Pendulum¶
Model Description¶
A pendulum is a weight suspended from a pivot so that it can swing freely. It consists of two bodies, the pendulum and the ground, attached together through a pin/revolute joint. More general information about the pendulum can be found here.
Topology Layout¶
The mechanism consists of 1 Body + 1 Ground. Therefore, total system coordinates -including the ground- is \(n=n_b\times7 = 2\times7 = 14\), where \(n_b\) is the total number of bodies in the system. 1
Connectivity¶
The system connectivity is as follows:
Pendulum \(body\) is connected to the ground by a revolute joint, resulting in constraint equations \(n_{c,rev} = 5\).
Joint Name |
Body i |
Body j |
Joint Type |
\(n_c\) |
|---|---|---|---|---|
a |
\(ground\) |
\(body\) |
Revolute |
\(5\) |
Degrees of Freedom¶
The degrees of freedom of the system can be calculated as:
Where:
\(n_{c,P}\) represents the constraints due to euler-parameters normalization equations.
\(n_{c,g}\) represents the constraints due to the ground constraints.
\(n_{c,rev}\) represents the constraints due to the revolute joint.
Symbolic Topology¶
In this section, we create the symbolic topology that captures the topological
layout that we discussed earlier.
Defining the topology is very simple. We start by importing the
standalone_topology
class and create a new instance that represents our
symbolic model, let it be sym_model
.
Then we start adding the components we discussed earlier, starting by the
bodies, then the joints, actuators and forces, and thats it.
These components will be represented symbolically, and therefore there is no
need for any numerical inputs at this step.
The system is stored in a form of a network graph that stores all the data needed for the assemblage of the system equations later. But even before the assemblage process, we can gain helpful insights about our system as well be shown.
Directories Construction¶
# standard library imports
import os
# getting directory of current file and specifying the directory
# where data will be saved
os.makedirs(os.path.join("model", "symenv", "data"), exist_ok=True)
data_dir = os.path.abspath("model/symenv/data")
Topology Construction¶
# uraeus imports
from uraeus.smbd.systems import standalone_topology, configuration
# ============================================================= #
# Symbolic Topology
# ============================================================= #
# Creating the symbolic topology as an instance of the
# standalone_topology class
project_name = 'pendulum'
sym_model = standalone_topology(project_name)
# Adding Bodies
# =============
sym_model.add_body('body')
# Adding Joints
# =============
sym_model.add_joint.revolute('a', 'ground', 'rbs_body')
Symbolic Characteristics¶
Now, we can gain some insights about our topology using our sym_model
instance. By accessing the topology
attribute of the sym_model
, we can
visualize the connectivity of the model as a network graph using the
sym_model.topology.draw_constraints_topology()
method, where the nodes
represent the bodies, and the edges represent the joints, forces and/or
actuators between the bodies.
sym_model.topology.draw_constraints_topology()
Also, we can check the system’s number of generalized coordinates \(n\) and number of constraints \(nc\).
print(sym_model.topology.n, sym_model.topology.nc)
Assembling¶
This is the last step of the symbolic building process, where we ask the system to assemble the governing equations, which will be used then in the code generation for the numerical simulation, as well as further symbolic manipulations.
Also, we can export/save a pickled version of the model.
# Assembling and Saving model
sym_model.save(data_dir)
sym_model.assemble()
Note
The equations’ notations will be discussed in another part of the documentation.
Symbolic Configuration¶
In this step we define a symbolic configuration of our symbolic topology. As you may have noticed in the symbolic topology building step, we only cared about the topology, thats is the system bodies and their connectivity, and we did not care explicitly with how these components are configured in space.
In order to create a valid numerical simulation session, we have to provide the
system with its numerical configuration needed, for example, the joints’
locations and orientations. The symbolic topology in its raw form will require
you to manually enter all these numerical arguments, which can be cumbersome
even for smaller systems. This can be checked by checking the configuration
inputs of the symbolic configuration as sym_config.config.input_nodes
Here we start by stating the symbolic inputs we wish to use instead of the default inputs set, and then we define the relation between these newly defined arguments and the original ones.
# ============================================================= #
# Symbolic Configuration
# ============================================================= #
# Symbolic configuration name.
config_name = "%s_cfg"%project_name
# Symbolic configuration instance.
sym_config = configuration(config_name, sym_model)
# Adding the desired set of UserInputs
# ====================================
sym_config.add_point.UserInput('p1')
sym_config.add_point.UserInput('p2')
sym_config.add_vector.UserInput('v')
# Defining Relations between original topology inputs
# and our desired UserInputs.
# ===================================================
# Revolute Joint (a) location and orientation
sym_config.add_relation.Equal_to('pt1_jcs_a', ('hps_p1',))
sym_config.add_relation.Equal_to('ax1_jcs_a', ('vcs_v',))
# Creating Geometries
# ===================
sym_config.add_scalar.UserInput('radius')
sym_config.add_geometry.Sphere_Geometry('body', ('hps_p2', 's_radius'))
sym_config.assign_geometry_to_body('rbs_body', 'gms_body')
# Exporting the configuration as a JSON file
sym_config.export_JSON_file(data_dir)
Note
The details of this process will be discussed in another part of the documentation.
- 1
uraeus.smbd uses euler-parameters -which is a 4D unit quaternion- to represents bodies orientation in space. This makes the generalized coordinates used to fully define a body in space to be 7, instead of 6, it also adds an algebraic equation to the constraints that ensures the unity/normalization of the body quaternion. This is an important remark as the calculations of the degrees-of-freedom depends on it.


Top 5 CSS Mistakes
This is not a post about the top 10 mistakes that developers make when they write CSS. That’s boring.
The CSS spec itself is littered with mistakes. Deep, fundamentally misguided errors. Real head-slapping WTFs that make you wonder if the people writing the spec had ever created a website in their lives. I’m not exactly following my own advice by complaining, but I think of these more as the “constructive criticism” sort of complaints.
I love making web pages. And, without being immodest, I’m pretty good at CSS. Not the best in the world, but certainly very familiar with it. I do enjoy what CSS and semantic HTML lets you do with a web page. But I am repeatedly annoyed by the language itself.
The saving grace, if there is one to be found here, is that browser makers are getting better and better at conforming to the spec with each version. Even IE is starting to catch up with the advent of IE 7. While there will probably always be discrepancies and differences of opinion about how this or that feature should work, they’re getting less obnoxious. However, when the spec itself is broken, what can browser makers do?
1. Inheritance
Listen, CSS. You have curly braces, why not use them? The cascade is a nice feature, as is the default inherit
value for most properties, but they’re not enough. This would be so lovely:
.some-module {
font-weight:bold;
text-align:right;
p {
font-weight:normal;
text-align:center;
}
h3 {
font-size:200%;
}
}
Instead, we have to type .some-module
over and over for every bloody rule.
.some-module {
font-weight:bold;
text-align:right;
}
.some-module p {
font-weight:normal;
text-align:center;
}
.some-module h3 {
font-size:200%;
}
If you use classes and descendant selectors properly on a sufficiently complicated page, you can get punished with very long selectors like this one from a site I’m working on now: .nav .search a, .nav .search input, .nav .search .button, .nav .search label
. Every freaking rule in the file has .nav .search
on the selector. This simple addition to the spec would have made it so much better:
.nav {
.tabs {
/* css for the "tabs" section of the .nav module /
}
.search {
/ css for the "search" section of the nav module /
a, input, .button, label {
/ css rules /
}
a:hover, a:active {
/ other CSS rules /
/ note the huge reduction in code to be typed! */
}
}
}
Almost every language supports some version of this kind of semantic inclusion, but for some reason, CSS was created in such a way that every rule lives in its own universe. Lack of this feature makes CSS far less modular.
2. Vertical Alignment
Almost 2 million pages about centering vertically in CSS. This was so unbelievably easy back in the bad old days of layout tables. The browsers knew how to do it. But as of the second revision, the CSS spec still doesn’t even suggest a proper way to consistently vertically align one thing inside another.
Now, I know, there’s the vertical-align
property. But, that only applies to inline, inline-block, and table-cell elements. If you want to align one box inside another, you’re stuck doing all sorts of hacking to make it work. If the heights are unknown ahead of time, it gets even more complicated.
 Table display values should have been done far sooner
OK, so step into the wayback machine, and travel to the 90s. You’re looking at an internet that is filled to the brim with poor abused tables. “Web developer” basically means “someone who knows how to use tables and font tags.”
So why did we have to wait until CSS2 before there was a way to emulate the behavior of the table tags? If display:table
and display:table-cell
had been in the first release of CSS, the standards revolution would have gone off without a shot. That’s all it would have taken for the hoards of table masters to be swept up in the semantic content/style division paradigm. Instead, CSS asked them to grasp “floating” and “position” and “overflow”, which are remarkably non-intuitive concepts when it comes to laying out content on a page.
By contrast, a grid that holds contents is extremely intuitive. That’s how typesetters had been laying out physical documents for millennia. That’s why <table cellspacing="0">
was such a godsend.
4. z-index
is WAY too complicated
If you know CSS, there’s a good chance you know about z-index
, or at least, think you do. Odds are about 4 to 1 that it doesn’t work how you think it does. If you’re like most web developers, rather than really understand it, you’ve probably just messed with the item in question until the right things showed up. (It doesn’t help that there are tutorials out there that are deeply wrong when it comes to z-index. If only it was as simple as w3schools makes it out to be!)
A decent summary can be found the Mozilla Developer Center:
In summary:Notes:
- Positioning and assigning a z-index value to an HTML element creates a stacking context.
- Stacking contexts can be contained in other stacking contexts, and together create a hierarchy of stacking contexts.
- Each stacking context is completly [sic] independent from its siblings: only descendant elements are considered when stacking is processed.
- Each stacking context is self-contained: after the element’s contents are stacked, the whole element is considered in the stacking order of the parent stacking context.
- The hierarchy of stacking contexts is a subset of the hierarchy of HTML elements, because only positioned and z-indexed elements create stacking contexts. We can say that elements that do not create their own stacking contexts are assimilated by the parent stacking context.
That’s right, this is just the summary. The full discussion is much longer and more complicated.
So, if element A contains X and Y, and element B contains P and Q, and A is above B, then X and Y are also above P and Q, even if P and Q have a much larger z-index than A, X, or Y. But, only if A is positioned. The idea is to keep any stacking “local” between siblings, so that the stacking of parent elements can be ignored. I wouldn’t be surprised if some browser maker lobbied for this rule because it made their Dom-walking algorithm simpler. And I can imagine some strange hypothetical super-modular layout situations where it might be handy. But it’s wrong, and exceedingly problematic for the vast majority of situations. In reality, it leads to newer web developers thinking, What the hell? I gave this thing z-index 99, and that other thing has z-index:1, and it’s above it?
Why? Why make it so complicated? Back when I was doing technical documentation at a software company, I had a saying: if it’s hard to explain, it’s probably badly designed.  Here’s a better way:
- Any element that is not
display:none
has a z-index. - Valid z-index values are either an integer, like
7
, or the wordinherit
and optionally an integer modifier, such asinherit 2
(2 higher than whatever the parent is) orinherit -1
(1 lower than the parent). Ifinherit
is used without a number, it defaults toinherit 0
. - Elements that don’t have an explicit z-index are assumed to have the z-index of their parent. (I.e.,
z-index:inherit 0
.) - Elements stack on the page according to their computed z-index.
How hard is that to understand? You can still use stacking contexts if you want, by using relative values, but without all the complications of having to trace through your page and figure out which parent needs to get position:relative
in order to make your overlay lay over the rest of the page.
The day I grokked z-index is the day I realized that CSS is an insane and over-engineered language.
Laurie points out that If you have a drop-in html widget that’s all nicely z-ordered, you don’t want it to accidentally be interleaving with other elements on that page.
I’m sure this was the thinking behind the stacking context in the first place. However, you would still be able to accomplish this with the inherit
values. Just give each module a z-index
in multiples of 100, and then use relative z-indexes within the modules. With all due respect, Laurie, as far as FooHack is concerned, the existing z-index paradigm is wrong, and CSS is being sent to the corner to think about what it’s done.
5. The Quirks Box Model is Right
Let’s say that you have a bookshelf that you’re going to put in your home.  You find that there’s a space 34 inches across. When you go to the store, you get one that says its 33 inches wide, and bring it home, and assemble it, and it doesn’t fit! It’s an extra inch too wide, and now your closet door can’t open. You take it back to the store, and the salesperson calmly tells you, Well sir, the edge of the bookshelf is an inch wide. You see, you can only fit 33 inches of books on this shelf.
You’d probably be quite perplexed, annoyed, and begin to wonder what kind of fairy land you’ve fallen into where they measure the insides of things first, and the outsides only as an afterthought.
In a rare fit of reasonableness, MSIE 5 did it right (and so does MSIE 6 when in Quirks Mode.) If you set the width to 100px, then it’s 100px. If you put 10px of padding on the box, then it leaves 80px inside for the text.
CSS disagrees with reason, however, and the spec says that a 100px wide box with 10px of padding will actually be 120px across, because the width of an element specifies the width of the inside, not the width of the element.
For images, this makes sense. If an image is 50px wide, and has 10px of padding, then you’d expect the width to specify the width of the asset itself (the image file) and the padding to get added onto that. But it would be a far far better decision to make it a little bit tricky for the rare case where you specify the width of images in the CSS rather than tricky for the much more common case where you specify the width of anything else.
The MSIE Quirks width was right. Too bad its dead and gone. Now, simply to get around what, in my opinion, is a horrible paradigm, I never set width or height on the same module where I set borders and padding. Width goes on the parent, and then borders and padding go on a width:auto
child.
Other suggestions that didn’t make the list…
- style block is invalid in the body, just annoying
- min-height and min-width being unsupported
- one background per element
- no background clipping
- no background-opacity distinct from element opacity
- % font sizes being relative to parent, not base
- border treatments
Special thanks to my esteemed colleagues who weighed in on this one.


Leicester
Biomedical Research Centre
BRC
Leicester Biomedical Research Centre IT Systems
This is the place to find links to BRC systems, study dashboards and useful information.
BRC Systems
BRICCS Label Printing
CiviCRM
CRF Manager
EDGE
Grafana Dashboards
MRBS
NIHR Hub
Open Specimen
REDCap Internet
REDCap N3
REDCap UHL
REDCap UoL


--- --- Keep your knife sharp. There are few things more dangerous than a dull knife. — Mervin Gustavson What does tool sharpening have to do with computers? Plenty... A well maintained tool is a pleasure to use; a friend. A neglected tool will often let you down —when you need it most.
Keep your knife sharp. There are few things more dangerous than a dull knife.
— Mervin Gustavson
A well maintained tool is a pleasure to use; a friend.
A neglected tool will often let you down —when you need it most.


This document serves as a User's Guide and Reference Manual for Amzi! Prolog + Logic Server on all supported platforms. Any differences between the supported platforms are noted in the text.
The Amzi! Prolog implementation is ISO compliant which is based on the older, de-facto "Edinburgh Standard". The latter is described in the widely available text Programming in Prolog by William Clocksin and Christopher Mellish, published by Springer-Verlag, hereafter referred to as Clocksin & Mellish).
This document is not an introduction or tutorial for the Prolog programming language. For that, we offer Adventure in Prolog. For an advanced tutorial on expert systems, we offer Building Expert Systems in Prolog.
Copyright ©1987-2011 Amzi! inc. All Rights Reserved. Amzi! is a registered trademark and Logic Server is a trademark of Amzi! inc.


I'll explain some ideas I've found from my personal porn usage. I welcome you to discuss, challenge, expand, etc my ideas for you to develop a more informed understanding of porn as well.
• The majority of videos of the internet's most popular porn sites contain usually
a male and a female -- the conclusion made is that the majority of porn is intended
for heterosexual individuals.
• Many videos demonstrate a conlusion to the video where the male ejaculates
onto the female's face, torso, chest...body. I encourage you to count the number
of videos containing male onto female ejaculation and compare that to the number
of videos displaying female onto male ejaculation. Which number is greater? When
you consider that porn videos are directed and meant to be sold as a commidity, we conclude
that the content in a porn film was intended to be there. This being considered, why do more directors
intend for male onto female ejaculation over female onto male, besides the revenue potential from
heterosexual males?
"Ah, but, the ejaculate has to go
somewhere...this is just a creative application."
If so, what about the disparity between the numbers we counted above?
• What about the number of male-female-female sexual scenes in porn scenes and
non-porn movies? How does that compare to the number of male-male-female scenes, both
in porn scenes and non-porn movies? Also consider the number of lesbian scenes in
non-adult movies and contrast them with the number of male on male scenes. Quick Google searches
can help. Although, I do not encourage watching porn for any purpose at all, so I suggest asking
individuals you know who have seen porn/collect from your personal experiences to answer the questions I pose. Continuing, many female porn stars are bisexual.
I have never seen a bisexual male act on video -- this, however, can also be attributed
to the fact that I've never intentionally viewed bisexual/homosexual male videos due
to my heterosexualness, but the statistic is worth considering.
Women watch porn as well, but they aren't watching objectively-oriented, all audiences-intended porn.
Many females in the world who watch porn from the most popular sites are viewing porn
meant to be seen by males. This means, the gender and power roles displayed,
the behaviors shown by the participants in the videos, the parts highlighted by the video
("I enjoy {verb} on your {noun}...your {verb} is so {adjective}...I love blah blah...etc") all ingrain themselves
in our minds. I'll provide examples.
–– Gender and power roles ––
An excerpt from a conversation I once had:
"Men were made to fuck, and women were made to be fucked."
If you agree with this statement, I am glad I can give you something to think about.

The problem? Sex is generally a two person activity where both people can equally participate and share in it.
Reproduction innately requires both male and female genetalia, and sex derives
from the act of reproduction. One person is not practicing sex while the other exists...if
this is the case for you, I can understand that your perspective arrives from your experiences, but I urge you
to really consider and play with the idea of how a two-member activity by nature can be practiced by only one person.
The reinforcment of male-fucking-female in many scenes instills the idea that males are meant to
lead and be dominant in sex.
Suppose a person views a lot of porn where one gender takes full control of sex. In this person's next
sexual encounter, s/he will either find frustration when his/her partner suggests something, or s/he will simply sit there and wait for
the other to begin!
–– Behaviors displayed ––
When the human mind feels great pleasure, it creates a mental association of whatever stimulated that pleaseure annotated with "source of great pleasure".
Think back to some of your favorite memories. How do you feel right now in recollection, and how does that compare to how you felt in the moment itself? For many memories,
the pleasure felt in-the-moment exceeds what we are able to recollect. This is because of how the mind stores pleasing stimuli.
In the context of porn, when we climax, our mind is filled with great amounts of dopamine and other pleasure hormones. This pleasure becomes associated with the stimulus --
in this case, whatever we're seeing. If I watch 100 videos and I happen to climax during a scene of oral sex, my mind will be sure to deliver that same pleasure when I receive
oral sex in real life (think premature ejaculation, to illustrate some scenarios of heightened climax-delivery). The more time spent viewing and deriving pleasure from porn, the more
connections we make between great pleasure and the content viewed. This partly explains the repeatedly-found phenomena of how sexual and erotic desires and interests become more
and more intense/wilder/aggressive/specific as one spends more and more time watching porn.
–– Fulfilling what we see ––
Building on the prior paragraph, as our pleasure maps become more and more filled with pornographic content, our desire to realize these ideas in reality
become stronger and stronger. How so?  When we find ourselves in real sexual experiences, our mind instructs us
to make actions to encourage the experience to go a certain way, so that we can derive greater pleasure.
 Now, instead of people creating a mutually-enjoyable experience for each other, we are
trying to take from each other as much as we can so that we can hold onto some dopamine in our minds for a few minutes. As a bonus, consider what other parts of your life
you derive pleasure from -- is it because you enjoy what you do, or to fufill some made up idea? If the latter, ask yourself if there is a better, more real use of your time and energy.
–– Internet prostitution ––
When you access porn sites, ads sometimes show. Each ad that shows gives money to the porn site hosting the ad.

Because you are supporting porn's finances in exchange for viewing sex, it can be roughly summarized that you pay for someone to have sex.
This is the same as prostitution. The reason I share this is because I personally began viewing porn and the adult industry differently after
I realized that what I thought was "simply watching videos" was actually a form of prostitution. As I personally will not pay for sexual services,
it was an eye-opener that I had been paying for sexual services looooong before I became aware of what I was doing.
Moral of story: Stop watching porn. Go outside. Build something. Write and read. Learn.
 Every minute spent watching porn is another minute of your temporary life that you'll never have again.
If you need more help, check out the numbers posted on the homepage.
–– Moving on ––
Personally, I am trying to reach a point where I never think about porn again. Interpersonally, I want to help others who wish to overcome porn accomplish that.
Ultimately, let us all contribute to dispelling the porn industry and regain the ability to explore, create, and define freely what sex means to us without holding any
fixations to the material ingrained into us by those who perpetrate porn.
Thank you for using PorNo!!
Vivek Bhookya


Fix the form so that it will correctly process an order. There are multiple typos, mistakes and missing commands.


store-manager
home
morris warachi account
back to dashboard
Store Manager add attendant
Registered Attendants
index
Attendant name
date Registered
email
role
products sold
total sales volume
1.
Guava Mango
8 October 2018
<EMAIL_ADDRESS>Attendant
30
2500 ksh
2.
morris waracci
8 October 2018
<EMAIL_ADDRESS>Attendant
2
300 ksh
Enter name of attendant
Enter email of attendant
assign password for attendant
Confirm password for attendant
make attendant admin
add attendant


|
Ocular Engine
|
#include <SceneManager.hpp>
Public Member Functions | |
| SceneObject * | createObject (std::string const &name="Unnamed", SceneObject *parent=nullptr) |
| template<class T > | |
| T * | createObject (std::string const &name="Unnamed", SceneObject *parent=nullptr) |
| SceneObject * | createObjectOfType (std::string const &type, std::string const &name="Unnamed", SceneObject *parent=nullptr) |
| SceneObject * | duplicateObject (SceneObject const *object) |
| void | destroyObject (SceneObject *object) |
| void | destroyObject (std::string const &name, bool removeAll=false) |
| void | destroyObject (UUID const &uuid) |
| SceneObject * | findObject (std::string const &name) const |
| void | findObjects (std::string const &name, std::vector< SceneObject * > &objects) const |
| SceneObject * | findObject (UUID const &uuid) const |
| void | findTopObjects (std::vector< SceneObject * > &object) const |
| void | updateUUID (UUID const &uuid) |
| void | getVisibleSceneObjects (std::vector< SceneObject * > &objects, Math::Frustum const &frustum) |
| void | triggerObjectDirty (UUID const &uuid, bool staticObject) |
| void | createScene (std::string const &name, SceneTreeType staticType=SceneTreeType::BoundingVolumeHierarchyCPU, SceneTreeType dynamicType=SceneTreeType::BoundingVolumeHierarchyCPU) |
| bool | loadScene (File const &file) |
| bool | saveScene (File const &file) |
| bool | isSceneActive () const |
| ComponentFactory< ARoutine > & | getRoutineFactory () |
| ComponentFactory< ARenderable > & | getRenderableFactory () |
| ComponentFactory< SceneObject > & | getSceneObjectFactory () |
| ComponentFactory< Renderer > & | getRendererFactory () |
Protected Member Functions | |
| void | loadPersistentObjects () |
| void | addObject (SceneObject *object, SceneObject *parent=nullptr) |
| void | unloadScene () |
| void | update () |
| void | render () |
| void | objectActiveChanged (SceneObject *object) |
| void | objectVisibleChanged (SceneObject *object) |
| void | objectStaticChanged (SceneObject *object) |
| void | objectAddedRoutine (ARoutine *routine) |
| void | objectRemovedRoutine (ARoutine *routine) |
| void | objectParentChanged (SceneObject *object, SceneObject *oldParent) |
Friends | |
| class | Engine |
| class | SceneObject |
| class | ARoutine |
The SceneManager is the owner of all Scenes and SceneObjects. It responsible for properly loading and unloading of the objects and providing access to them.
Only a single Scene may be active at a time, and any SceneObjects that are associated with it will be unloaded with it. Any SceneObjects that are created dynamically will be automatically added and associated with the current Scene.
In special circumstances, a SceneObject may be allowed to persist inbetween scenes. It is not recommended to apply this modifier often, but it may be useful in special circumstances. Any SceneObject that persists will be automatically added to a newly loaded scene.
|
protected |
Adds the provided SceneObject to the current Scene.
| [in] | object |
| SceneObject * Ocular::Core::SceneManager::createObject | ( | std::string const & | name = "Unnamed" , |
| SceneObject * | parent = nullptr |
||
| ) |
Creates and adds a new empty SceneObject to the active scene.
| [in] | name | Non-unique display name for the object |
| [in] | parent | Optional parent SceneObject. NULL if no parent. |
| SceneObject * Ocular::Core::SceneManager::createObjectOfType | ( | std::string const & | type, |
| std::string const & | name = "Unnamed" , |
||
| SceneObject * | parent = nullptr |
||
| ) |
Attempts to create an object of the given type.
This is an alternative to createObject<T> when the explicit type T is not directly available.
| [in] | type | A valid SceneObject type name (ie "SceneObject", "Camera", etc.) |
| [in] | name | Non-unique display name for the object |
| [in] | parent | Optional parent SceneObject. NULL if no parent. |
| void Ocular::Core::SceneManager::createScene | ( | std::string const & | name, |
| SceneTreeType | staticType = SceneTreeType::BoundingVolumeHierarchyCPU , |
||
| SceneTreeType | dynamicType = SceneTreeType::BoundingVolumeHierarchyCPU |
||
| ) |
Creates a new Scene with the specified name.
Note that if a Scene is already active, that Scene will be first unloaded. If any changes to that Scene need to be saved prior to unloading, then the saveScene method should be called prior to createScene.
| [in] | name | |
| [in] | staticType | Type of SceneTree to use for static objects (default CPU BVH) |
| [in] | dynamicType | Type of SceneTree to use for dynamic objects (default CPU BVH) |
Loading a scene requires the following steps:
1. Ensure the old scene (if valid) is completely unloaded. 2. Load or create a new scene. 3. Add all persistent objects to the scene.
| void Ocular::Core::SceneManager::destroyObject | ( | SceneObject * | object | ) |
Destroys the specified SceneObject and removes it completely from the SceneManager/Scene/etc.
This will remove the object from the scene and parent. Will also destroy (delete) the object and any children.
| [in] | object | SceneObject to remove. |
| void Ocular::Core::SceneManager::destroyObject | ( | std::string const & | name, |
| bool | removeAll = false |
||
| ) |
Destroys the specified SceneObject and removes it completely from the SceneManager/Scene/etc.
This will remove the object from the scene and parent. Will also destroy (delete) the object and any children.
By default, if there are multiple SceneObjects with the given name, only the first object will be removed.
| [in] | name | Name of the SceneObject to remove. |
| [in] | bool | If there are multiple SceneObjects with the given name, and this parameter is set TRUE, then all objects with the matching name will be removed. |
| void Ocular::Core::SceneManager::destroyObject | ( | UUID const & | uuid | ) |
Destroys the specified SceneObject and removes it completely from the SceneManager/Scene/etc.
This will remove the object from the scene and parent. Will also destroy (delete) the object and any children.
| [in] | uuid | UUID of the SceneObject to remove. |
| SceneObject * Ocular::Core::SceneManager::duplicateObject | ( | SceneObject const * | object | ) |
Creates and adds a new SceneObject to the active scene that is an exact duplicate of the provided object. The new SceneObject is added as a child to the parent of the specified SceneObject (they are siblings).
| [in] | object | Object instance to duplicate. |
| SceneObject * Ocular::Core::SceneManager::findObject | ( | std::string const & | name | ) | const |
Finds and returns the SceneObject with the specified name.
If there are multiple SceneObjects with the given name, only the first object will be removed. If you need all objects with a given name, then use the findObjects() method.
| [in] | name | Name of the SceneObject to find. |
| SceneObject * Ocular::Core::SceneManager::findObject | ( | UUID const & | uuid | ) | const |
Finds and returns the SceneObject with the specified UUID.
| [in] | uuid | UUID of the SceneObject to find. |
| void Ocular::Core::SceneManager::findObjects | ( | std::string const & | name, |
| std::vector< SceneObject * > & | objects | ||
| ) | const |
Finds and returns all SceneObjects with names that match the specified one.
| [in] | name | Name of the SceneObject(s) to find. |
| [out] | objects | Collection of all SceneObjects whose names match the provided. |
| void Ocular::Core::SceneManager::findTopObjects | ( | std::vector< SceneObject * > & | object | ) | const |
Finds and returns a container of all top-level SceneObjects (object with no parents).
| void Ocular::Core::SceneManager::getVisibleSceneObjects | ( | std::vector< SceneObject * > & | objects, |
| Math::Frustum const & | frustum | ||
| ) |
Returns a collection of all SceneObjects visible to the specified view frustum (see Camera::getFrustum).
The returned collection is a flat list meaning all visible SceneObjects are returned, not just top-level parents. Thus there is no need to check child visibility, as visible children will also be stored in the returned collection.
| [out] | objects | All visible SceneObjects |
| [in] | frustum | View frustum to perform frustum-culling against |
| bool Ocular::Core::SceneManager::isSceneActive | ( | ) | const |
| bool Ocular::Core::SceneManager::loadScene | ( | File const & | file | ) |
Attempts to load the Scene from the specified .oscene file.
If the specified Scene can not be loaded, then an empty default Scene will be created instead.
Note that if a Scene is already active, that Scene will be first unloaded. If any changes to that Scene need to be saved prior to unloading, then the saveScene method should be called prior to loadScene.
| [in] | file |
|
protected |
Called when a SceneObject's SetActive method is envoked.
| [in] | object |
|
protected |
Called when a SceneObject adds a new ARoutine instance.
| [in] | routine |
|
protected |
Called when an object's parent is changed.
| [in] | object | The object that has a new parent. |
| [in] | oldParent | The old parent of the object. |
|
protected |
Called when a SceneObject removes a ARoutine instance.
| [in] | routine |
|
protected |
Called when a SceneObject's SetStatic method is envoked.
| [in] | object |
|
protected |
Called when a SceneObject's SetForcedVisible method is envoked.
| [in] | object |
|
protected |
Tells the current Scene to retrieve all visible SceneObjects and perform envoke their render methods.
| bool Ocular::Core::SceneManager::saveScene | ( | File const & | file | ) |
Attempts to save the Scene to the specified .oscene file.
| [in] | file |
| void Ocular::Core::SceneManager::triggerObjectDirty | ( | UUID const & | uuid, |
| bool | staticObject | ||
| ) |
Should be called when an object is dirty - the position/rotation/scale or any other variable that could effect the scene tree hierarchy - has been modified.
Typically called automatically by the base SceneObject implementation.
| [in] | uuid | |
| [in] | staticObject | TRUE if the object is static; else FALSE. |
|
protected |
Tells the current Scene to update and restructure it's SceneTrees. Also calls the various update methods for all active SceneObjects.
| void Ocular::Core::SceneManager::updateUUID | ( | UUID const & | uuid | ) |
Updates the UUID of a SceneObject.


Sky Sports is half price in massive Black Friday sale
Football fans can get their hands on half price Sky Sports in the new Black Friday sale
by Stephen HurrellSky will give away half-price Sky Sports TV packages from today to celebrate Black Friday.
The TV and broadband provider has revealed its Black Friday offers two weeks before it takes place on the 29 November and users can sign up for half price sport as one of three discounted bundles on offer.
Sky is selling Sky Entertainment and Sky Sports, which includes Premier League football matches, for £37 a month, down from £52.
The package will give customers a chance to see Premier League games on Friday nights, 5.30pm on Saturday and Sunday, as well as selected Championship games for the rest of the season.
The 50% off Sky packages options also include a Cinema at Home bundle including Sky Entertainment and Sky Cinema for £31.40, down from £41.
The final option is an all-inclusive bundle featuring Sky Entertainment, Sky Sports, Sky Cinema, Sky Kids, Ultimate On Demand (including Netflix) and Sky Q for £64, down from £106.
The TV provider has launched the deals on the same day major rival BT announced it had secured the rights to European football including the Champions League and Europa League until 2024.
However, with the likes of the F1 and cricket for half price Sky has quickly hit back with its Black Friday deals.
It has also launched a series of phone and tablet discounts as well as Broadband deals from £29 per month as part of its Black Friday announcement.
You can get the deals here.
The full list of savings can be seen below:
- Samsung Galaxy S10e (128GB), £28 per month – saving £324
- Samsung Galaxy S10+ (128GB & 512GB), £39 and £47 per month – saving £228
- Samsung Galaxy S10 (128GB & 512GB), £35 and £40 per month – saving £228
- Samsung Galaxy A70 (128GB), £21 per month – saving £228
- Samsung Galaxy Note 10+ 5G (256GB), £46 per month – saving £276
- Samsung Galaxy S10 5G (256GB), £51 per month – saving £228
- Samsung Galaxy A90 5G, £36 per month – saving £204
- Samsung Galaxy A40 (64GB), £19 per month – saving £276
- iPhone 11 (64GB), £36 per month – saving £180
- iPhone 11 Pro (64GB), £47 a month – saving £180
- iPhone 11 Pro Max (64GB), £51 per month – saving £180
- iPhone XR (64GB), £33 per month – saving £180
- iPhone 7 (32GB), £18 per month – saving £144
- Huawei P30 Pro (128GB), £34 per month – saving £252
- Huawei P30 (128GB), £30 per month – saving £204
- Huawei P30 Lite (128GB), £19 per month – saving £228
- Huawei Mate 20X 5G (256GB), £39 per month – saving £276


|
= OPEN SOURCE SPA framework
Maintained by
and a HUGE COMMUNITY!
Imperative | Declarative |
Tell the application how to do every action.
|
Tell the application what you want to do.
|
.factory('MyService', ['$http', function ($http) {
return {
getList: function (query) {
return $http.get('http://website.com');
}
}
}]);
| 1.3 | Current version |
| 1.4 |
New router for Angular 1 & 2 Better i18n Simpler form handling |
| 2.0 |
End 2015 Major changes, performance! Not backward compatible 1.4 and 1.5 simplify migration |
| Different Services |
|
| Two types |
|
| Built-in directives | ng-show, ng-model, ng-class, ng-repeat, ng-switch, ng-view, ng-submit, ... |
| Custom directives | Make your own |
| Unit tests | Test one unit of code. |
| Integration tests | Test several units together. |
| End-to-end tests | The full user experience is tested. |
Yeoman= Workflow Management Tool
|
Bower= Package Management tool
|
Grunt= Task Runner
|


So yesterday I was attempting to debug an issue in a batch processing module within one of our applications. In short, an assertion was failing deep within Hibernate as it attempted to flush the session. Using a combination of various log statements, I had isolated the problem down to a particular record that the batch process was attempting to update. (BTW: I know you shouldn’t be using Hibernate for batch processing - however, we’re talking about batches of at most 1000 records here, not millions!) What I really wanted to do was set a breakpoint and examine the state of the objects at runtime; however, I dreaded the thought of clicking through the breakpoint time and time again until I got to the particular record that was causing the problem. “Surely,” I thought, “there must be a way to tell the debugger to only break under certain conditions.”
So, here’s the code I wanted to examine:

public Publication parsePublication(String inputLine)

 throws ParseException {

 Publication publication = new Publication();

 String[] fields = inputLine.split("\t");

 publication.setPublicationType(fields[0]);

 ...

 return publication;

}

Essentially, I wanted to break after inputLine.split("\t");
if and only if fields[35]
existed and was equal to “PM:16732581.” After examining IDEA’s Breakpoint dialog, I noticed a section in the bottom right-hand corner that I’d never played with before:
As it turns out, this is exactly what I needed. If you click on the ellipsis next to the drop menu, you get a context-sensitive editor equipped with code completion:
Enter the desired conditions and voila! A conditional breakpoint. It worked like a charm the very first time, and I only had to inspect the breakpoint when the problematic record came up.
Another nice feature of the conditional breakpoint is that if some sort of exception (such as a NullPointerException) occurs while attempting to evaluate the conditional expression, IDEA pops up a dialog informing you what happened and asking if you want to stop at the breakpoint or continue. Nice.


How to shark
Bergdorf Goodman sharkskin suit = $3960
Conversion: input the cost of your dreams in USD
Click to submit


All of your recipes, from the stews to the tacos. Pick one (or multiple!) to add to your shopping list. Put all of the stuff you want in the recipe in your list FIRST!!!
Add some items to your list above
A collection of all the items that you need to buy, both from the planned meals and other items.
Add some items to your list above


How do species evolve invasive traits? Do species appropriate pre-existing traits to become successful invaders? What roles do human human disturbance and phenotypic plasticity play in successful biological invasions? These are long-standing questions in the field of invasion biology. In my PhD research, I'm addressing these questions by studying an invasive parakeet species.
Psittaciformes contains some of the highest numbers of endangered avian species. On the other hand, we see more parrot invaders than expected by chance. Monk parakeets (Myiopsitta monachus), native to South America, have been dispersed across the Northern hemisphere by the global pet trade. This species is widely successful across its introduced range, even in areas colder than the native range. Introduced populations live largely in cities, and native populations are thought to have expanded their range in the late 1800s, when native land in South America was converted for agriculture.
I'm using genomic tools to determine if genetic differentiation patterns across native and invasive populations have arisen due to: *demographic differences (different and/or multiple origins for introduced populations) *adaptation to selection pressures prior to introduction (e.g., in the native range) *adaptation to selection pressures post-introduction
In my genomic project, I generated restriction enzyme associated DNA sequencing (RAD-seq) libraries across native and invasive populations. My purpose is two-fold: *to examine population structure with finer resolution than traditional population genetics approaches *to determine if any RAD markers show signatures of selection RAD-seq is not targeted towards specific genes, but instead returns areas of the genome near restriction enzyme sites.
I'm also targeting candidate genes to determine whether human disturbance influences selection pressures in monk parakeet populations. Diseases, or pathogenic selection pressures, can leave signatures in immune system genes. I'm genotyping individuals at toll-like receptors, genes of the innate immune system that are the first responders to bacterial, fungal and viral pathogens.
I'm interested in cold adaptations and phenotypic plasticity in monk parakeets that evolved much earlier than their contemporary invasions. Beaks are a major surface for heat exchange, as are periophthalmic rings (naked skin around the eye). Like the extinct Carolina parakeet (Conuropsis carolinensis), monk parakeets have feathered ceres (or nostrils, for those unfamiliar with birds). Monk parakeets have smaller eye-rings than other South American parrots of similar body size. Monks are also among the only parrots that construct nests. These multi-chambered communal provide a thermal buffer against the cold.
Monk parakeets are a very cool system. Like most parrots, this species is well known for open-ended learning, or the ability to learn throughout their lives. It's likely that learning, a form of phenotypic plasticity, plays an important role in monk parakeet invasions. Studies of invasive parrots can yield important findings for invasion biology, and contribute to our understanding of parrots' natural histories.
In the following posts, I'll use monk parakeets as a case study for playing around in R.


---
layout: archive
title: Lean Prover Zulip Chat Archive
permalink: 116395maths/424360norn0.html
---
The archive URL format has changed. Please find this page at:
https://leanprover-community.github.io/archive/stream/116395-maths/topic/.600.20.3C.20n.60.20or.20.60n.20.E2.89.A<IP_ADDRESS>F.html


Scotland to face Israel in Euro 2020 play-off and learn possible play-off final opponents and venue
by Patrick McPartlinScotland have been drawn to face Israel in next March's Euro 2020 play-off.
Steve Clarke's side, who qualified for the play-offs thanks to their performance in the UEFA Nations League, will play the Israelis at Hampden on March 26.
The draw, conducted in Nyon on Friday morning, paired Scotland with the nation that finished fifth in Group G. Other potential opponents included Bulgaria, Hungary and Romania.
Should Scotland get past Israel at the national stadium in Glasgow, they face a trip to Norway or Serbia, who contest the other semi-final.
Speaking after the draw in Nyon this morning, Clarke said: “We are looking forward to the home semi-final against Israel in what is a hugely exciting challenge for us with a massive reward.
"The players know Israel well having faced them in the Nations League. It was a tough match over there but we showed our capabilities with a good win at Hampden last year.
“This is the time to believe. We have just finished what was a difficult campaign, having experienced a turbulent few years for players, fans and managers alike.
"It’s now time to channel the positivity following our recent results and focus on the semi-final in March first and foremost.”
He added: “We have three wins in a row and the benefit of momentum. We need to channel that positivity and focus on the many attributes we have. To have more than 50,000 people cheering us on at Hampden for the semi-final and the whole country watching at home is something that really excites me and will only serve as further inspiration to the players.
“We want to be active participants at Euro 2020, not just hosts, and we will give our all in what I believe will be two games.
"The Scotland fans always travel in their numbers and I hope they will do so once again if we were to reach the final, but for the moment our focus will be on the semi-final first and foremost."
Scotland have a very real chance of being paired with England, France and Portugal if they reach the finals, but could also come up against the Czech Republic and Poland as well as the English.
The two countries are guaranteed to be in the same group - Group D - due to Hampden and Wembley being a host pairing.


{% extends "base.html" %} {% block title %}
Medieval catalogues > UNIVERSITY AND COLLEGE LIBRARIES OF OXFORD > Oriel College > Inventory of the college library, 31 May 1375
{% endif %}4 identified entries found.
All data was derived from the List of Identifications by Professor Richard Sharpe.
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Tests that console.profile/profileEnd will record CPU profile when inspector front-end is connected.


STARRING: Antonio Banderas, Diane Venora, Omar Sharif, Vladimir Kulich DIRECTOR: John McTiernan, Michael Crichton WRITTEN BY: William Wisher, Michael Crichton (based on Crichton's "Eaters of the Dead")
At last, the long wait to bring this adaptation of Crichton's 1976 novel (an interesting blend of an actual manuscript and the epic poem "Beowulf") is over, giving audiences nationwide a chance to see... a moderately entertaining, fairly by-the-numbers Hollywood action film that lacks the scope and significance to make it really click.
Banderas plays Ahmad Ibn-Fahdlan, a 10th-century Arab emissary who fools around with the wrong woman and ends up essentially banished to the North, where he meets a rowdy group of Vikings. After word is received that a village in the Vikings' homeland is being threatened, he is chosen in typical Hollywood-cliché fashion to accompany twelve Norsemen who will investigate the situation. During the journey, Ibn (as he is dubbed by the Vikings) quickly learns their language in typical Hollywood-cliché fashion. When they arrive, they find partially eaten bodies (which Banderas helpfully informs us have been "gnawed upon") and a distinct lack of men. That evening, they are attacked by a group of Wendels (rhymes with Grendel, get it?), mysterious creatures who just as quickly vanish, carting away their own dead (along with the heads of a couple of Vikings for good measure). Soon enough, they are beset by a horde of Wendels, which appear to be a hybrid of human and bear. Barely holding out after the second night, they consult a local oracle (an old, gap-toothed, Hollywood-cliché hag that talks like a Scandinavian Yoda) to determine a way to counterattack the Wendels. The rest of the film deals with their covert raid on the Wendels' lair, and the resulting final battle for the village before reaching its resolution just shy of the two-hour mark.
Watching this film, one gets the feeling that McTiernan was too busy this summer with his remake of "The Thomas Crown Affair" and the upcoming "Airframe" (also with Crichton) to give "The 13th Warrior" his full attention. Instead, he seems content to cobble together a few hoary-but-useful Hollywood clichés, throw in some recycled scenes from his own "Predator", and let Crichton's and Banderas' reputations do the rest. Banderas, in fact, is his usual charismatic self, but he's at his most appealing when acting with women, and this film gives him very little opportunity (not that this is a bad thing; McTiernan and Crichton are to be credited with paying only lip service to the love-interest aspect of the plot, which didn't need to be any larger). The film's major flaw is a glaring lack of characterization of the Vikings, who have to be summarized with little descriptions like "The Superstitious" during the end credits just so the audience will remember who they were! The actors are all suitably craggy and bearded, but that's not enough. The exception to this rule is the extremely well-cast Kulich ("Firestorm") as Buliwyf, the group's newly crowned King. With his size and Nordic features (especially a mane of blond hair that makes him look like the Marvel Comics version of Thor), he is completely believable as the strongest and most capable warrior of the bunch. Still, more time could have been spent developing these characters, even at the expense of some of the battle sequences. Speaking of which, they are some of the film's better moments, despite their obvious debt to "Braveheart"'s skirmishes (which already seem in danger of becoming a Hollywood cliché). The two films also share some great cinematography; British Columbia fills in for the fjords, and provides some striking coastal vistas and misty forest settings. Unfortunately, "The 13th Warrior" lacks the epic scale and sense of historical importance that distinguished Mel Gibson's masterpiece. Combined with the lack of character development and the weight of all those Hollywood clichés, it ends up feeling like a Reader's Digest condensation of the book.
Nonetheless, it is well paced, the costume design is noteworthy, and the "Beowulf" references sprinkled here and there (like Buliwyf's line about luck resulting from courage) are a nice touch. Action fans likely won't be disappointed.
GRADE: B-
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


| Package | Description |
|---|---|
| engine.rendering |
Classes for rendering graphics.
|
| engine.rendering.opengl |
Classes for rendering graphics with OpenGL.
|
| Modifier and Type | Method and Description |
|---|---|
static IRenderDevice.BlendMode |
IRenderDevice.BlendMode.valueOf(java.lang.String name)
Returns the enum constant of this type with the specified name.
|
static IRenderDevice.BlendMode[] |
IRenderDevice.BlendMode.values()
Returns an array containing the constants of this enum type, in
the order they are declared.
|
| Modifier and Type | Method and Description |
|---|---|
void |
IRenderDevice.drawRect(int fbo,
int texId,
IRenderDevice.BlendMode mode,
double startX,
double startY,
double endX,
double endY,
double texStartX,
double texStartY,
double texEndX,
double texEndY,
Color c,
double transparency)
Produces a rendering effect within a rectangle.
|
void |
RenderTarget.drawRect(int texId,
IRenderDevice.BlendMode mode,
double startX,
double startY,
double endX,
double endY,
double texStartX,
double texStartY,
double texEndX,
double texEndY,
Color c,
double transparency)
Produces a rendering effect within a rectangle.
|
| Modifier and Type | Method and Description |
|---|---|
void |
OpenGLRenderDevice.drawRect(int fbo,
int texId,
IRenderDevice.BlendMode mode,
double startX,
double startY,
double endX,
double endY,
double texStartX,
double texStartY,
double texEndX,
double texEndY,
Color c,
double transparency) |


|
JavaTM 2 Platform Standard Ed. 5.0 |
|||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object java.awt.CardLayout
public class CardLayout
A CardLayout
object is a layout manager for a
container. It treats each component in the container as a card.
Only one card is visible at a time, and the container acts as
a stack of cards. The first component added to a
CardLayout
object is the visible component when the
container is first displayed.
The ordering of cards is determined by the container's own internal
ordering of its component objects. CardLayout
defines a set of methods that allow an application to flip
through these cards sequentially, or to show a specified card.
The addLayoutComponent(java.awt.Component, java.lang.Object)
method can be used to associate a string identifier with a given card
for fast random access.
Container
,
Serialized Form| Constructor Summary | |
|---|---|
CardLayout()
Creates a new card layout with gaps of size zero. |
|
CardLayout(int hgap,
int vgap)
Creates a new card layout with the specified horizontal and vertical gaps. |
| Method Summary | |
|---|---|
void |
addLayoutComponent(Component comp,
Object constraints)
Adds the specified component to this card layout's internal table of names. |
void |
addLayoutComponent(String name,
Component comp)
Deprecated. replaced by addLayoutComponent(Component, Object) . |
void |
first(Container parent)
Flips to the first card of the container. |
int |
getHgap()
Gets the horizontal gap between components. |
float |
getLayoutAlignmentX(Container parent)
Returns the alignment along the x axis. |
float |
getLayoutAlignmentY(Container parent)
Returns the alignment along the y axis. |
int |
getVgap()
Gets the vertical gap between components. |
void |
invalidateLayout(Container target)
Invalidates the layout, indicating that if the layout manager has cached information it should be discarded. |
void |
last(Container parent)
Flips to the last card of the container. |
void |
layoutContainer(Container parent)
Lays out the specified container using this card layout. |
Dimension |
maximumLayoutSize(Container target)
Returns the maximum dimensions for this layout given the components in the specified target container. |
Dimension |
minimumLayoutSize(Container parent)
Calculates the minimum size for the specified panel. |
void |
next(Container parent)
Flips to the next card of the specified container. |
Dimension |
preferredLayoutSize(Container parent)
Determines the preferred size of the container argument using this card layout. |
void |
previous(Container parent)
Flips to the previous card of the specified container. |
void |
removeLayoutComponent(Component comp)
Removes the specified component from the layout. |
void |
setHgap(int hgap)
Sets the horizontal gap between components. |
void |
setVgap(int vgap)
Sets the vertical gap between components. |
void |
show(Container parent,
String name)
Flips to the component that was added to this layout with the specified name , using addLayoutComponent . |
String |
toString()
Returns a string representation of the state of this card layout. |
| Methods inherited from class java.lang.Object |
|---|
clone, equals, finalize, getClass, hashCode, notify, notifyAll, wait, wait, wait |
| Constructor Detail |
|---|
public CardLayout()
public CardLayout(int hgap, int vgap)
hgap
- the horizontal gap.vgap
- the vertical gap.| Method Detail |
|---|
public int getHgap()
setHgap(int)
,
getVgap()
public void setHgap(int hgap)
hgap
- the horizontal gap between components.getHgap()
,
setVgap(int)
public int getVgap()
setVgap(int)
,
getHgap()
public void setVgap(int vgap)
vgap
- the vertical gap between components.getVgap()
,
setHgap(int)
public void addLayoutComponent(Component comp, Object constraints)
constraints
must be a string. The card layout stores this string as a key-value
pair that can be used for random access to a particular card.
By calling the show
method, an application can
display the component with the specified name.
addLayoutComponent
in interface LayoutManager2
comp
- the component to be added.constraints
- a tag that identifies a particular
card in the layout.
IllegalArgumentException
- if the constraint is not a string.show(java.awt.Container, java.lang.String)
@Deprecated public void addLayoutComponent(String name, Component comp)
addLayoutComponent(Component, Object)
.
LayoutManager
comp
to the layout,
associating it
with the string specified by name
.
addLayoutComponent
in interface LayoutManager
name
- the string to be associated with the componentcomp
- the component to be addedpublic void removeLayoutComponent(Component comp)
removeLayoutComponent
in interface LayoutManager
comp
- the component to be removed.Container.remove(java.awt.Component)
,
Container.removeAll()
public Dimension preferredLayoutSize(Container parent)
preferredLayoutSize
in interface LayoutManager
parent
- the parent container in which to do the layout
Container.getPreferredSize()
,
minimumLayoutSize(java.awt.Container)
public Dimension minimumLayoutSize(Container parent)
minimumLayoutSize
in interface LayoutManager
parent
- the parent container in which to do the layout
Container.doLayout()
,
preferredLayoutSize(java.awt.Container)
public Dimension maximumLayoutSize(Container target)
maximumLayoutSize
in interface LayoutManager2
target
- the component which needs to be laid outContainer
,
minimumLayoutSize(java.awt.Container)
,
preferredLayoutSize(java.awt.Container)
public float getLayoutAlignmentX(Container parent)
getLayoutAlignmentX
in interface LayoutManager2
public float getLayoutAlignmentY(Container parent)
getLayoutAlignmentY
in interface LayoutManager2
public void invalidateLayout(Container target)
invalidateLayout
in interface LayoutManager2
public void layoutContainer(Container parent)
Each component in the parent
container is reshaped
to be the size of the container, minus space for surrounding
insets, horizontal gaps, and vertical gaps.
layoutContainer
in interface LayoutManager
parent
- the parent container in which to do the layoutContainer.doLayout()
public void first(Container parent)
parent
- the parent container in which to do the layoutlast(java.awt.Container)
public void next(Container parent)
parent
- the parent container in which to do the layoutprevious(java.awt.Container)
public void previous(Container parent)
parent
- the parent container in which to do the layoutnext(java.awt.Container)
public void last(Container parent)
parent
- the parent container in which to do the layoutfirst(java.awt.Container)
public void show(Container parent, String name)
name
, using addLayoutComponent
.
If no such component exists, then nothing happens.
parent
- the parent container in which to do the layoutname
- the component nameaddLayoutComponent(java.awt.Component, java.lang.Object)
public String toString()
toString
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THE AVENGERS (Warner Bros.) Starring: Ralph Fiennes, Uma Thurman, Sean Connery, Jim Broadbent. Screenplay: Don Macpherson. Producer: Jerry Weintraub. Director: Jeremiah Chechik. MPAA Rating: PG-13 (profanity, violence) Running Time: 89 minutes. Reviewed by Scott Renshaw.
There's bad buzz, and then there's the the bad buzz which surrounded THE AVENGERS, the kind that sounds like a swarm of Africanized bees after a particularly vigorous hive-shaking. Disastrous test screenings, it was said, had led to a furious round of damage control, including multiple re-shoots of the ending, a release date bumped to the dog days of August, and forty minutes axed from the original running time. A gratuitous "f-word" had even been added to bump the rating from a PG to PG-13. Then, all the worst fears seemed to be confirmed when Warner Bros. announced that no advance screenings would be held for the media. How fulsome a stink bomb could they be hiding?
You may think you're ready for the possibility that a film could be bad, but little can prepare you for something as pointless, smug and misguided as THE AVENGERS. Like the 1960s British television series of the same name, it concerns a dapper secret agent named John Steed (Ralph Fiennes) partnered by his employers at the Ministry with slinky but dangerous Mrs. Emma Peel (Uma Thurman) to protect the world from evil. Evil in this case takes the form of Sir August DeWynter (Sean Connery), a disgruntled former government worker who now can control the world's weather. Thus is is up to Steed and Peel to save the world from meteorological extortion, whenever they have time between rounds of calculated badinage.
It is the latter which proves most instantly and consistently grating in THE AVENGERS. Ralph Fiennes and Uma Thurman spend most of their scenes together engaging in a smirk throwing contest, each one trying to look the most amused with him or herself, eyebrows so prominently arched you're afraid someone might sprain something. This despite the fact that Don Macpherson's dialogue is a study in witlessness, tossing out embarrassing puns as though they were saucy enough to turn Oscar Wilde green with envy. Though they generally appear content to let their wardrobe do most of the acting for them, Fiennes and Thurman should be commended for one impressive demonstration of dramatic skill: they're able to treat the most mundane comments as though they were nuggets of pure comic gold bestowed upon the world.
That kind of quip-heavy self-awareness was certainly true of the namesake television series as well, so what's so wrong with this variation on the theme? In short, both the personnel and the context. Patrick Macnee and Diana Rigg, the most celebrated of the series' pairings, shared a genuine chemistry which made the romantic tension fun to watch. Fiennes and Thurman appear far too enamored of their own charm and cleverness to bother connecting with one another. They're also dropped into a summer blockbuster milieu entirely inappropriate for light-hearted capering. Imagine an episode of the old "Batman" series with a $70 million budget, and you'll understand what's so wrong with THE AVENGERS. It's hard to endear yourself to an audience with low-tech campiness at the same time you're blowing something up every 10 minutes, or sending huge mechanical insects after our heroes like something out of the speeder bike chase from RETURN OF THE JEDI.
We're long past the point of pretending that plot or character has anything to do with 1990s-model Hollywood summer fare, so I won't even bother slapping THE AVENGERS around for exhibiting symptoms of that particular contagious disease. But such a film has to give you something to latch on to: engaging performers, effective pacing, a decent villain to hiss. Not even Sean Connery, blustering about without the faintest idea why his character does anything, can pump up the charisma quotient of this tedious car wreck of a film. The closest recent analog to THE AVENGERS is BATMAN AND ROBIN, but at least BATMAN AND ROBIN had its sheer momenteum and comic-book gaudiness to salvage it. THE AVENGERS is just action sequences in search of a movie, actors in search of a reason to keep smirking. Crimes against film audiences must be avenged; the buzz of surly patrons coming out of the theater may be even more frightening than the buzz on the film.
On the Renshaw scale of 0 to 10 buzz stops: 0.
Visit Scott Renshaw's MoviePage http://www.inconnect.com/~renshaw/ *** Subscribe to receive new reviews directly by email! See the MoviePage for details, or reply to this message with subject line "Subscribe".
The review above was posted to the
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review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
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Manon Veyssiere
Girlhood 2.0 aims at rendering the experience of growing up as a teenage girl in the 2000’s, through the association of animated GIFs and classic poetry by female authors. GIFs are taken from Gifcities and various Skyblogs; poems are taken from the Project Gutemberg and Public Domain Poetry.
🦋
Inspirations behind this project are the work of the group Salut c’est cool and Jenny Odell's talk “How To Do Nothing” at Eyeo 2017.
🌸
You can find a website version of this project here or download the EPUB.
🍄
You can also find the complete GIF collection here.
🌜
And finally, this project is available as a print-on-demand book, which can be previewed here.


FRENCH KISS A film review by Steve Rhodes Copyright 1995 Steve Rhodes
RATING (0 TO ****): ***
Director Lawrence Kasdan's latest movie is a romantic comedy called FRENCH KISS. The trademark of Kasdan's films (GRAND CANYON, BIG CHILL, and BODY HEAT) are the people. All of his actors have unique and compelling personalities. Moreover, his projects (GRAND CANYON, WYATT EARP, and SILVERADO) frequently have an epic feel to them. This was one of his non-epic movies, but it certainly was populated with some fascinating and quirky characters. I want to confess up front that GRAND CANYON was number one on my list in 1991 and BIG CHILL was in 1983 so I am huge fan of Kasdan's body of work.
FRENCH KISS tells the story of Kate (Meg Ryan) an American who is in the process of renouncing her American citizenship so that she can become a Canadian and marry her fiance, a Canadian doctor played by Timothy Hutton. She is deadly afraid of flying. In an initial, hilarious sequence, she fails a fear of flying school and refuses to travel with the doctor to a conference in Paris. While there, he meets Juliet (Susan Anbeh), a French "goddess", and tells Kate he is leaving her for Juliet. Kate goes to Paris and on the plane sits next to Luc, a French thief, played in a tour de force performance by Kevin Klein. Most of the movie has Luc trying to help Kate get the doctor back.
The writing by Adam Brooks was quite funny. The interchanges between Kate and Luc were precious. He was crude and she was innocent, and the dialog was filled with them exchanging great one liners in a natural fashion of a real conversation rather than that of two great comics. Brooks did add one scene which was a long sight gag with Kate falling on a dessert cart and crawling on her knees to avoid being seen by the doctor.  I have no idea why the editor left it in.
Kasdan's directing was in the style of the BIG CHILL but with more comedy and less pretense about the need to deliver a message. Granted, there was a message in the movie, but it was subtle and tertiary to the plot and the subplot. My respect for Kasdan's craft continues.
I frequently will think more of the writer or the director than the actors in a movie because writers and directors are the unsung heroes who are the determinates of whether a picture moves you or bores you. In FRENCH KISS, as good as the writing and the directing was, it was ultimately the incredible performance by Kevin Kline that made the movie. He owned every scene he was in. Every time he opened his mouth you were wondering how he was going to deliver his next line and what his body language would be.
Kline is a versatile actor who has made the screen come alive in many other films. My two recent favorite roles of his were in DAVE and in PRINCESS CARABOO - both of which I recommend highly. [I got a letter to the editor of Fortune Magazine about DAVE published so it will always have a special place in my memory.] Kline as Luc was at the top of his form. There is no role of his, including his Academy Award winning role in A FISH CALLED WANDA, that I liked better. This film has to be rated a must see for all of you Kevin Kline fans.
I would go to see any film with Meg Ryan in it. She is cute, captivating, and intelligent yet always child-like and vulnerable. >From her best film (WHEN A MAN LOVES A WOMAN) to her funniest (WHEN HARRY MET SALLY) she has always dominated any picture she is in. She is like the sun and the other actors circle her. In FRENCH KISS, she is terrific and yet, her performance pales in comparison to Kline's. This is his movie.
In the year 1980, Timothy Hutton was brilliant in ORDINARY PEOPLE. It has been straight down hill for him ever since. He has been so bad in many recent films, e.g., MADE IN HEAVEN, that they made my worst of the year list. He stays consistent and never bothers to act or show any emotion in FRENCH KISS. This is no easy feat since he is being actively pursued by someone as cute as Ryan and as drop down dead gorgeous as Anbeh. Most men might suffer a major meltdown just being in the same rooms with these two. Hutton manages to be oblivious to both. Major control I suppose or ice water in his veins.
The acting by the minor characters is good. Reno plays the cop with a fresh approach. I especially liked the acting by Anbeh, who takes a minor part with almost no lines, and manages to make the just stand there and look beautiful role interesting.
I wish I knew the names of the costume designers and the makeup artists since I think they deserve special mention. The costumes, especially the evolution of the costumes and the makeup for the two women leads was a key to the success of the film. Watch how they make Kate go from innocent and cute (sexiest belly button I have seen in a long time) to gorgeous and how they take Juliet in just the opposite direction. You can see it in the clothes, the make up, and in Juliet's later, stark hairdos. Finally, notice the evolution of the doctor's clothes. They get more and more outrageous until he becomes a caricature of an American playboy on the continent.
The cinematography was striking without ever being traveloguesque. The outside glow against the shadow of the bodies in the hotel was beautiful. If you notice the fade to black of the most of the scenes, it fades fast at first but then lingers until only a dark shadow against a black background remains reminiscent of a memory locked into our subconsciousness.
As someone who grew up in the 50s and 60s, I liked the double meaning of the title. When I was a young boy, a French Kiss was a proscribed activity that you giggled about in the schoolyard and yet anxiously and fervently awaited your first chance at it.
FRENCH KISS runs just right at 1:50. It is rated PG-13 for some bad language, subdued sex, references to drugs, massive smoking by Luc, and adult themes. There were several boys in the 5-7 range when I was there plus one 3 year old girl. This was crazy for it surely bored them all. For the adult humor and romance, I would say kids older than 9 or 10 would like it. I recommend it to you and award it ***. For comparison purposes, I should say that I prefer the other current romantic comedy, While You Were Sleeping, over this one, although they were close enough that I rated them the same.
**** = One of the top few films of this or any year. A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show.  Totally unbearable.
REVIEWED WRITTEN ON: May 5, 1995
Opinions expressed are mine and not meant to reflect my employer's.
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


I have seen many use the +input, but then other experts have said the +feed command is much safer, as stated:
http://openenergymonitor.org/emon/node/6194
So as somebody just starting, it would be good to know what the proper time to use each command is.
Thanks for the help.
Re: +input vs +feed differences, newbie help
My own opinion is you should use feeds where ever possible. Only if the feed option is not available or for some reason you do not want to create a "log to feed" for the input in question would there be any reason not to use a feed.
Feeds are purposefully created and deleted (with a warning/confirmation) by the user in a controlled way, where as inputs are automatically created by emoncms and have been known to get deleted, duplicated and recreated without warning or by accident on occasions. Not very frequently, but once is enough to cause havoc when you have +-x/ input processes using the missing input in any of your input chains.
Creating a feed only to make an input available as a feed is questionable practice if space or write frequency is an issue (eg on SD cards) but if you have complex processing chains it is not worth the risk regardless of how small it is.
Paul


Generate names starting with:
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temperature: 0.7
Loading Model
Created by B Dunnette 2019Source code


R% - G% - Diagram, Input from a File
After pressing the button 'Start' the list field on the right side
('select files') shows the content of the directory whose path is saved
in Fabric.ini. If this field is empty and
the message 'no file found' appears, the data path can be changed after
pressing the button 'find data path'.
Click on the files you want to use. These files appear in the middle
field ('selected files'). Files can be removed from this list by
clicking on them.
The button 'selection OK' terminates the choice of files.
The extension of the files and the path
chosen appear under the left list.
The data of the files used appears in the left field.
The button 'plot' opens the plot form.


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How to make A.I. that's good for people
For a field that was not well known outside of academia a decade ago, artificial intelligence has grown dizzyingly fast. Tech companies from Silicon Valley to Beijing are betting everything on it, venture capitalists are pouring billions into research and development, and start-ups are being created on what seems like a daily basis. If our era is the next Industrial Revolution, as many claim, A.I. is surely one of its driving forces.It is an especially exciting time for a researcher like me. When I was a graduate student in computer science in the early 2000s, computers were barely able to detect sharp edges in photographs, let alone recognize something as loosely defined as a human face. But thanks to the growth of big data, advances in algorithms like neural networks and an abundance of powerful computer hardware, something momentous has occurred: A.I. has gone from an academic niche to the leading differentiator in a wide range of industries, including manufacturing, health care, transportation and retail. I worry, however, that enthusiasm for A.I. is preventing us from reckoning with its looming effects on society. Despite its name, there is nothing “artificial” about this technology — it is made by humans, intended to behave like humans and affects humans. So if we want it to play a positive role in tomorrow’s world, it must be guided by human concerns. I call this approach “human-centered A.I.” It consists of three goals that can help responsibly guide the development of intelligent machines. First, A.I. needs to reflect more of the depth that characterizes our own intelligence. Consider the richness of human visual perception. It’s complex and deeply contextual, and naturally balances our awareness of the obvious with a sensitivity to nuance. By comparison, machine perception remains strikingly narrow.
New York Times