowe (and the fact that Marlowe is played by the openly-homosexual Rupert Everett is a joke in of itself), proposing a slightly twisted explanation to Marlowe's mysterious death in a pub.  "There's no dog in this play?" "No! No dog!"
The ensemble cast is perhaps the strongest this year. Geoffrey Rush is nearly unrecognizable as the detestable Henslowe; Wilkinson is also hard to recognize, but has a great role as a thug who takes his part as the apothecary so seriously. Ben Affleck, playing one of the actors in the company, shows great range, both in his accent (his is almost as good as Paltrow's) and in humor (he has some of the best one-liners in the movie). Colin Firth, always stuck playing the sap, does a good job being hateful. Judi Dench, however, has the best supporting performance as Queen Elizabeth: rarely has so much depth been conveyed in so few words.
My single, minor complaint about Shakespeare in Love is that I feel like I could have been more moved by the end. The story is moving, but there are a few missed opportunities in the final scenes. But my quibbling is not important. What is important is that I acknowledge the quality of this picture, the sheer skill with which it has been written, acted, and produced. Shakespeare in Love tries so many things, and nails every one of them: it's a film that both loves Shakespeare and makes fun of him, a film in which the actors, writers, and director are all perfectly in sync. It's also a movie that has the potential to introduce a lot of people to Shakespeare's work in a positive way, without seeming condescending or superior. I admire this film not only because it passes so pleasantly, but because it has lofty aspirations and succeeds in them. Not just any film can poke fun at Shakespeare and get away with it.
Psychosis Rating: 9/10
Visit FILM PSYCHOSIS at http://www.pyramid.net/natesmovies
Nathaniel R. Atcheson
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Console Output
This code will write to the server console when the player clicks their mouse
You can then see the message in the server console.
Note: In Minecraft when you left or right click the mouse, you get 2 events one from the main hand and one from the off-hand
To make sure that you don't count the click twice, add logic:


BMLTiOSLibErrorCodes
public enum BMLTiOSLibErrorCodes : Int
These indicate specific codes for errors within the domains (In an NSError object).
-
There is a general error.
Declaration
Swift
case GeneralError = 101000
-
No data was received.
Declaration
Swift
case NoDataReceivedError = 101010
-
Data was received, but it is bad data.
Declaration
Swift
case BadDataReceivedError = 101020
-
The user supplied incorrect login credentials.
Declaration
Swift
case IncorrectCredentials = 201000
-
There was an unkown error encountered while sending email to a meeting contact.
Declaration
Swift
case SendingUnknownError = 301000
-
The From: address was invalid when sending email to a meeting contact.
Declaration
Swift
case MessageInvalidFrom = 301020
-
The message failed the SPAM check.
Declaration
Swift
case MessageAppearsToBeSpam = 301030


io¶
save_vars¶
-
paddle.fluid.io.
save_vars
(executor, dirname, main_program=None, vars=None, predicate=None, filename=None) Save variables to directory by executor.
Parameters: - executor – executor that save variable
- dirname – directory path
- main_program – program. If vars is None, then filter all variables in this
program which fit predicate. Default default_main_program. :param predicate: The Predicate describes a callable that returns a variable as a bool. If it returns true, the corresponding input variable will be saved. :param vars: variables need to be saved. If vars is specified, program & predicate will be ignored :param filename: The name of a single file that all vars are saved to.
If it is None, save variables to separate files.Returns: None
save_params¶
-
paddle.fluid.io.
save_params
(executor, dirname, main_program=None, filename=None) Save all parameters to directory with executor.
save_persistables¶
-
paddle.fluid.io.
save_persistables
(executor, dirname, main_program=None, filename=None) Save all persistables to directory with executor.
load_vars¶
-
paddle.fluid.io.
load_vars
(executor, dirname, main_program=None, vars=None, predicate=None, filename=None) Load variables from directory by executor.
Parameters: - executor – executor that load variable
- dirname – directory path
- main_program – program. If vars is None, then filter all variables in this
program which fit predicate. Default default_main_program(). :param predicate: The Predicate describes a callable that returns a variable as a bool. If it returns true, the corresponding input variable will be loaded. :param vars: variables need to be loaded. If vars is specified, program & predicate will be ignored :param filename: The name of the single file that all vars are loaded from.
If it is None, load variables from separate files.Returns: None
load_params¶
-
paddle.fluid.io.
load_params
(executor, dirname, main_program=None, filename=None) load all parameters from directory by executor.
load_persistables¶
-
paddle.fluid.io.
load_persistables
(executor, dirname, main_program=None, filename=None) load all persistables from directory by executor.
save_inference_model¶
-
paddle.fluid.io.
save_inference_model
(dirname, feeded_var_names, target_vars, executor, main_program=None, model_filename=None, params_filename=None) Build a model especially for inference, and save it to directory by the executor.
Parameters: - dirname – directory path
- feeded_var_names – Names of variables that need to be feeded data during inference
- target_vars – Variables from which we can get inference results.
- executor – executor that save inference model
- main_program – original program, which will be pruned to build the inference model. Default default_main_program().
- model_filename – The name of file to save inference program. If not specified, default filename __model__ will be used.
- params_filename – The name of file to save parameters. It is used for the case that all parameters are saved in a single binary file. If not specified, parameters are considered saved in separate files.
Returns: None
load_inference_model¶
-
paddle.fluid.io.
load_inference_model
(dirname, executor, model_filename=None, params_filename=None) Load inference model from a directory
Parameters: - dirname – directory path
- executor – executor that load inference model
- model_filename – The name of file to load inference program. If not specified, default filename __model__ will be used.
- params_filename – The name of file to load parameters. It is used for the case that all parameters are saved in a single binary file. If not specified, parameters are considered saved in separate files.
Returns: [program, feed_target_names, fetch_targets] program: program especially for inference. feed_target_names: Names of variables that need to feed data fetch_targets: Variables from which we can get inference results.
get_inference_program¶
-
paddle.fluid.io.
get_inference_program
(target_vars, main_program=None)


Setting up a dedicated PostgreSQL server to host Ruby on Rails application servers, Scaling, PostgreSQL, Ruby on Rails
Difficulty: 4
Time: 30 minutes
This article will assist you to create a PostgreSQL server that will be used as a database layer for scaling Ruby on Rails (RoR) application. This article describes how you can combine PostgreSQL database server with RoR web server to build robust and scalable application.
This article is a part of the three part series, so to refer the previous series, please visit the following links:Rails support various relational and non-relational databases, such as PostgreSQL in relational database, NoSQL in non-relational Database. When you begin app development with Rails, you can use SQLite as your database as this doesn’t require any constraints and has the ability to handle small volume of data. However, if you are planning to use large volume of data in your application and require foreign key and primary key constraint, then consider using RDMS.
Choose database back-end very carefully, as you cannot change it often. Here are some of the popular databases listed below for your reference which can handle large volume of data:
In this article, you can choose PostgreSQL which is the most popular and light weight database.
pgadmin3
for the administrator. This is an easy to access GUI for PostgresSQL and is an optional installation, but useful when using on a desktop.
/usr/local/pgsql/data
or /var/lib/postgres/data
are popular.
/var/lib/postgres
directory and its contents to the postgres
user (which is the default user when you install PostgreSQL).
initdb
, which is installed with PostgreSQL. This must be done as the postgres
user:
postgres
user and restart the PostgreSQL service using the following commands:
postgres
user password and run the psql
command by typing:
postgres
database role by typing:
When prompted, type your password again.
The database server will be used to load balance multiple application.
To reduce server load and CPU usage and make your database server centrally accessible, you will need a load-balancer, two application servers and one database server to set-up the database server layer. This is how the architecture will look like:
Run the below query to create a user and its role.
Make PostgreSQL server accessible from Rails application running on remote systems, and modify the configuration file.
vim
editor:
Replace with the following line:
You need to tell PostgreSQL the specific connections you would like it to accept.
Run the following command to edit the PostgreSQL hba file pg_hba.conf
using the vim
text editor:
Scroll down the file and find the section:
# Put your actual configuration here # ..
After the comment block, append the following line:
# TYPE DATABASE USER ADDRESS METHOD host all all <IP_ADDRESS>/0 md5
Go to that directory and create a Rails application.
database.yml
config
a directory and open this file.
You will see the database settings separated by environment names. Since an application needs to be run using the production environment, edit the configuration file for that.
production: adapter: postgresql # set you database adapter encoding: utf8 #encoding database: my_rail_database #your database name username: ruby_User # database username password: StrongPass@word # replace it with your password host: <IP_ADDRESS># host where postgresql is setup port: 5432 pool: 10
pg
gem.
Gemfile
.
If you are running PostgreSQL different from Rails server and unable to connect, then please check the firewall and allow the port for PostgreSQL for both incoming and outgoing requests. Make sure that you allow ports for required IPs only, for secure internet access.
In this article, you learned the steps involved in setting up a scalable PostgreSQL database server and deployed it with the Rails application.


As long as I can remember I’ve loved reading but up until high school, I hated writing. One teacher named Mr. Johnson changed that and I’ve been scribbling thoughts, poems and short essays in countless, black 8”x5”, notebooks. Recently many of my friends have encouraged me to release more of these raw thoughts and emotion into the world so I’ll be posting them here semi-frequently. Below is the first group which was typed in the style they were written additions or comments are inside parentheses.
COCAINE NIGHTS
Here I am in the place that I grew.
No matter what I can’t seem to forget you.
I remember that day so vain.
As we dipped into your stash of cocaine.
The bruises on your neck.
The scratches on my back.
All our friends knew,
But we pretended not to.
Now where are we?
I can’t seem to leave it be.
Waking to the sunshine in your bed.
Images forever lingering in my head.
MANIC DREAMS
I look at my clock and observe the passing of time.
It’s 2am yet I feel so sublime.
I rush up the stairs like a typhoon.
All just to see the moon.
What is this state of being, I can’t quite explain.
An energetic euphoria drenched in physical pain.
Words aren’t real, we just use them to describe things that are.
Love, the Universe, the Sky.
These things are real but the words we use to describe them could never do them justice.
They must be felt not described.
She doesn’t realize how deeply she makes me feel.
She’s oblivious to the shifts she causes in my Universe.
I only wish she could see it as well.
In this moment I am fine.

The Park
(this was written from hippy hill in Golden Gate Park
while in the company of some beautifully souled hippies)
Every part of the park is as if it was designed precisely for the psychedelic experience.
The way the paths seem to wander with the breeze. The way the orange and red flowers contrast the earthy greens of the foliage in perfect harmony.
Even the people on the hill seem to have embodied perfection of the set/setting concept.
The massive peace symbol seems to softly whisper that here, you are safe.


Click me
You clicked me.
Hit me
Ouch!
Toggle me
Here I am.
Press me
This is just a default accordion...scroll for more options!
Even though the plugin comes with out-of-the-box, predefined classes for both the headers and the togglable content by no means you are bound to use those. Just pass them as options of the plugin.
In the following example we're also defining a different speed of the opening/closing animation. Another option passed makes sure that open folders are not automatically closed when a new one is opened.
We open
your content here
A little
your content here
Bit faster
your content here
Then the others
your content here
$('.accordion-2').squeezebox({
closeOthers: false,
timing: 300
});
Along with the set of option shown above the plugin offers two different callbacks you can hook to. One is fired when opening a folder, the other when closing it. Both expose the whole object created at init time. This allows for easy accessing to the elements such as the headers and the folders so we can toggle classes when the accordion is used.
Nice arrows
your content here
Header #2
your content here
Header #3
your content here
Header #4
your content here
$('.accordion-3').squeezebox({
// make sure you pass the element (el)
// as a parameter so you
// can gain acces to it
onOpen: function(el){
el.clickedEl.addClass('accordion_open');
},
onClose: function(el){
el.clickedEl.removeClass('accordion_open');
}
});


Semantic UI
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|
数字式立体视觉刺激系统
1.0.1
Digital Stereo System
|
#include <Vector3f.h>
Public 成员函数 | |
| Vector3f () | |
| Vector3f (float x, float y, float z) | |
| Vector3f (const Vector3f &Vector) | |
| Vector3f (float *list) | |
| void | Clamp () |
| Vector3f | Cross (const Vector3f &A) const |
| float | Dot (const Vector3f &A) const |
| void | MakeZero () |
| float | Magnitude () |
| void | Normalize () |
| Vector3f | Perpendicular () |
| Vector2f | xy () |
| Vector3f & | operator= (const Vector3f &Vector) |
| float | operator[] (int iPos) const |
| float & | operator[] (int iPos) |
| bool | operator== (const Vector3f &Vector) const |
| bool | operator!= (const Vector3f &Vector) const |
| Vector3f | operator+ (const Vector3f &Vector) const |
| Vector3f | operator- (const Vector3f &Vector) const |
| Vector3f | operator* (const Vector3f &Vector) const |
| Vector3f | operator* (float fScalar) const |
| Vector3f | operator/ (const Vector3f &Vector) const |
| Vector3f | operator/ (float fScalar) const |
| Vector3f | operator- () const |
| Vector3f & | operator+= (const Vector3f &Vector) |
| Vector3f & | operator-= (const Vector3f &Vector) |
| Vector3f & | operator*= (const Vector3f &Vector) |
| Vector3f & | operator*= (float fScalar) |
| Vector3f & | operator/= (const Vector3f &Vector) |
| Vector3f & | operator/= (float fScalar) |
静态 Public 成员函数 | |
| static Vector3f | Clamp (const Vector3f &A) |
| static Vector3f | Cross (const Vector3f &A, const Vector3f &B) |
| static float | Dot (const Vector3f &A, const Vector3f &B) |
| static float | LengthSq (const Vector3f &A) |
| static Vector3f | Normalize (const Vector3f &A) |
| static Vector3f | Perpendicular (const Vector3f &A) |
| static Vector3f | Random () |
Public 属性 | |
| float | x |
| float | y |
| float | z |
| Vector3f::Vector3f | ( | ) |
| Vector3f::Vector3f | ( | float | x, |
| float | y, | ||
| float | z | ||
| ) |
| Vector3f::Vector3f | ( | const Vector3f & | Vector | ) |
| Vector3f::Vector3f | ( | float * | list | ) |
| void Vector3f::Clamp | ( | ) |
| float Vector3f::Dot | ( | const Vector3f & | A | ) | const |
|
static |
| float Vector3f::Magnitude | ( | ) |
| void Vector3f::MakeZero | ( | ) |
| void Vector3f::Normalize | ( | ) |
| bool Vector3f::operator!= | ( | const Vector3f & | Vector | ) | const |
| Vector3f Vector3f::operator* | ( | float | fScalar | ) | const |
| Vector3f & Vector3f::operator*= | ( | float | fScalar | ) |
| Vector3f Vector3f::operator- | ( | ) | const |
| Vector3f Vector3f::operator/ | ( | float | fScalar | ) | const |
| Vector3f & Vector3f::operator/= | ( | float | fScalar | ) |
| bool Vector3f::operator== | ( | const Vector3f & | Vector | ) | const |
| float Vector3f::operator[] | ( | int | iPos | ) | const |
| float & Vector3f::operator[] | ( | int | iPos | ) |
| Vector3f Vector3f::Perpendicular | ( | ) |
|
static |
| Vector2f Vector3f::xy | ( | ) |
| float EyeStereo::Vector3f::x |
| float EyeStereo::Vector3f::y |
| float EyeStereo::Vector3f::z |


I have been growing two salvia plants for a few weeks now. [Props out to my righteous benefactor, who will remain nameless for reasons of National Security.] I could have tried some leaves before this, but I felt that I needed to 'earn' the experience by cultivating and caring for the plant myself. Last week I tried a single leaf, to introduce myself. It was just a threshold dose, but I sensed the power that lay in these leaves. This time I had 'primed the pump' with another, less exotic green ally before raising the bowl of salvia to my lips.
After the first leaf, there is a growing sense of anticipation, a feeling that something is very much about to happen. This is a deep somatic response, not merely the result of my hopes or expectations. Intrigued, I inhale most of a second leaf. Then I lie down in darkness.
Breathing in, I know I am breathing in. Breathing out, I know that I am breathing out. There is only this breath, in darkness. What else can I be said to be? What else is life on earth but a quiet and majestic rhythm beating in the vacuum? But I am breathing. Now. And something is happening...
Something is trying to be remembered. Something is unfolding itself from this moment. I sit up, concentrating. Petals of thought are spreading out around me. Half-formed words tug at my awareness, as if birds were plucking straw from my scarecrow body. I feel a Fact slowly washing through me that is basic, simple, important -- something 'my grandfathers' knew about. (This is the phrase which comes to me.) I am breathing, trying to focus on what is happening NOW. I am breathing, I am breathing, I am...
I am something unspeakably old. It is enormous, ongoing, renewed in every moment. Have I always been this nexus of perceptions, bursting back through the membrane of birth, arching across millennia to my root in the earth? I am the center and the boundary of all things. I push the trunk of my being up through the ages, unshakeable, flowers at the tip of each branch waving and winking like tiny eyes in the breeze of eons. It is me, has always _been_ me, and yet, compared to how I see myself from day to day, this is unaccountably alien.
There is a word for this, if I could only remember. I see it shifting in the periphery of my attention, slipping away like a silver minnow when I look right at it. Or, like the corner of words, incomplete of themselves, unpronounceable when joined together: it is slippery, at the tip of my tongue.
I find myself thinking of my grandfather, a man I did not know very well, but whose memory has been passed to me through my father and my grandmother. The archetypal image I have of him is of wisdom, humanity, and passionate conviction. He was a scientist, doing cancer research, and the motto of his laboratory was 'For the Dignity of Man.' Though he was not my biological ancestor, with the Leaves in me I feel that _I am the descendant of his Idea._ I am his onmoving _force_ through Nature. And by extension this is the force of a much larger, older momentum, working through this man and now through me. Suggestions of destiny, of a breakthrough into the raging space of history...
The Presence leaves me after about 20 or 30 minutes. The focus dissipates, and I am left wondering at the implications of this strange encounter. Throughout I had remained surprisingly dispassionate. There was no fear, no particular awe, though some remote part of me responded to the strangeness of the experience. It is only afterwards, patching language onto it, that I am forced to break it down and draw lines through it, losing myself in contemplation of it. You who are familiar with these things understand this: it as I have described, and yet not like that at all. We do the best we can.
New York City, July 1997
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


{% extends "base.html" %}
You incorrectly typed the address or the page has been removed by the author.


This is mass surveillance.
 The website is connected to other services like ad sellers, analytics and social networks that collect the same fingerprint. This mass surveillance leaves companies with a detailed profile of your online behaviour that accumulates data as soon as you click on the next link.
Visualize who is tracking you
https://www.mozilla.org/en-US/lightbeam/
(if you are already using Firefox)
http://collusion.toolness.org
(demo available if you don't have Firefox yet)
Government and its secret services
Besides companies, also gonvernments are tapping computers and big Internet and telecommunication companies.
This type of surveillance is possible as devices in your computer are "protected" from you as a user and because your data and telephone connections are running through closed ecosystems under control of companies that (non-)deliberately cooperate with secret services.
As you as a user do not have control over this level anymore, your privacy is completely on stake. At the moment, you just have to trust your government, full self-defence is practically not possible anymore.


Temperature %TEMPERATURE% °C
Humidity %HUMIDITY% %
Pressure %PRESSURE% hPa
Luminosity %LUMINOSITY% abs
Soil humidity rhizomes %SOILHUM1% % wt
Soil humidity tomatoes %SOILHUM2% % wt


- {% trackurl 'http://www.bristolgreendoors.org/next-steps/solar-energy' 'Bristol Green Doors' %}
- {% trackurl 'http://www.cse.org.uk/advice/renewable-energy/solar-hot-water' 'Center for Sustainable Energy' %}
- {% trackurl 'http://www.energysavingtrust.org.uk/Generating-energy/Choosing-a-renewable-technology/Solar-water-heating' 'Energy Saving Trust' %}


{{ room.full_name }}
{{ booking.starts_at | date:'mediumTime' }} until {{ booking.ends_at | date:'mediumTime' }}


UI Version: 2<IP_ADDRESS>
SnapCam
Video tag is not supported
Start
Change Camera
Take Photo
Normal
Grayscale
Sepia
Invert
Hue
Blur
Contrast
Clear
Stop
Canvas tag is not supported


Note that your order cannot be cancelled after 15mins of confirming it. Thanks
2 x
Jollof Rice
₦1600.00
3 x
Chicken Shawarma
₦2700.00
Meat Pie
₦600.00
Subtotal ₦4900.00
VAT ₦90.00
Total ₦4990.00