| DOSE: T+ 0:00 |
1 hit |
oral |
LSD |
(blotter / tab) |
| T+ 1:00 |
|
smoked |
Cannabis |
(plant material) |
It was the end of the day, and my friend had just dropped off a colorful bag of drugs to my pocket. Most prominently among them for me at that time was a single hit of white, unperfed blotter LSD, folded neatly in an empty gum wrapper. The periods of the school day passed by in anxiety as I drew closer to the last period, the very time in which before I put the hit of acid on my tongue.
“One hit?” I said to myself. “This should be pretty good, but nothing too memorable.” Of course, I was completely wrong in all respects. I have experience with plenty of other drugs, and thought myself experienced enough to tame the LSD experience, but at points it stretched the foundation of my very being thin. Just a few minutes after I dropped the acid tab, the fire alarm ushered the sitting children out of the school, where I then met with my friend who had given me the acid in the first place. An old friend, but he seemed in a very spaced-out condition at that point, probably because the acid had shifted complete gears on the foundation of his brain the night before.
“It’ll probably hit you in forty-five minutes,” he told me. “You’ll be peaking around 4:30.”
The alarm ended, and we went back in our classrooms. The rising intensity of the LSD wound its way around my arms and neck like a snake searching for an empty piece of an apple to snatch from my grasping hands. And by the time the final bell for school rang, I was plenty glad the day had ended. But as I left the back school doors to walk home, the experience just begun.
A female friend of mine, Z, and I began twisting our way through the woods, and I told her I had just dropped a tab of acid. “You did not!” My permanent grin gave it away. Then she revealed to me that she, a virgin in the land of LSD though experienced with mushrooms, was also planning on trying acid this weekend. A friend of hers appeared ahead of us, and I called him over to smoke a bowl of medium-grade cannabis.   Pretty soon I bid X farewell, and restrained myself in order to walk through the middle of town to end up to where I needed to be.
Every depressing thought was used as leverage to keep my countenance firm, until a sort of nihilistic underlyings of a fatalistic trip began. LSD does not like to be imposed upon. It is not a kind and loving substance like marijuana, and you cannot choose when to laugh and when to breathe and when to think on LSD, because you are operating at levels where all of these functions blend into one. Music sounded beautiful as soon as I reached my house, and thoughts of four-dimensionality and the flesh of the gods both raced through my mind as hallucinations started to obscure reality.
By 3:00 it had begun to show itself in full swing, yet my parents were also home, so I did what anyone in a position of compromising authority would do and resigned myself to the woods. They were a mere five minute walk from my house, yet by the time I got there time was already ceasing to be meaningful. The LSD bloomed or exploded here, so that by the time I first set foot in the forest, an eternity would pass in a few moments.
My back was still open to the woods, the houses, all of civilization across the street, and no matter how fast I walked up into them, they were still there. Had I moved at all? Was I just going in circles? I pushed myself farther and farther back into the woods until the hallucinations began to become so overwhelming I couldn’t discern left from right or up from down. In fact, my only mark in this period of the journey after leaving the signs of civilization was the sun.
The sun had been facing me coming in. Now, I was hallucinating so badly all that all I could see where a series of trees, underbrush and plant merging into one single writhing entity with the sun as its own god in the sky. At times, the sun literally felt like an omnipresent, and oftentimes malevolent, deity. I tried to escape civilization at first, continuously walking farther and farther back into the rays of the sun in order to leave all the people I had known behind. But I couldn’t leave them behind. In fact, I lost all sense of time and space during some periods of this journey, yet I distinctintly remember that there behind my back during all the periods were rows of people from civilization, there to watch my intensely strange, possibly lethal first time on LSD.
A leaf on the ground in front of me blew in the wind, and I picked it up, holding it up with the trees, who were all bending in to face and bow to me, and seeing its rhythm.
The leaf lost all the dried plant material around the stems, gradually eroding into the vague outline of a dead series of stems. Then it magically regrew to blossom into a green sapling before turning back into the limp brown leaf sitting in my hand.
Ticks and spiders here became a massive paranoia of mine, albeit in reality the ticks and spiders were probably not so much the cause of the paranoia as the LSD shifting gears on me. During many times I sat down on the leaves, completely lost and seeing people appearing from behind the trees in the woods, alone there to write a few sentences on my experience. Here is a sample of those ramblings:
“This was a foolish use of any land as a proud native chief. How many damn waves of consciousness do I have to wait for? We’re there. Calm down. I can see the red of the blood in your veins. The LSD man, as far as you know him, is forever gone in an outrageous rage of being with the Lord.
In fact, it continues like that for pages, as I would sit down on the leaves and simply write whenever I was on the verge of giving up. I was completely lost. My senses were blown so out of proportion that, for all I knew, I could’ve been in my own backyard and I wouldn’t have been able to know. The hallucinations made everything appear to stretch endlessly, and the trees went off into the distance, waving and blurring together, surrounding me like an evil wall of consciousness.
Veins appeared to burst in my hands and arms as I peaked here, undoubtedly my blood pressure peaking due to the strenuous activity of the hike and the intense, sweat-drenched fear of the LSD. The sun stood on my shoulder as I tried now to get back to civilization, but I had gone too far. Which way was it back? Should I just wait here for the sober self to take us back?
Planes roared overhead, and I knew they were searching for me. “Man lost in LSD frenzy, found alone in woods, hallucinating while speaking about the sun standing on his shoulder and invisible spiderwebs wrapping around the trees.” Headlines like that only began the paranoia that would peak a lifetime later.
I saw a tick on my hand, and brushed it off, an intense fear and recognition now scarring the precious acid landscape. My physical body was in harm here, ticks and spiders. Maybe this acid wasn’t acid at all. Maybe I was having a heart attack.
I sat down on the leaves, trying to take a few deep breathes like the Buddha would. The forest blended into the Tao around me as I closed my eyes in a frenetic wave of rainbow colors, but the paranoia did not leave.
Was I actually dying? This would haunt me for the rest of the trip, but while peaking on LSD, I didn’t know if I was dying or not. The end of my life could be my next breath, and I realized this in all its full gory detail. This is the real part of the LSD experience that changed me. The intense fear, the knowledge of death, being chased by figures too dark to imagine, always blending into the woods behind me. And most of all, I had completely forgotten where I was going in these endless woods.
Put the sun at my back, I told myself. Just walk back the way I came. But nothing seemed familiar, every time I looked into the woods around me, there were fifty hallucinated branches for every real waving branch in the far-off regions of my eyes. If I got close, the hallucinations would stop and I would see the forest as it really was, but the ground and the forest around me would still remain the same. No matter how far back or forward I went, it seemed I would always be stuck in this reality, lost.
This seemed a very weird, eternal version of the salvia trips I had experienced in the past. LSD was much more spiritual and life-confirming than any salvia trips as I attempted to escape the woods, escape the imaginary spiders and ticks that clung to my skin as I fought my way out, and it seemed like it would never end.
Finally, roads appeared in front of me, and I grappled on the cliffs, undecided as to whether I should go down on the road and walk home or stay in the woods. Every time I tried to go back in the woods to find the way to my house, as this road was obviously not where I wanted to be, invisible spiderwebs would loom across my vision, and I would hesitate. I do not have an intense fear of spiders, but constantly walking through their webs, huge black venomous buttons of claws were not happy issues to deal with in this state of mind.
So I found my way to the roadway, and walked back along the streets of the town. Here, the hallucinations began to wear off, but the paranoia peaked like never before.
Synaesthesia, the experience of walking and the sounds around me combining into one entity in my ears. I couldn’t tell what was real and what wasn’t. Then, when I got close to home, I began hearing it.
We’ll call myself “Hofmann” here. “Hofmann! Hofmann!” The voices of my mother and father screaming in the park. I looked down into the park below me. Dogs, police cars, people. They were all looking for me. My time was up. Run back in the woods, quick!
“What?” I yelled into the park.
“He’s here! He’s up there!” But did they know I was here?
“You’re surrounded!”
God, the LSD was a horrendously cruel beast. The people in the park were all cops screaming orders at me. “Get down! Turn yourself in!”
“Hofmann!”
A car drove past me, and for a moment I thought it had the long attenae of a disguised cop car. I was sure that a cop was going to pull right next to me, jump out of the car and arrest me. The United Police States of America.
Instead, I simply went home, only a couple dilated pupils and a ringing in the ears as a sacrifice for the journey. At times, I had surely thought myself dying, poisoned, stung by spiders, prodded by ticks, about to be arrested, completely surrounded with cops. Now I was home and free. The LSD began to dwindle down as the sun, at times throughout the journey my friend and my enemy, finally set into the horizon.
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.


This is a primary alert—check it out!
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This is a success alert—check it out!
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Primary
Secondary
Success
Danger
Warning
Info
Light
Dark
Primary
Secondary
Success
Danger
Warning
Info
Light
Dark


Horizontal Rule
Home
<hr>
Varying lengths
The default alignment is center
Varying widths
Color Source
Adobe Color Trends


Mercenary Redfoot:
In this village there is a young man named Jonas who dreams of becoming the best chef in the kingdom. He is preparing for a culinary competition and seeks an adventurer to find ingredients for some exotic dishes...
Return


Congratulations Sir ! You made it across the Bridge of Death
You should study
Unfortunately Sir , seeking the Holy Grail is not a valid quest!
You have been yeeted into the abyss.


Returns a member's parent.
Syntax
member.Parent [(hierarchy) ]
Parent ( member [, hierarchy ] )
| Parameter | Description |
|---|---|
|
A member specification. |
|
|
Optional. A specific hierarchy within the time dimension. |
Example
SELECT {Parent ([100-10])} ON COLUMNS FROM sample.basic
returns the parent of 100-10:
| 100 |
| 30468 |
The following query uses Filter to find the months in which Sales for [Product].[100] are higher than 8,570. The Parent function is used with Generate to create a set consisting of the parents (quarters) of the high-sales months.
WITH SET [High-Sales Months] as ' Filter( [Year].Levels(0).members, [Measures].[Sales] > 8570 ) ' SELECT {[Measures].[Sales]} ON COLUMNS, Generate([High-Sales Months], { Parent([Year].CurrentMember) }) ON ROWS FROM sample.basic WHERE ([Product].[100])
This query returns the grid:
| Sales | |
| Qtr2 | 27187 |
| Qtr3 | 28544 |
| Qtr4 | 25355 |


We enhance users!
- evolve viral networks
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In this chapter we introduce the means by which conversations with NPCs can be implemented in adv3Lite.


“Quiver allows us also to audit the usage of corporate information and implement our security policies effectively. Quiver brought us a platform that ensures an entirely new vision of safe collaboration by protecting file sharing against information leakage.”
“With Quiver we can now share files and safely collaborate. For Bold as a company it is crucial to maintain the secrecy of our work, and that is where Quiver comes in with safe and easy sharing. Sharing proposals and important files with a timebox is definitely our favourite feature.


Deleting a File from an Album
Module Editors can delete a file from a Gallery module album.
Option One
- Open the menu of the required album. See "Opening the Album Menu"
- Select Edit This Album from the album menu.
- Go to the Sub-Albums and Files Currently Contained In This Album section.
- Click the Delete button beside the file to be deleted.
-
Click the OK button to confirm.
- Repeat Steps 4-5 to delete additional files from this album.
Option Two
- Open the menu of the required album. See "Opening the Album Menu"
- Select Maintenance from the album menu. This opens the Maintenance page.
- Go to the list of files displayed at the base of this page.
- At the base of the page, check the check box beside each file to be deleted - OR - Click the Select All link to select all files for deletion.
- Click the Delete Select Files link.


rotten > Library > Religion > Bible > Discrepancies Within The Bible > Scientific Errors In The Bible
Scientific Errors In The Bible
Here are but a few:
- Insects with four feet?
"Yet these may ye eat of every flying creeping thing that goeth upon all four, which have legs above their feet, to leap withal upon the earth; Even these of them ye may eat; the locust after his kind, and the bald locust after his kind, and the beetle after his kind, and the grasshopper after his kind. But all other flying creeping things, which have four feet, shall be an abomination unto you."
Leviticus 11:21-23
Just for the record, insects have six feet and arachnids have eight. You'd think the ancient Israelites might have picked up on this little detail, what with eating locusts and beetles and all.
- Bats identified as "birds"?

Leviticus 11:13-19
An almost identical passage occurs in Deuteronomy 14:11-18. The bat is of course a flying mammal, not a bird.
- Rabbits claimed to chew their cud?
"And the hare, because he cheweth the cud, but divideth not the hoof; he is unclean unto you."
Leviticus 11:6
To chew the cud means to eat grasses, swallow, then regurgitate later for further chewing. Rabbits simply do not do this. However, rabbits do eat their own poo, in order to absorb certain nutrients that passed through unabsorbed the first time. This is similar to human urine drinking.
Pornopolis |
Rotten |
Faces of Death |
Famous Nudes
|


Relationship between thermal habitat area (km 2) and young‐of‐year lobster densities (N/m 2) in the southwestern and northeastern Gulf of Maine. Southwestern Gulf of Maine: Y = −3.74 × 10 −4 x + 1.47, N = 14, R 2 = 0.60, p = .001. Northeastern Gulf of Maine: Y = −5.86 × 10 −4 x + 2.11, N = 14, R 2 = 0.61, p = .001. Three‐year moving block average values were used


| Opcode/Instruction | Op/En | 64/32-bit Mode | CPUID Feature Flag | Description |
| F3 0F 5D /r MINSS xmm1, xmm2/m32 | RM | V/V | SSE | Return the minimum scalar single-precision floating-point value between xmm2/mem32 and xmm1. |
| VEX.NDS.LIG.F3.0F.WIG 5D /r VMINSS xmm1,xmm2, xmm3/m32 | RVM | V/V | AVX | Return the minimum scalar single precision floating-point value between xmm3/mem32 and xmm2. |
| Op/En | Operand 1 | Operand 2 | Operand 3 | Operand 4 |
| RM | ModRM:reg (r, w) | ModRM:r/m (r) | NA | NA |
| RVM | ModRM:reg (w) | VEX.vvvv (r) | ModRM:r/m (r) | NA |
Compares the low single-precision floating-point values in the first source operand and the second source operand and returns the minimum value to the low doubleword of the destination operand. If the values being compared are both 0.0s (of either sign), the value in the second source operand is returned. If a value in the second operand is an SNaN, that SNaN is returned unchanged to the destination (that is, a QNaN version of the SNaN is not returned). If only one value is a NaN (SNaN or QNaN) for this instruction, the second source operand, either a NaN or a valid floating-point value, is written to the result. If instead of this behavior, it is required that the NaN in either source operand be returned, the action of MINSD can be emulated using a sequence of instructions, such as, a comparison followed by AND, ANDN and OR. The second source operand can be an XMM register or a 32-bit memory location. The first source and destination operands are XMM registers.
In 64-bit mode, use of the REX.R prefix permits this instruction to access additional registers (XMM8-XMM15). 128-bit Legacy SSE version: The destination and first source operand are the same. Bits (VLMAX-1:32) of the corresponding YMM destination register remain unchanged. VEX.128 encoded version: Bits (127:32) of the XMM register destination are copied from corresponding bits in the first source operand. Bits (VLMAX-1:128) of the destination YMM register are zeroed.
MIN(SRC1, SRC2) { IF ((SRC1 = 0.0) and (SRC2 = 0.0)) THEN DEST ← SRC2; ELSE IF (SRC1 = SNaN) THEN DEST ← SRC2; FI; ELSE IF SRC2 = SNaN) THEN DEST ← SRC2; FI; ELSE IF (SRC1 < SRC2) THEN DEST ← SRC1; ELSE DEST ← SRC2; FI; } MINSS (128-bit Legacy SSE version) DEST[31:0] ← MIN(SRC1[31:0], SRC2[31:0]) DEST[VLMAX-1:32] (Unmodified) VMINSS (VEX.128 encoded version) DEST[31:0] ← MIN(SRC1[31:0], SRC2[31:0]) DEST[127:32] ← SRC1[127:32] DEST[VLMAX-1:128] ← 0
| MINSS: | __m128d _mm_min_ss(__m128d a, __m128d b) |
Invalid (including QNaN source operand), Denormal.
See Exceptions Type 3.


|
BA Point Cloud Renderer
1.6
Unity Rendering System for Large Point Clouds
|
Defines how the points of a point cloud are rendered (points / quads / spheres etc.). Even though this is a MonoBehaviour-Script, it does not use the Start- or Update-Function. Having it as an object in your scene graph makes it easier to test different configuartions though. More...
Classes | |
| class | BoundingBoxComponent |
Public Member Functions | |
| abstract int | GetMaximumPointsPerMesh () |
| Returns the maximum number of points a mesh can contain. 4-Vertex Quad Rendering for example only allows 16250, while most others allow 65000. More... | |
| abstract GameObject | CreateGameObject (string name, Vector3[] vertexData, Color[] colorData, BoundingBox boundingBox, Transform parent, string version, Vector3d translationV2) |
| Creates a single GameObject for the given data. More... | |
| abstract void | RemoveGameObject (GameObject gameObject) |
| Removes the GameObject More... | |
Defines how the points of a point cloud are rendered (points / quads / spheres etc.). Even though this is a MonoBehaviour-Script, it does not use the Start- or Update-Function. Having it as an object in your scene graph makes it easier to test different configuartions though.
|
pure virtual |
Creates a single GameObject for the given data.
| name | Name of the GameObject |
| vertexData | Vertices (same size as colorData and the length is not higher than GetMaximumPointsPerMesh) |
| colorData | Colors (same size as vertexData and the length is not higher than GetMaximumPointsPerMesh) |
| boundingBox | Bounding Box |
Implemented in BAPointCloudRenderer.ObjectCreation.GeoQuadMeshConfiguration, BAPointCloudRenderer.ObjectCreation.DefaultMeshConfiguration, BAPointCloudRenderer.ObjectCreation.PointMeshConfiguration, and BAPointCloudRenderer.ObjectCreation.Quad4PointMeshConfiguration.
|
pure virtual |
Returns the maximum number of points a mesh can contain. 4-Vertex Quad Rendering for example only allows 16250, while most others allow 65000.
Implemented in BAPointCloudRenderer.ObjectCreation.GeoQuadMeshConfiguration, BAPointCloudRenderer.ObjectCreation.DefaultMeshConfiguration, BAPointCloudRenderer.ObjectCreation.Quad4PointMeshConfiguration, and BAPointCloudRenderer.ObjectCreation.PointMeshConfiguration.
|
pure virtual |
Removes the GameObject
| gameObject | Should be a GameObject created by this MeshConfiguration |
Implemented in BAPointCloudRenderer.ObjectCreation.GeoQuadMeshConfiguration, BAPointCloudRenderer.ObjectCreation.DefaultMeshConfiguration, BAPointCloudRenderer.ObjectCreation.PointMeshConfiguration, and BAPointCloudRenderer.ObjectCreation.Quad4PointMeshConfiguration.


JASON GOES TO HELL: THE FINAL FRIDAY A review by Steve Baumgarten<EMAIL_ADDRESS>Anyone who goes to see a FRIDAY THE 13TH film at this point is either a hopeless fan or a hopeless idiot; either way, he deserves exactly what he gets. I've enjoyed the FT13 concept--if not always the execution, so to speak--since the first installment over a decade ago (13 years ago, to be precise); so I like to consider myself a hopeless fan. But truth be told, most of the rest of the Times Square audience with which I saw JGTH last Friday night did their best to qualify for the other category. Participatory audiences are fine with me--in fact, most horror films are so lousy that they're only improved by a constant stream of catcalls, smart-aleck remarks, and general wising off until it's time for the next killing. But this audience was a little much; needless to say, I now know what 500 people thinking out loud sounds like. Listening to 90 minutes of "she's going to get killed" and "yeah, she's going to take it off" was enough to make me think that I'd reached *my* final Friday, and that I was now paying for my life of movie-going sins (like slinking off to FT13 PART V when I really should have been seeing THE COLOR PURPLE).
Making things worse was the film itself, which seems to have been assembled from a jumble of pages from the scripts of other, better horror films. It's a little beyond me: why on earth would anyone mess with success at this late date? Here we'd all just been relieved of $7.50, supposedly so that we could see Jason go to Hell--or at least kill a few scantily-clad teenagers and then retire to Miami Beach, where he could reminisce about the good old days, back in the early eighties when the horror film was king and direct-to-video hadn't yet been invented. And all we wanted to see was Jason--not an unreasonable expectation, considering that his billing is even higher than the day of the week this time around. But instead we got a very strange plot, filled with an unpleasant bounty hunter, an unpleasant tabloid TV personality, an unpleasant yuppie, an unpleasant proprietor of an unpleasant roadside diner, and an unpleasantly confused idea: that Jason isn't really beyond explanation, that in fact he's just been possessed all these years by the spirit of ALIEN. Sort of.
I'd like to say that this premise is so lame-brained that the audience was left speechless, even momentarily. But alas, they weren't, although my feeling is that for 90 minutes we were all subjected to Confuse-A-Cat therapy. And the sad part of it is that--briefly, oh so briefly--JGTH looked like it was actually going to be a rather clever finale to the FT13 series. I was especially heartened to see two very witty visuals early on--but two was apparently the limit for the filmmakers, who after about 10 minutes managed to drag the film and our expectations--if not Jason himself--straight down to Hell. So I'll give away the two visuals, just to give you a taste of what might have been. The first came very early on, when a Standard Issue Beautiful Teenage Girl appeared to be moving into an abandoned cabin in the beautiful Camp Crystal Lake area, known the world over for its relaxing atmosphere and plentiful gardening implements, ever at hand. As she enters, the light immediately burns out, and she finds she has to go to an even darker woodshed to find a replacement. She does, in fact, find one: an economy bulb in a package marked "Twice the Life." I liked that. I also liked the insignia on the shoulder of one of Crystal Lake's police officers: it indicated that they were all in Cunningham County--an insider smile for those of us who remember the name of Jason's cinematic godfather, Sean S. Cunningham, who has made a small fortune on the character he helped create in the very first FT13 and has since gone on to make one lousy exploitation film after another. Including this one, which he produced.
The very first scene, is in fact, terrific, as it sends up all the horror cliches that the FT13 series helped spawn. And yet they remained quite effective, even as the S.I.B.T.G. stripped and stepped into the shower. Unfortunately, nothing much comes of all this, as the filmmakers quickly toss aside any thoughts of making a conventional (read: intelligible, sensible, entertaining) horror film. Instead we find that Jason is finally, once and for all, killed, dismembered, cut up, and generally, well, sent to Hell. (Pay no attention to the spoilsport behind the curtain who in a loud and obnoxious voice points out that Jason dissolved at the end of the last installment in the FT13 series: JASON TAKES MANHATTAN. On the other hand, that was actually a very decent film, one of the best in the series, and by the time JGTH had ended, it had gone up another notch or two on my personal Respect-O-Meter. At least it knew what it wanted to do and did it, which is more than I can say of JGTH.)
What happens here is very disheartening. Jason's dismembered corpse is taken to a hospital morgue and placed on a table so that we can look at it for a while. It's in pretty bad shape, all right, but we have confidence that he'll be able to pull himself together and get on with it. You know: JASON TAKES ON AN HMO--something that would really get the audience into it. Wonder of wonders, his heart starts beating, and just as we're all set for the fireworks, the unexpected happens. The unwanted, in fact, but what happens is very central to film's incredibly lame plot. What happens is that the coroner takes a big bite out of Jason's heart. Yum! And, naturally, becomes Jason in some undefined way. In fact, in one of the very few cool scenes in the film, he passes in front of a full-length mirror, and lo and behold, there's Jason, in all his hockey-masked glory. But in real life, all we have is a wimpy-looking coroner on the rampage. Hoo ha.
This was a big mistake. However, there's nothing anyone can do about it FOR THE NEXT 75 GOSH-DARN MINUTES! Instead of Jason, what we get is a succession of wimpy-looking characters, each of whom seems to be on the wrong end of a game of tag that requires the poor soul who's "it" to transfer a slimy-looking thing that looks like it came straight off the set of PARASITE (which, by the way, is an excellent rip-off of ALIEN, made in 1982 in audience-pleasing 3-D, and one of many films that Demi Moore is none too proud of) into someone else's mouth. That part seems to have been stolen from LIFEFORCE, an even worse film, but one which at least had the saving grace of featuring incredibly goofy dialogue and Naked Female Space Vampires.
The dialogue in JGTH is just as lame as the plot, which gets more and more convoluted as we rush headlong toward the promised Final Friday. (Actually, I have no idea what day all this was happening on--shows you just how sloppy the filmmakers were--but to be honest the whole thing felt like Monday morning.) And there are no Naked Female Space Vampires--just coroners, policemen, and tabloid television journalists on various murderous rampages. And this ALIEN-like thing, which really doesn't make any sense, but it's in there anyway. Especially as we reach the tail end of the film, when all is revealed whether we want it to be or not. By this time we've heard from the bounty hunter (who doesn't really get to hunt anything, though he does get to break the yuppie's fingers in a puzzlingly cruel and rather sour scene) and discovered that Jason wants to be reborn, but that this can only happen if he manages to transfer the slimy ALIEN-like thing to his sister or her daughter. And the sister--who, to be honest, I wasn't aware of until this installment and who here seems to be a refugee from Plot Convenience Playhouse--used to be the wife of the yuppie. And her daughter doesn't do anything at all in this film, though in one scene she looks very cute and the whole audience goes "Awwww!"
Have I left anything out? Mind you, this film is exactly 88 minutes long, and if it seems that there's already enough plot for three lousy horror films--or, more to the point, three much better horror films that have already been made--you may be shocked to learn that there is still quite a bit more plot that I haven't even bothered to mention. Late in the game we get a smattering of EVIL DEAD ("Wrong movie!" came the cry from the by now quite actively involved audience) and a magic letter opener which is the only thing able to permanently kill Jason once and for all. Permanently, like. Forever, this time. Not ever to return again. Honest.
Just to ease your minds and relieve the unbearable tension this review has no doubt created, Jason does, in fact, get sent to Hell; at least he gets buried in the backyard by a lot of hands that spring up, CARRIE-style, though in fact we never do get to see the low-budget Hell to which he's been consigned. So you can't sue anyone for false advertising: after all, this is JGTH, not "Someone Finally Makes A Great Jason Movie Instead Of Completely Wasting One Of The Best Horror Movie Characters Of All Time Yet Again." Whether he'll remain there is another question, one that I certainly hope no one bothers to answer. But the signs are bleak: stick around for the surprise finale to see just how low New Line can sink now that they aren't making mega-bucks off the Turtles anymore. Clever horror fans might guess, if they remember what other properties New Line owns; as for the audience Friday night, well, they were pleased as punch and looking forward to the next installment of, well, something. Anything, really. We're not a choosy bunch. As apparently Mr. Cunningham and New Line have realized.
: Steve Baumgarten<EMAIL_ADDRESS>.
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Watching @davystevenson introduce her https://github.com/davy/benchmark-bigo gem. CS FTW! #CascadiaRuby
8/11/2014, 10:33:13 AM
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Watching @davystevenson introduce her https://github.com/davy/benchmark-bigo gem. CS FTW! #CascadiaRuby
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Oracle has just announced the general availability of Java 7 SE including Java SE Advanced and Java SE Suite.

The license contains some interesting wording regarding “Commercial Features” in section 1, 2 and SUPPLEMENTAL LICENSE TERMS section A and G. The “Commercial Features” are defined in this document (PDF version with better layout here). Please note that the specification of “Commercial Features” is not part of the license as such and therefor subject to change at Oracle’s discretion.
It turns out the “Commercial Features” are subject to rather draconian restrictions (SUPPLEMENTAL LICENSE TERMS section A):
COMMERCIAL FEATURES You may not use the Commercial Features for running Programs, Java applets or applications in your internal business operations or for any commercial or production purpose, or for any purpose other than as set forth in Sections B, C, D and E of these Supplemental Terms. If You want to use the Commercial Features for any purpose other than as permitted in this Agreement, You must obtain a separate license from Oracle.
As you can tell any meaningful business use of the “Commercial Features” are subject to a separate license.
So does the regular Java 7 SE download contain any of these “Commercial Features”? It does not look like it and the Java Se Advance and Java SE Suite packages doesn’t either, because they do not exist. From below two sections that appear at end of this document, it is clear that the Java SE Advanced and Java SE Suite “products” are a combination of the Java 7 SE and a number of separate packages.
Installation of Java SE Product Editions
Oracle does not provide installation programs that correspond directly to Java SE, Oracle Java SE Advanced and Oracle Java SE Suite. Depending on the features licensed, one or more of the following individual packages must be downloaded:
JRE JDK
JRockit JDK
JRockit Mission Control
Java for Business JRE
Java for Business JDK
Licensing Considerations and Restricted-Use Licensing
Some of the packages described in Installation of Java SE Product Editions install commercial features that are restricted to Oracle Java SE Advanced or Oracle Java SE Suite. For example, the JRockit JDK comes with a deterministic garbage collector that requires a Oracle Java SE Suite license.
If you download (which you can do for instance here and here) and use these extra packages for the purposes outlined above (any meaning full business use) in combination with Java 7 SE you are subject to a separate (ostensibly payable) license.
The only mention I can find of this change from Oracle is this blog post with the clearly misleading title “JRockit is Now Free (and Other Java License Updates)”, as this does not apply to the JRockit “Commercial Features” listed above.
You should make sure that your developers, ops people and relevant vendors of such service knows this, or you could end up breaching your license and owing Oracle a lot of money.


Provides R-implementation of Decision forest algorithm, which combines the predictions of multiple independent decision tree models for a consensus decision. In particular, Decision Forest is a novel pattern-recognition method which can be used to analyze: (1) DNA microarray data; (2) Surface-Enhanced Laser Desorption/Ionization Time-of-Flight Mass Spectrometry (SELDI-TOF-MS) data; and (3) Structure-Activity Relation (SAR) data. In this package, three fundamental functions are provided, as (1)DF_train, (2)DF_pred, and (3)DF_CV. run Dforest() to see more instructions. Weida Tong (2003) <doi:10.1021/ci020058s>.
| Version: | 0.4.2 |
| Depends: | R (≥ 3.0) |
| Imports: | rpart, ggplot2, methods, stats |
| Published: | 2017-11-28 |
| Author: | Leihong Wu, Weida Tong<EMAIL_ADDRESS>|
| Maintainer: | Leihong Wu <leihong.wu at fda.hhs.gov> |
| License: | GPL-2 |
| NeedsCompilation: | no |
| CRAN checks: | Dforest results |
| Reference manual: | Dforest.pdf |
| Package source: | Dforest_0.4.2.tar.gz |
| Windows binaries: | r-devel: Dforest_0.4.2.zip, r-release: Dforest_0.4.2.zip, r-oldrel: Dforest_0.4.2.zip |
| OS X binaries: | r-release: Dforest_0.4.2.tgz, r-oldrel: Dforest_0.4.2.tgz |
| Old sources: | Dforest archive |
Please use the canonical form https://CRAN.R-project.org/package=Dforest to link to this page.


The term "LIFO" is associated with which data structure?
Stack
List
Queue
All of these
None of these
LIFO means "Last-in, First-out".


We're a Coffee & Code group that meets 1-3 times a week to code in Toronto. We're 700+ members who come from all walks of life (designers, gamers, students, sciences, engineering, PR, entrepreneurs, and of course, programmers) who have one thing in common... the desire to use code to innovate and change the world.
Coffee & Code has been outputting our caffeine-fuelled ideas since March 10, 2013 and are launching the first ever Coffee and Code 14-hour hackathon starting at 8pm on Saturday, December 6, 2014 and ending at 10am on Sunday, December 7th.
Cost is $10 per person (includes pizza, coffee and pastries)
A special thanks to our sponsors who make this innovation hack possible: GURU Energy Drink & CSI Bathurst
Teams of 5 will be randomly selected for the event. Each team will need to work on 1 of 3 themes (to be revealed at the hackathon).
Invite is open to members of Coffee and Code. Space is limited so save your spot early by filling out the form.


MillieCola® Vending llc.
window-placeholder displaying cola, chips, and candy
$0.00
cola: $1.00
chips: $0.50
candy: $0.65
product-vends-here
your-change-returned-here


Select the "HomeConnect" App Via Google play store or Apple store
Select the Register Button
Enter the Credentials
Select Ok
Swith "On" the device and Select "Menu" Button
Select "More" option


How does
Apple|L'Oreal|Nestlé|Google
perform on
SDG5: Gender Equality|Corporate Governance|Political Accountability|Water Management
?
To know and act, you need
structured|open|deep|engaging|verifiable|comparable|navigable|integrated
data.


Cascading Style Sheets (CSS) is a style sheet language used for describing the presentation of a document written in a markup language like HTML. CSS is a cornerstone technology of the World Wide Web, alongside HTML and JavaScript. CSS is designed to enable the separation of presentation and content, including layout, colors, and fonts.This separation can improve content accessibility, provide more flexibility and control in the specification of presentation characteristics, enable multiple web pages to share formatting by specifying the relevant CSS in a separate .css file which reduces complexity and repetition in the structural content as well as enabling the .css file to be cached to improve the page load speed between the pages that share the file and its formatting. Separation of formatting and content also makes it feasible to present the same markup page in different styles for different rendering methods, such as on-screen, in print, by voice (via speech-based browser or screen reader), and on Braille-based tactile devices. CSS also has rules for alternate formatting if the content is accessed on a mobile device.The name cascading comes from the specified priority scheme to determine which style rule applies if more than one rule matches a particular element. This cascading priority scheme is predictable. The CSS specifications are maintained by the World Wide Web Consortium (W3C). Internet media type (MIME type) text/css is registered for use with CSS by RFC 2318 (March 1998). The W3C operates a free CSS validation service for CSS documents.


Type Definitions
The following type definitions are available globally.
-
Undocumented
Declaration
Objective-C
typedef void (^onError)(long ErrCode,NSString* _Nullable ErrMsg)
-
Undocumented
Declaration
Objective-C
typedef void (^onSuccess)(NSString* _Nullable data)
-
Undocumented
See moreDeclaration
Objective-C
typedef enum { IOS = 1, ANDROID = 2, WIN = 3, XOS = 4, WEB = 5, MINI_WEB = 6, } Platform
-
Undocumented
Declaration
Objective-C
typedef void (^VoidCallBack)(void)
-
Undocumented
Declaration
Objective-C
typedef void (^onConnectFailed)(long ErrCode,NSString* _Nullable ErrMsg)
-
Undocumented
Declaration
Objective-C
typedef void (^onSelfInfoUpdated)(UserInfo* _Nullable userInfo)
-
Undocumented
Declaration
Objective-C
typedef void(^onRecvC2CReadReceipt)(NSArray *haveReadInfoList)
-
Undocumented
Declaration
Objective-C
typedef void(^onRecvMessageRevoked)(NSString *msgId)
-
Undocumented
Declaration
Objective-C
typedef void(^onRecvNewMessage)(Message *msg)
-
Undocumented
Declaration
Objective-C
typedef void(^onBlackListAdd)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onBlackListDeleted)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onFriendApplicationListAccept)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onFriendApplicationListAdded)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onFriendApplicationListDeleted)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onFriendApplicationListReject)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onFriendInfoChanged)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onFriendListAdded)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onFriendListDeleted)(UserInfo *user)
-
Undocumented
Declaration
Objective-C
typedef void(^onConversationChanged)(NSArray *conversationInfoList)
-
Undocumented
Declaration
Objective-C
typedef void(^onNewConversation)(NSArray *conversationInfoList)
-
Undocumented
Declaration
Objective-C
typedef void(^onSyncServerFailed)(void)
-
Undocumented
Declaration
Objective-C
typedef void(^onSyncServerFinish)(void)
-
Undocumented
Declaration
Objective-C
typedef void(^onSyncServerStart)(void)
-
Undocumented
Declaration
Objective-C
typedef void(^onTotalUnreadMessageCountChanged)(int count)
-
Undocumented
Declaration
Objective-C
typedef void(^onApplicationProcessed)(NSString *s,GroupMembersInfo *groupMembersInfo,int i,NSString *s2)
-
Undocumented
Declaration
Objective-C
typedef void(^onGroupCreated)(NSString *s)
-
Undocumented
Declaration
Objective-C
typedef void(^onGroupInfoChanged)(NSString *s,GroupInfo *groupInfo)
-
Undocumented
Declaration
Objective-C
typedef void(^onMemberEnter)(NSString *s,NSArray<GroupMembersInfo*> *list)
-
Undocumented
Declaration
Objective-C
typedef void(^onMemberInvited)(NSString *s,GroupMembersInfo *groupMembersInfo,NSArray<GroupMembersInfo*> *groupMembersInfoList)
-
Undocumented
Declaration
Objective-C
typedef void(^onMemberKicked)(NSString *s,GroupMembersInfo *groupMembersInfo,NSArray<GroupMembersInfo*> *groupMembersInfoList)
-
Undocumented
Declaration
Objective-C
typedef void(^onMemberLeave)(NSString *s,GroupMembersInfo *groupMembersInfo)
-
Undocumented
Declaration
Objective-C
typedef void(^onReceiveJoinApplication)(NSString *s,GroupMembersInfo *groupMembersInfo,NSString *s2)
-
Undocumented
Declaration
Objective-C
typedef void(^onTransferGroupOwner)(NSString *groupId,NSString *oldUserID,NSString *newUserID)


MedSwarm
Be yourself while being apart of
something greater
.
New Entry
Graph
Log
New Entry
Lab Date:
Prescription:
Weekly Dosage:
Testosterone Levels (ng/dL):
Estrogen Levels (ng/dL):
Personal Log:
Graph
Log


Westlife tour 2020: How to get tickets to see the UK shows next year
Tickets to the Irish band's Stadiums in the Summer tour next year go on sale today - here's how to get yours
by Chantelle Symester, https://www.facebook.com/csymester/Westlife are heading out on tour for 2020 - and tickets to UK shows go on sale today.
Nicky Byrne, Shane Filan, Mark Feehily and Kian Egan will perform at key cities across the country next June as part of their ‘Stadiums in the Summer’ show dates kicking off next June.
Fans of the 90's boyband will get to enjoy classic pop hits including 'Swear It Again' and ‘Flying Without Wings’ as well as new songs from their forthcoming new album ‘Spectrum’ which is released on 15 November.
Tickets go on general sale at 9am today (November 8) through Ticketmaster , following a pre-sale which took place earlier this week, giving fans who had already pre-ordered the album early access.
A source close to the Irish boyband revealed to the Mirror that the boys were planning a huge follow up tour off the back of their sell out Twenty Two shows earlier this year.
At the time the source close to the Irish boyband told us: "Westlife’s comeback tour has been a remarkable success and interest in their new music has been better than the band ever imagined, so plans are well underway for what comes after the album release in November.
"There will also be even more new music with Ed Sheeran . Westlife are popular again. The Twenty Tour sold 700,000 tickets. There is a lot more to come from them, they’re in it for the longterm now."
Stadiums in the Summer 2020 Tour Dates
- 19 June - Carrow Road, Norwich
- 21 June - The Weston Homes Stadium, Peterborough
- 26 June - Cardiff City Stadium, Cardiff
- 27 June - The Falkirk Stadium, Falkirk
- 28 June - Caledonian Stadium, Inverness
- 03 July - The Ageas Bowl, Southampton
- 04 July - Home Park, Plymouth
- 05 July - Stadium Zipworld, Colwyn Bay
- 10 July - Hull College Craven Park Stadium, Hull
- 11 July - Castle Park, Colchester
- 12 July - Kingsholm Stadium, Gloucester
- 16 July - Fischer County Ground, Leicester
- 17 July - The Spitfire Ground, Kent
- 18 July - Emirates Riverside, Durham
- 22 August - Wembley Stadium, London


Version: Issued 30 September 2008. Contents changeable.
NOTE: Please do not try to open large documents in your web browser. Use the right-hand button on your mouse to pull up a menu and select "Save Target As..." and save the document to your hard drive, preferably in your My Documents directory.
The following document may be downloaded from this store:
Return to Delta Management System


Attendance
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Name
work
Team / Role
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Conversation
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Write your notes
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Ranch, similarly to Caesar, is not as creamy but is white with usually some dark spots in it. But unlike Caesar Ranch is often corresponded with not only salads but also as dip for vegetables or chips, a condiment for wraps, along with many other things. It is made from a combination of buttermilk, salt, garlic, onion, mustard, herbs (commonly chives, parsley, and dill), and spices (commonly black pepper, paprika, and ground mustard seed), mixed into a sauce based on mayonnaise, or another oil emulsion. In the early 1950s, Steve Henson developed[2] what is now known as ranch dressing while working as a plumbing contractor for three years in the remote Alaskan bush. In 1954, he and his wife Gayle opened Hidden Valley Ranch, a dude ranch at the former Sweetwater Ranch on San
Marcos Pass in Santa Barbara County, California, where they served it to customers. It became popular, and they began selling it in packages for customers to take home, both as a finished product and as packets of seasoning to be mixed with mayonnaise and buttermilk. As demand grew, they incorporated Hidden Valley Ranch Food Products, Inc., and opened a factory to manufacture it in larger volumes, which they first distributed to supermarkets in the Southwest, and eventually, nationwide. In October 1972, the Hidden Valley Ranch brand was bought by Clorox for $8 million.
Ranch dressing is common in the United States as a dipping sauce for broccoli, carrots and celery as well as a dip for chips and "bar foods" such as french fries and chicken wings. It is also a common dipping sauce for fried foods such as fried mushrooms, fried zucchini, fried pickles , jalapeño poppers, onion rings, chicken fingers, and hushpuppies. In addition, ranch dressing is used on pizza, pickles, baked potatoes, wraps, tacos, pretzels, and hamburgers. While popular in the United States and Canada, ranch dressing is virtually unknown in other parts of the world.


| Home | Libraries | People | FAQ | More |
This procedure assumes that you have control over the types that should
be made conformant to a Range concept. If not, see method
2.
这个方法假定你可以控制要改编以符合区间概念的类型。如果不是这样，请看
方法 2。
The primary templates in this library are implemented such that standard
containers will work automatically and so will boost::array.
Below is given an overview of which member functions and member types a
class must specify to be useable as a certain Range concept.
本库的主模板的实现是要使得标准容器可以自动工作，也包括
boost::array. 以下给出一个概览，一个类要可以作为区间概念使用，必须指定哪些成员函数和成员类型。
|
Member function 成员函数 |
Related concept 相关概念 |
|---|---|
|
|
|
|
|
Notice that rbegin()
and rend()
member functions are not needed even though the container can support bidirectional
iteration.
注意，rbegin()
和 rend()
成员函数不是必须的，即使该容器支持双向迭代。
The required member types are:
要求的成员类型有：
|
Member type 成员类型 |
Related concept 相关概念 |
|---|---|
|
|
|
|
|
Again one should notice that member types reverse_iterator
and const_reverse_iterator
are not needed.
再次提醒，成员类型 reverse_iterator
和 const_reverse_iterator
是不需要的。


Tik-Tok of Oz
by L. Frank Baum
Chapter 9: “Ruggedo’s Rage is Rash and Reckless”
Additional Information
- Year Published: 1914
- Language: English
- Country of Origin: United States of America
- Source: Baum, L. F. (1914). Tik-Tok of Oz. Chicago: Reilly and Britton.
-
Readability:
- Flesch–Kincaid Level: 7.0
- Word Count: 2,889
- Genre: Fantasy
- Keywords: 20th century literature, american literature, books of oz, children's literature, fantasy, l. frank baum
- ✎ Cite This
Downloads
The way taken by the adventurers led up hill and down dale and wound here and there in a fashion that seemed aimless. But always it drew nearer to a range of low mountains and Files said more than once that he was certain the entrance to Ruggedo’s cavern would be found among these rugged hills.
In this he was quite correct. Far underneath the nearest mountain was a gorgeous chamber hollowed from the solid rock, the walls and roof of which glittered with thousands of magnificent jewels. Here, on a throne of virgin gold, sat the famous Nome King, dressed in splendid robes and wearing a superb crown cut from a single blood-red ruby.
Ruggedo, the Monarch of all the Metals and Precious Stones of the Underground World, was a round little man with a flowing white beard, a red face, bright eyes and a scowl that covered all his forehead. One would think, to look at him, that he ought to be jolly; one might think, considering his enormous wealth, that he ought to be happy; but this was not the case. The Metal Monarch was surly and cross because mortals had dug so much treasure out of the earth and kept it above ground, where all the power of Ruggedo and his nomes was unable to recover it. He hated not only the mortals but also the fairies who live upon the earth or above it, and instead of being content with the riches he still possessed he was unhappy because he did not own all the gold and jewels in the world.
Ruggedo had been nodding, half asleep, in his chair when suddenly he sat upright, uttered a roar of rage and began pounding upon a huge gong that stood beside him.
The sound filled the vast cavern and penetrated to many caverns beyond, where countless thousands of nomes were working at their unending tasks, hammering out gold and silver and other metals, or melting ores in great furnaces, or polishing glittering gems. The nomes trembled at the sound of the King’s gong and whispered fearfully to one another that something unpleasant was sure to happen; but none dared pause in his task,
The heavy curtains of cloth-of-gold were pushed aside and Kaliko, the King’s High Chamberlain, entered the royal presence.
“What’s up, Your Majesty?” he asked, with a wide yawn, for he had just wakened.
“Up?” roared Ruggedo, stamping his foot viciously.  And they want to come down.”
“Down here?” inquired Kaliko.
“Yes!”
“How do you know?” continued the Chamberlain, yawning again.
“I feel it in my bones,” said Ruggedo. “I can always feel it when those hateful earth-crawlers draw near to my Kingdom. I am positive, Kaliko, that mortals are this very minute on their way here to annoy me—and I hate mortals more than I do catnip tea!”
“Well, what’s to be done?” demanded the nome.
“Look through your spyglass, and see where the invaders are,” commanded the King.
So Kaliko went to a tube in the wall of rock and put his eye to it. The tube ran from the cavern up to the side of the mountain and turned several curves and corners, but as it was a magic spyglass Kaliko was able to see through it just as easily as if it had been straight.
“Ho—hum,” said he. “I see ‘em, Your Majesty.”
“What do they look like?” inquired the Monarch.
“That’s a hard question to answer, for a stranger assortment of creatures I never yet beheld,” replied the nome. “However, such a collection of curiosities may prove dangerous. There’s a copper man, worked by machinery—”
“Bah! That’s only Tik-Tok,” said Ruggedo. “I’m not afraid of him. Why, only the other day I met the fellow and threw him down a well.”
“Then some one must have pulled him out again,” said Kaliko. “And there’s a little girl—”
“Dorothy?” asked Ruggedo, jumping up in fear.
“No; some other girl. In fact, there are several girls, of various sizes; but Dorothy is not with them, nor is Ozma.”
“That’s good!” exclaimed the King, sighing in relief.
Kaliko still had his eye to the spyglass.
“I see,” said he, “an army of men from Oogaboo. They are all officers and carry swords. And there is a Shaggy Man—who seems very harmless—and a little donkey with big ears.”
“Pooh!” cried Ruggedo, snapping his fingers in scorn. “I’ve no fear of such a mob as that. A dozen of my nomes can destroy them all in a jiffy.”
“I’m not so sure of that,” said Kaliko. “The people of Oogaboo are hard to destroy, and I believe the Rose Princess is a fairy. As for Polychrome, you know very well that the Rainbow’s Daughter cannot be injured by a nome.”
“Polychrome! Is she among them?” asked the King.
“Yes; I have just recognized her.”
“Then these people are coming here on no peaceful errand,” declared Ruggedo, scowling fiercely. “In fact, no one ever comes here on a peaceful errand.
“I must in some way prevent these people from reaching my dominions. Where are they now?”
“Just now they are crossing the Rubber Country, Your Majesty.”
“Good! Are your magnetic rubber wires in working order?”
“I think so,” replied Kaliko. “Is it your Royal Will that we have some fun with these invaders?”
“It is,” answered Ruggedo. “I want to teach them a lesson they will never forget.”
Now, Shaggy had no idea that he was in a Rubber Country, nor had any of his companions. They noticed that everything around them was of a dull gray color and that the path upon which they walked was soft and springy, yet they had no suspicion that the rocks and trees were rubber and even the path they trod was made of rubber.
Presently they came to a brook where sparkling water dashed through a deep channel and rushed away between high rocks far down the mountainside. Across the brook were stepping-stones, so placed that travelers might easily leap from one to another and in that manner cross the water to the farther bank.
Tik-Tok was marching ahead, followed by his officers and Queen Ann. After them came Betsy Bobbin and Hank, Polychrome and Shaggy, and last of all the Rose Princess with Files. The Clockwork Man saw the stream and the stepping stones and, without making a pause, placed his foot upon the first stone.
The result was astonishing. First he sank down in the soft rubber, which then rebounded and sent Tik-Tok soaring high in the air, where he turned a succession of flip-flops and alighted upon a rubber rock far in the rear of the party.
General Apple did not see Tik-Tok bound, so quickly had he disappeared; therefore he also stepped upon the stone (which you will guess was connected with Kaliko’s magnetic rubber wire) and instantly shot upward like an arrow. General Cone came next and met with a like fate, but the others now noticed that something was wrong and with one accord they halted the column and looked back along the path.
There was Tik-Tok, still bounding from one rubber rock to another, each time rising a less distance from the ground. And there was General Apple, bounding away in another direction, his three-cornered hat jammed over his eyes and his long sword thumping him upon the arms and head as it swung this way and that. And there, also, appeared General Cone, who had struck a rubber rock headforemost and was so crumpled up that his round body looked more like a bouncing-ball than the form of a man.
Betsy laughed merrily at the strange sight and Polychrome echoed her laughter. But Ozga was grave and wondering, while Queen Ann became angry at seeing the chief officers of the Army of Oogaboo bounding around in so undignified a manner. She shouted to them to stop, but they were unable to obey, even though they would have been glad to do so. Finally, however, they all ceased bounding and managed to get upon their feet and rejoin the Army.
“Why did you do that?” demanded Ann, who seemed greatly provoked.
“Don’t ask them why,” said Shaggy earnestly. “I knew you would ask them why, but you ought not to do it. The reason is plain. Those stones are rubber; therefore they are not stones. Those rocks around us are rubber, and therefore they are not rocks. Even this path is not a path; it’s rubber. Unless we are very careful, your Majesty, we are all likely to get the bounce, just as your poor officers and Tik-Tok did.”
“Then let’s be careful,” remarked Files, who was full of wisdom; but Polychrome wanted to test the quality of the rubber, so she began dancing. Every step sent her higher and higher into the air, so that she resembled a big butterfly fluttering lightly. Presently she made a great bound and bounded way across the stream, landing lightly and steadily on the other side.
“There is no rubber over here,” she called to them. “Suppose you all try to bound over the stream, without touching the stepping-stones.”
Ann and her officers were reluctant to undertake such a risky adventure, but Betsy at once grasped the value of the suggestion and began jumping up and down until she found herself bounding almost as high as Polychrome had done. Then she suddenly leaned forward and the next bound took her easily across the brook, where she alighted by the side of the Rainbow’s Daughter.
“Come on, Hank!” called the girl, and the donkey tried to obey. He managed to bound pretty high but when he tried to bound across the stream he misjudged the distance and fell with a splash into the middle of the water.
“Hee-haw!” he wailed, struggling toward the far bank. Betsy rushed forward to help him out, but when the mule stood safely beside her she was amazed to find he was not wet at all.
“It’s dry water,” said Polychrome, dipping her hand into the stream and showing how the water fell from it and left it perfectly dry.
“In that case,” returned Betsy, “they can all walk through the water.”
She called to Ozga and Shaggy to wade across, assuring them the water was shallow and would not wet them. At once they followed her advice, avoiding the rubber stepping stones, and made the crossing with ease. This encouraged the entire party to wade through the dry water, and in a few minutes all had assembled on the bank and renewed their journey along the path that led to the Nome King’s dominions.
When Kaliko again looked through his magic spyglass he exclaimed:
“Bad luck, Your Majesty! All the invaders have passed the Rubber Country and now are fast approaching the entrance to your caverns.”
Ruggedo raved and stormed at the news and his anger was so great that several times, as he strode up and down his jeweled cavern, he paused to kick Kaliko upon his shins, which were so sensitive that the poor nome howled with pain. Finally the King said:
“There’s no help for it; we must drop these audacious invaders down the Hollow Tube.”
Kaliko gave a jump, at this, and looked at his master wonderingly.
“If you do that, Your Majesty,” he said, “you will make Tititi-Hoochoo very angry.”
“Never mind that,” retorted Ruggedo. “Tititi-Hoochoo lives on the other side of the world, so what do I care for his anger?”
Kaliko shuddered and uttered a little groan.
“Remember his terrible powers,” he pleaded, “and remember that he warned you, the last time you slid people through the Hollow Tube, that if you did it again he would take vengeance upon you.”
The Metal Monarch walked up and down in silence, thinking deeply.
“Of two dangers,” said he, “it is wise to choose the least. What do you suppose these invaders want?”
“Let the Long-Eared Hearer listen to them,” suggested Kaliko.
“Call him here at once!” commanded Ruggedo eagerly.
So in a few minutes there entered the cavern a nome with enormous ears, who bowed low before the King.
“Strangers are approaching,” said Ruggedo, “and I wish to know their errand. Listen carefully to their talk and tell me why they are coming here, and what for.”
The nome bowed again and spread out his great ears, swaying them gently up and down and back and forth. For half an hour he stood silent, in an attitude of listening, while both the King and Kaliko grew impatient at the delay. At last the Long-Eared Hearer spoke:
“Shaggy Man is coming here to rescue his brother from captivity,” said he.
“Ha, the Ugly One!” exclaimed Ruggedo.  He’s too lazy to work and is always getting in my way. Where is the Ugly One now, Kaliko?”
“The last time Your Majesty stumbled over the prisoner you commanded me to send him to the Metal Forest, which I did. I suppose he is still there.”
“Very good. The invaders will have a hard time finding the Metal Forest,” said the King, with a grin of malicious delight, “for half the time I can’t find it myself. Yet I created the forest and made every tree, out of gold and silver, so as to keep the precious metals in a safe place and out of the reach of mortals. But tell me, Hearer, do the strangers want anything else?”
“Yes, indeed they do!” returned the nome. “The Army of Oogaboo is determined to capture all the rich metals and rare jewels in your kingdom, and the officers and their Queen have arranged to divide the spoils and carry them away.”
When he heard this Ruggedo uttered a bellow of rage and began dancing up and down, rolling his eyes, clicking his teeth together and swinging his arms furiously. Then, in an ecstasy of anger he seized the long ears of the Hearer and pulled and twisted them cruelly; but Kaliko grabbed up the King’s sceptre and rapped him over the knuckles with it, so that Ruggedo let go the ears and began to chase his Royal Chamberlain around the throne.
The Hearer took advantage of this opportunity to slip away from the cavern and escape, and after the King had tired himself out chasing Kaliko he threw himself into his throne and panted for breath, while he glared wickedly at his defiant subject.
“You’d better save your strength to fight the enemy,” suggested Kaliko. “There will be a terrible battle when the Army of Oogaboo gets here.”
“The Army won’t get here,” said the King, still coughing and panting. “I’ll drop ‘em down the Hollow Tube—every man Jack and every girl Jill of ‘em!”
“And defy Tititi-Hoochoo?” asked Kaliko.
“Yes. Go at once to my Chief Magician and order him to turn the path toward the Hollow Tube, and to make the tip of the Tube invisible, so they’ll all fall into it.”
Kaliko went away shaking his head, for he thought Ruggedo was making a great mistake. He found the Magician and had the path twisted so that it led directly to the opening of the Hollow Tube, and this opening he made invisible.
Having obeyed the orders of his master, the Royal Chamberlain went to his private room and began to write letters of recommendation of himself, stating that he was an honest man, a good servant and a small eater.
“Pretty soon,” he said to himself, “I shall have to look for another job, for it is certain that Ruggedo has ruined himself by this reckless defiance of the mighty Tititi-Hoochoo. And in seeking a job nothing is so effective as a letter of recommendation.”


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This document describes the tables that make up the Hive schema. Tables are grouped into categories, and the purpose of each table is explained.
You can toggle the display of individual columns using [Show/Hide columns] buttons.
This table keeps several important hive-specific pipeline-wide key-value pairs such as hive_sql_schema_version, hive_use_triggers and hive_pipeline_name.
This table contains a simple hash between pipeline_wide_parameter names and their values. The same data used to live in 'meta' table until both the schema and the API were finally separated from Ensembl Core.
Each Analysis is a node of the pipeline diagram. It acts both as a "class" to which Jobs belong (and inherit from it certain properties) and as a "container" for them (Jobs of an Analysis can be blocking all Jobs of another Analysis).
Column
Type
Default value
Description
Index
analysis_id
INTEGER
-
a unique ID that is also a foreign key to most of the other tables
logic_name
VARCHAR(255)
-
the name of the Analysis object
unique key: logic_name_idx
module
VARCHAR(255)
-
the name of the module / package that runs this Analysis
language
VARCHAR(255)
NULL
the language of the module, if not Perl
parameters
MEDIUMTEXT
NULL
a stingified hash of parameters common to all jobs of the Analysis
resource_class_id
INTEGER
-
link to the resource_class table
failed_job_tolerance
INTEGER
0
% of tolerated failed Jobs
max_retry_count
INTEGER
3
how many times a job of this Analysis will be retried (unless there is no point)
can_be_empty
SMALLINT
0
if TRUE, this Analysis will not be blocking if/while it doesn't have any jobs
priority
SMALLINT
0
an Analysis with higher priority will be more likely chosen on Worker's specialization
meadow_type
VARCHAR(255)
NULL
if defined, forces this Analysis to be run only on the given Meadow
analysis_capacity
INTEGER
NULL
if defined, limits the number of Workers of this particular Analysis that are allowed to run in parallel
Parallel table to analysis_base which provides high level statistics on the state of an analysis and it's jobs. Used to provide a fast overview, and to provide final approval of 'DONE' which is used by the blocking rules to determine when to unblock other analyses. Also provides
Column
Type
Default value
Description
Index
analysis_id
INTEGER
-
foreign-keyed to the corresponding analysis_base entry
primary key
batch_size
INTEGER
1
how many jobs are claimed in one claiming operation before Worker starts executing them
hive_capacity
INTEGER
NULL
a reciprocal limiter on the number of Workers running at the same time (dependent on Workers of other Analyses)
Each entry of this table defines a starting point for dataflow (via from_analysis_id and branch_code) to which point a group of dataflow_target entries can be linked. This grouping is used in two ways: (1) dataflow_target entries that link into the same dataflow_rule share the same from_analysis, branch_code and funnel_dataflow_rule (2) to define the conditions for DEFAULT or ELSE case (via excluding all conditions explicitly listed in the group)
Column
Type
Default value
Description
Index
dataflow_rule_id
INTEGER
-
internal ID
from_analysis_id
INTEGER
-
foreign key to analysis table analysis_id
branch_code
INTEGER
1
branch_code of the fan
funnel_dataflow_rule_id
INTEGER
NULL
dataflow_rule_id of the semaphored funnel (is NULL by default, which means dataflow is not semaphored)
This table links specific conditions with the target object (Analysis/Table/Accu) and optional input_id_template.
Column
Type
Default value
Description
Index
dataflow_target_id
INTEGER
-
internal ID
source_dataflow_rule_id
INTEGER
-
foreign key to the dataflow_rule object that defines grouping (see description of dataflow_rule table)
unique: key
on_condition
VARCHAR(255)
NULL
param-substitutable string evaluated at the moment of dataflow event that defines whether or not this case produces any dataflow; NULL means DEFAULT or ELSE
unique: key
input_id_template
MEDIUMTEXT
NULL
a template for generating a new input_id (not necessarily a hashref) in this dataflow; if undefined is kept original
unique: key
extend_param_stack
SMALLINT
0
the boolean value defines whether the newly created jobs will inherit both the parameters and the accu of the prev_job
to_analysis_url
VARCHAR(255)
''
the URL of the dataflow target object (Analysis/Table/Accu)
These rules define a higher level of control. These rules are used to turn whole anlysis nodes on/off (READY/BLOCKED). If any of the condition_analyses are not 'DONE' the ctrled_analysis is set to BLOCKED. When all conditions become 'DONE' then ctrled_analysis is set to READY The workers switch the analysis.status to 'WORKING' and 'DONE'. But any moment if a condition goes false, the analysis is reset to BLOCKED.
The job is the heart of this system. It is the kiosk or blackboard where workers find things to do and then post work for other works to do. These jobs are created prior to work being done, are claimed by workers, are updated as the work is done, with a final update on completion.
For testing/debugging purposes both STDOUT and STDERR streams of each Job can be redirected into a separate log file. This table holds filesystem paths to one or both of those files. There is max one entry per job_id and retry.
A generic blob-storage hash. Currently the only legitimate use of this table is "overflow" of job.input_ids: when they grow longer than 254 characters the real data is stored in analysis_data instead, and the input_id contains the corresponding analysis_data_id.
Column
Type
Default value
Description
Index
analysis_data_id
INTEGER
-
primary id
md5sum
CHAR(32)
-
checksum over the data to quickly detect (potential) collisions
Entries of this table correspond to Worker objects of the API. Workers are created by inserting into this table so that there is only one instance of a Worker object in the database. As Workers live and do work, they update this table, and when they die they update again.
Column
Type
Default value
Description
Index
worker_id
INTEGER
-
unique ID of the Worker
meadow_type
VARCHAR(255)
-
type of the Meadow it is running on
key: meadow_process
meadow_name
VARCHAR(255)
-
name of the Meadow it is running on (for meadow_type=='LOCAL' it is the same as meadow_host)
key: meadow_process
meadow_host
VARCHAR(255)
-
execution host name
meadow_user
VARCHAR(255)
NULL
scheduling/execution user name (within the Meadow)
process_id
VARCHAR(255)
-
identifies the Worker process on the Meadow (for 'LOCAL' is the OS PID)
key: meadow_process
resource_class_id
INTEGER
NULL
links to Worker's resource class
work_done
INTEGER
0
how many jobs the Worker has completed successfully
status
VARCHAR(255)
'READY'
current status of the Worker
when_born
TIMESTAMP
CURRENT_TIMESTAMP
when the Worker process was started
when_checked_in
TIMESTAMP
NULL
when the Worker last checked into the database
when_seen
TIMESTAMP
NULL
when the Worker was last seen by the Meadow
when_died
TIMESTAMP
NULL
if defined, when the Worker died (or its premature death was first detected by GC)
Entries of this table correspond to Role objects of the API. When a Worker specializes, it acquires a Role, which is a temporary link between the Worker and a resource-compatible Analysis.
Column
Type
Default value
Description
Index
role_id
INTEGER
-
unique ID of the Role
worker_id
INTEGER
-
the specialized Worker
key: worker
analysis_id
INTEGER
-
the Analysis into which the Worker specialized
key: analysis
when_started
TIMESTAMP
CURRENT_TIMESTAMP
when this Role started
when_finished
TIMESTAMP
NULL
when this Role finished. NULL may either indicate it is still running or was killed by an external force.
A table with post-mortem resource usage statistics of a Worker. This table is not automatically populated: you first need to run load_resource_usage.pl. Note that some meadows (like LOCAL) do not support post-mortem inspection of resource usage
Column
Type
Default value
Description
Index
worker_id
INTEGER
-
links to the worker table
primary key
exit_status
VARCHAR(255)
NULL
meadow-dependent, in case of LSF it's usually 'done' (normal) or 'exit' (abnormal)
mem_megs
FLOAT
NULL
how much memory the Worker process used
swap_megs
FLOAT
NULL
how much swap the Worker process used
pending_sec
FLOAT
NULL
time spent by the process in the queue before it became a Worker
cpu_sec
FLOAT
NULL
cpu time (in seconds) used by the Worker process. It is often lower than the walltime because of time spent in I/O waits, but it can also be higher if the process is multi-threaded
lifespan_sec
FLOAT
NULL
walltime (in seconds) used by the Worker process. It is often higher than the sum of its jobs' "runtime_msec" because of the overhead from the Worker itself
exception_status
VARCHAR(255)
NULL
meadow-specific flags, in case of LSF it can be 'underrun', 'overrun' or 'idle'
When a Job or a job-less Worker (job_id=NULL) throws a "die" message for any reason, the message is recorded in this table. It may or may not indicate that the job was unsuccessful via is_error flag. Also $self->warning("...") messages are recorded with is_error=0.
Column
Type
Default value
Description
Index
log_message_id
INTEGER
-
an autoincremented primary id of the message
job_id
INTEGER
NULL
the id of the job that threw the message (or NULL if it was outside of a message)
key: job_id
role_id
INTEGER
NULL
the 'current' role
worker_id
INTEGER
NULL
the 'current' worker
key: worker_id
when_logged
TIMESTAMP
CURRENT_TIMESTAMP
when the message was thrown
retry
INTEGER
NULL
retry_count of the job when the message was thrown (or NULL if no job)


Generate Layout & Statistics¶
This describes the layout utility that finds positions for the nodes based on similarity scores and generates associative statistics.
layout.py¶
Here is an example script with typical parameters to generate input for the Tumor Map viewer:
BASE_DIR=/data/hexmap/data
INPUT_DIR=$BASE_DIR/layoutInput/QuakeBrain
OUTPUT_DIR=$BASE_DIR/view/QuakeBrain
python2.7 $HEXMAP/calc/layout.py \
$INPUT_DIR/layout_sparse_mrna_data.tab \
$INPUT_DIR/layout_sparse_methylation_data.tab \
--names mRNA \
--names Methylation \
--scores $INPUT_DIR/attributes_clinical.tsv \
--scores $INPUT_DIR/attributes_mutations.tsv \
--include-singletons \
--colormaps $INPUT_DIR/colormaps.tab \
--first_attribute Tissue \
--directory $OUTPUT_DIR
Where he first two parameters are two different sparse matrix data files. There should be one of these for each layout.
names: unique ID/label for a layout scores: values for each signature include-singletons: add self-edges to retain unconnected points colormaps: colormap for categorical attributes first_attribute: attribute by which to color the map upon first display directory: layout and statistical output files
These are some lesser used parameters:
**attributeTags**: tags for filtering and searching for attributes
**min-window-nodes**: min nodes per window for layout-aware stats
**max-window-nodes**: max nodes per window for layout-aware stats
**no-density-stats**: don't calculate density stats
**no-layout-independent-stats**: don't calculate layout-independent stats
**no-layout-aware-stats**: don't calculate layout-aware stats
**truncation_edges**: edges per node for DrL and the directed graph
**windowSize**: clustering window count is this value squared
**drlpath**: DrL binaries


Professor Boyd [10/24/2016]
24 Oct 2016Notes from the meeting
Goal: See if projection methods can be accelerated by more intelligent selection of the iterates. In particular, make more use of the information that we collect along the way during projection: supporting hyperplanes and their associated halfspaces, and sequences of iterates upon which to do a line search.
Projecting onto an affine set and a convex cone is general
Consider starting with an affine set and a convex cone. This is the most general setting – it generalizes to any intersection of cones. To see this, say that we wanted to project a vector onto , each . Form
Finding a point in is equivalent to finding a point in . Note that is a convex cone and that is an affine set. To project onto from , we just take the average of each block .
Projections can be cheap, even for extremely high dimensional data
Say we have some variable and a fixed in the same space, and say we want to be the projection of onto a polyhedron. Provided that the polyhedron is defined by a small number of halfpsaces, we can compute this projection extremely cheaply. To be more concrete, our optimization problem is of the form
where . That is, is short and fat. The fact that is short is precisely what will let us compute the projection of onto the polyhedron efficiently.
The Lagrangian of the above problem is
Minimizing it in the normal way, we have
Substituting into our objective function eliminates both and :
Note that ! Our minimization problem has become
We can solve the problem easily after paying the overhead to compute and .
Generating a large, random cone program.
Recall the KKT conditions for the problem in SCS.
Randomly generate . Generate . Then generate . We will have . From there, enough will be specified to generate the data matrix and the vector . What’s more, you’ll have the solution , too.
Canonical sources and algorithms to read up on
- Borwein’s survey on alternating projections
- On the heavy ball method and momentum
- “FCM Method,” from the 364B notes? Something about cutting planes with memory=2. I couldn’t find it.
Ideas on accelerating alternating projections
- Dumbest, simplest idea (that just might work well enough): project onto the intersection of the supporting halfspaces to form a new iterate.
- Somewhat smarter: Keep more than 2 halfspaces. (Will this help? Certainly not in )
- Somewhat smarter still: Project onto more the halfspaces, but also do a line/plane search of the previous iterates, a parameter.
Suggestion (2):
- Say we let be the supporting hyperplanes we collect for the convex cone.

- Then, at each step, we’re solving
Key question: Can we solve this efficiently? Will the trick above help? Will FA become bigger than A? (No.)
Suggestion (3):
are a finite number of previous iterates that were on the affine set. That is, we’re doing a plane search. Can we solve this cheaply? We don’t have to solve it exactly, just need to do better than projecting the last of the iterates (the most recent one) onto , because that’s what we do by default. We’re assuming we know how to project onto . Is the objective function differentiable? Does the cost still go down if we do this? Do this, then do the cutting plane strategy, then project onto affine?
Boyd was under the impression / had the feeling that if we did three “weird” things, things might just work out well. One or two might not suffice, however.
Papers to bring up:
- Set Intersection Problems: Supporting Hyperplanes & Quadratic Programming
- Upshot: superlinear convergence in certain cases
- Work to be done: Numerical validations on real test suite
- SuperMann: Special case –> find point in intersection of (convex) sets
Approaches to discuss for accelerating alternating projections:
- Solve QP + over-project? (Note that projecting onto the intersection of two halfspaces is a simple cone projection problem.)
- What if we just initialize our new iterate at the intersection of the two halfspaces (when finding the intersection of two sets)?
- Randomness (Mert Pilanci’s work) (choose which halfspaces to use uniformly at random?)
Questions:
- Canonical sources?
Action items:
- Hooked into / clone the test suite (Mark N…?)
- Implement vs. theoretical guarantees – what’s the best way to go about
getting a feel for how “good” an algorithm is? A bit of both simultaneously?
- prove convergence at the very least …?


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JavaScriptMVC (JMVC) is a MIT licensed, client-side, JavaScript framework that
builds maintainable, error-free, lightweight
applications as quick as possible. It packs best-of-breed
libraries and tools that are guaranteed to work together. It
supports every browser that jQuery supports.
If you are new to the framework, this page followed by
the tutorials is the best place to start.
JMVC's goodies are broken down into four sub-projects:
The remainder of this page highlights each sub-project. Click
the the project links on the left for a more in-depth overview
of the sub-project.
CanJS
CanJS is a JavaScript framework that makes
building rich web applications easy and the MVC of
JavaScriptMVC. The library is extremely lightweight
(at only 11k minified and compressed) and full featured.
jQuery++ is a collection of useful jQuery libraries that provide the
missing functionality necessary to implement and organize large-scale
jQuery applications. It provides low-level utilities for things that
jQuery doesn’t support.
StealJS is a "code manager" that keeps code beautiful and organized
while developing and FAST for users in production. It's a collection of
command-line and browser-based utilities enabling you to:
load JS, CSS, LESS, and CoffeeScript files and build them into a single production file.
generate an application file/folder structure, complete with test, build and documentation scripts.
log messages in development that get removed in production builds.
StealJS is a stand-alone tool that can be used without the rest of JavaScriptMVC.
FuncUnit
FuncUnit is a web application testing framework that provides automated unit and
functional testing. Tests are written and debugged in the browser with
FuncUnit's short, terse, jQuery-like API. The same tests can be instantly
automated, run by Envjs or Selenium.
FuncUnit also supports extremely accurate event simulation on practically every browser and
system.
DocumentJS
DocumentJS provides powerful JavaScript documenting
capabilities. This whole website is built with it! DocumentJS can document practically
anything. It's extensible. And with Markdown support, it's easy to document your code.
JavaScriptMVC Documentation
JavaScriptMVC (JMVC) is a MIT licensed, client-side, JavaScript framework that builds maintainable, error-free, lightweight applications as quick as possible. It packs best-of-breed libraries and tools that are guaranteed to work together. It supports every browser that jQuery supports.
If you are new to the framework, this page followed by the tutorials is the best place to start.
JMVC's goodies are broken down into four sub-projects:
The remainder of this page highlights each sub-project. Click the the project links on the left for a more in-depth overview of the sub-project.
CanJS
CanJS is a JavaScript framework that makes building rich web applications easy and the MVC of JavaScriptMVC. The library is extremely lightweight (at only 11k minified and compressed) and full featured.
Everything you want and need to know about CanJS can be found here.
jQuery++
jQuery++ is a collection of useful jQuery libraries that provide the missing functionality necessary to implement and organize large-scale jQuery applications. It provides low-level utilities for things that jQuery doesn’t support.
The best way to get started is the jQuery++ overview.
StealJS
StealJS is a "code manager" that keeps code beautiful and organized while developing and FAST for users in production. It's a collection of command-line and browser-based utilities enabling you to:
StealJS is a stand-alone tool that can be used without the rest of JavaScriptMVC.
FuncUnit
FuncUnit is a web application testing framework that provides automated unit and functional testing. Tests are written and debugged in the browser with FuncUnit's short, terse, jQuery-like API. The same tests can be instantly automated, run by Envjs or Selenium.
FuncUnit also supports extremely accurate event simulation on practically every browser and system.
DocumentJS
DocumentJS provides powerful JavaScript documenting capabilities. This whole website is built with it! DocumentJS can document practically anything. It's extensible. And with Markdown support, it's easy to document your code.


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15.7 Universal Functions (ufuncs)Numeric supplies named functions with the same semantics as Python's arithmetic, comparison, and bitwise operators. Similar semantics (element-wise operation, broadcasting, coercion) are also available with other mathematical functions, both binary and unary, that Numeric supplies. For example, Numeric supplies typical mathematical functions similar to those supplied by built-in module math, such as sin, cos, log, and exp. These functions are objects of type ufunc (which stands for universal function) and share several traits in addition to those they have in common with array operators. Every ufunc instance u is callable, is applicable to sequences as well as to arrays, and lets you specify an optional output argument. If u is binary (i.e., if u accepts two operand arguments), u also has four callable attributes, named u.accumulate, u.outer, u.reduce, and u.reduceat. The ufunc objects supplied by Numeric apply only to arrays with numeric type codes (i.e., not to arrays with type code 'O' or 'c'). Any ufunc u applies to sequences, not just to arrays. When you start with a list L, it's faster to call u directly on L rather than to convert L to an array. u's return value is an array a; you can perform further computation, if any, on a, and then, if you need a list result, you can convert the resulting array to a list by calling its method tolist. For example, say you must compute the logarithm of each item of a list and return another list. On my system, with N set to 2222 and using python -O, a list comprehension such as: def logsupto(N): return [math.log(x) for x in range(2,N)] takes about 5.6 milliseconds. Using Python's built-in map: def logsupto(N): return map(math.log, range(2,N)) takes around half the time, 2.8 milliseconds. Using Numeric's ufunc named log: def logsupto(N): return Numeric.log(range(2,N)).tolist( ) reduces the time to about 2.0 milliseconds. Taking some care to exploit the output argument to the log ufunc: def logsupto(N): temp = Numeric.arange(2, N, typecode=Numeric.Float) Numeric.log(temp, temp) return temp.tolist( ) further reduces the time, down to just 0.9 milliseconds. The ability to accelerate such simple but massive computations (here by about 6 times) with so little effort is a good part of the attraction of Numeric, and particularly of Numeric's ufunc objects. 15.7.1 The Optional output ArgumentAny ufunc u accepts an optional last argument output that specifies an output array. If supplied, output must be an array or array slice of the right shape and type for u's results (i.e., no coercion, no broadcasting). u stores results in output and does not create a new array. output can be the same as an input array argument a of u. Indeed, output is normally specified in order to substitute common idioms such as a=u(a,b) with faster equivalents such as u(a,b,a). However, output cannot share data with a without being a (i.e., output can't be a different view of some or all of a's data). If you pass such a disallowed output argument, Numeric is normally unable to diagnose your error and raise an exception, so instead you get wrong results. Whether you pass the optional output argument or not, a ufunc u returns its results as the function's return value. When you do not pass output, u stores the results it returns in a new array object, so you normally bind u's return value to some reference in order to be able to access u's results later. When you pass the output argument, u stores the results in output, so you need not bind u's return value. You can later access u's results as the new contents of the array object passed as output. 15.7.2 Callable AttributesEvery binary ufunc u supplies four attributes that are also callable objects.
Returns an array r with the same shape and type code as a. Each element of r is the accumulation of elements of a along the given axis with the function or operator underlying u. For example: print add.accumulate(range(10)) # prints: [0 1 3 6 10 15 21 28 36 45] Since add's underlying operator is +, and a is sequence 0,1,2,...,9, r is 0,0+1,0+1+2,...,0+1+...+8+9. In other words, r[0] is a[0], r[1] is r[0] + a[1], r[2] is r[1] + a[2], and so on (i.e., each r[i] is r[i-1] + a[i]).
Returns an array r whose shape tuple is a.shape+b.shape. For each tuple ta indexing a and tb indexing b, a[ta], operated (with the function or operator underlying u) with b[tb], is put in r[ta+tb] (the + here indicates tuple concatenation). The overall operation is known in mathematics as the outer product when u is multiply. For example: a = Numeric.arange(3, 5) b = Numeric.arange(1, 6) c = Numeric.multiply.outer(a, b) print a.shape, b.shape, c.shape # prints: (2,) (5,) (2,5) print c # prints: [[3 6 9 12 15] # [4 8 12 16 20]] c.shape is (2,5), the concatenation of the shape tuples of operands a and b. Each i row of c is the whole of b multiplied by the corresponding i element of a.
Returns an array r with the same type code as a and rank one less than a's rank. Each element of r is the reduction of the elements of a, along the given axis, with the function or operator underlying u. The functionality of u.reduce is therefore close to that of Python's built-in reduce function, covered in Chapter 8. For example, since 0+1+2+...+9 is 45, add.reduce(range(10)) is 45. This is just like, when using built-in reduce and import operator, reduce(operator.add,range(10)) is also 45.
Returns an array r with the same type code as a and the same shape as indices. Each element of r is the reduction, with the function or operator underlying u, of elements of a starting from the corresponding item of indices up to the next one excluded (up to the end, for the last one). For example: print add.reduceat(range(10),(2,6,8)) # prints: [14 13 17] Here, r's elements are the partial sums 2+3+4+5, 6+7, and 8+9. 15.7.3 ufunc Objects Supplied by NumericNumeric supplies several ufunc objects, as listed in Table 15-4.
Here's how you might use the maximum ufunc to get a numeric ramp that goes down and then back up again: print Numeric.maximum(range(1,20),range(20,1,-1)) # prints: [20 19 18 17 16 15 14 13 12 11 11 12 13 14 15 16 17 18 19] 15.7.4 Shorthand for Commonly Used ufunc MethodsNumeric defines function synonyms for some commonly used methods of ufunc objects, as listed in Table 15-5.
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HILARY AND JACKIE A film review by Steve Rhodes Copyright 1999 Steve Rhodes RATING (0 TO ****): *** 1/2
Cuddled up together under the covers in bed, the now grown sisters share an another in a lifelong series of intimate, little chats. With a flashlight for illumination and champagne for celebration, the close siblings share in sister Jackie's musical triumph. The incredible actress Emily Watson plays famous cellist, Jacqueline Du Pré, and Rachel Griffiths plays her much less renowned flautist sister, Hilary Du Pré in the stunning picture, HILARY AND JACKIE.
Written by Frank Cottrell Boyce and directed by Anand Tucker, the film is based on the memoir by Hilary and her brother Piers. (Piers, played by Rupert Penry-Jones, appears sporadically in the film but is essentially ignored.)
The movie is consciously structured like a musical piece. After a brief introduction when the two sisters were young, we move into the body of the movie. First we have their adult life told from Hilary's perspective, and then the same events are chronicled from what might have been Jackie's perspective. The story ends in a furious movement in which Jackie is struck down with Multiple Sclerosis at the peak of her career. A wonderfully inviting movie is transformed into an astonishingly moving one in this fatal, last act.
As the movie opens, a grade-school-aged Hilary has the musical skills that her younger sister Jackie envies. With hard work and natural talent, Jackie soon eclipses her sister, who forever after is doomed to live in her shadow, relegated to being known as Jacqueline Du Pré's sister.
Both of the sisters suffer from what a musical teacher calls a "lack of deportment" when playing. This physical enthusiasm will turn into one of Jackie's trademarks and endear her to her fans. Watson, who is perfect for the role in so many ways, takes to the cello with abandon as if she were born with the instrument in her cradle. Griffiths is excellent too in displaying, with her silent looks, the frustration of coping with a strong willed and famous sister.
The movie bursts with luxurious concertos and rich sonatas, some shown in concert but most played innocuously and melodiously in the film's background. (This isn't a concert movie. All of the stage performances combined account for little more than a quarter of an hour of the film's running time.)
Jackie was a controversial figure. A product of the 1960's free love era, Jackie questions why marriage is necessary, given the advent of widely available contraceptives. Her most controversial stand comes from a request she makes to her sister after Hilary gets married. Since they agreed to always share everything, she'd like Hilary to let her share in conjugal relations -- she wants to have sex with Hilary's husband, Kiffer Finzi (David Morrissey). And we're not talking about a one-night fling.
The story argues convincingly that its two views of Jackie (one narcissistic and uncaring and the other lost and depressed but unfailingly loving) are equally valid. The incident of the dirty laundry best illustrates this paradox. While off on one of her long, foreign tours, Jackie finally communicates with her family by sending them a package from Moscow. When they open it, there is no card or letter inside, only her dirty laundry. This seemingly obvious act of cruelty takes on a different meaning when we finally get Jackie's explanation.
Jackie does eventually marry, choosing the Leonardo DiCaprio of the music world of the time, the celebrated conductor Daniel Barenboim (James Frain). The television news reports describe them as "the Arthur and Guenevere of the musical Camelot."
As Jackie's shooting star goes straight up, Hilary and her husband head for a remote, old farm to raise kids and chickens.
 "Don't you wish sometimes that you couldn't play," Jackie presciently asks her husband. "That you could just be ordinary." Barenboim loves the adulation and has trouble understanding the needs of his conflicted wife. (Poor Jackie gets so upset that at one point, while alone in a hotel room, she even mistreats her cello, leaving it out on the snowy balcony.)
Watson, who specializes in performances of complex and confounded characters, as she did in her Oscar nominated role in BREAKING THE WAVES, delivers another Oscar characterization as Jacqueline Du Pré. Mesmerizing throughout, her work will reduce you to repeated tears by the end.
Jackie's life is perfectly bracketed in the movie. Her first and last public performance with an orchestra has her playing the same instrument, and it's not the cello. Brilliantly staged and marvelously acted, HILARY AND JACKIE is a triumph that deserves the same roaring applause from motion picture audiences that Jackie received from her musical ones.
HILARY AND JACKIE runs 2:01. It is rated R for profanity and sexuality and would be fine for teenagers.
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|
Boost.Locale
|
a facet that holds general information about locale More...
#include <boost/locale/info.hpp>
Public Types | |
| enum | string_propery { language_property, country_property, variant_property, encoding_property, name_property } |
| enum | integer_property { utf8_property } |
Public Member Functions | |
| info (size_t refs=0) | |
| std::string | language () const |
| std::string | country () const |
| std::string | variant () const |
| std::string | encoding () const |
| std::string | name () const |
| bool | utf8 () const |
Static Public Attributes | |
| static std::locale::id | id |
| This member uniquely defines this facet, required by STL. | |
Protected Member Functions | |
| virtual std::string | get_string_property (string_propery v) const =0 |
| virtual int | get_integer_property (integer_property v) const =0 |
a facet that holds general information about locale
This facet should be always created in order to make all Boost.Locale functions work
| boost::locale::info::info | ( | size_t | refs = 0 | ) | [inline] |
Standard facet's constructor
| std::string boost::locale::info::country | ( | ) | const [inline] |
Get country name
| std::string boost::locale::info::encoding | ( | ) | const [inline] |
Get encoding
| virtual int boost::locale::info::get_integer_property | ( | integer_property | v | ) | const [protected, pure virtual] |
Get integer property by its id v
| virtual std::string boost::locale::info::get_string_property | ( | string_propery | v | ) | const [protected, pure virtual] |
Get string property by its id v
| std::string boost::locale::info::language | ( | ) | const [inline] |
Get language name
| std::string boost::locale::info::name | ( | ) | const [inline] |
Get the name of the locale, like en_US.UTF-8
| bool boost::locale::info::utf8 | ( | ) | const [inline] |
True if the underlying encoding is UTF-8 (for char streams and strings)
| std::string boost::locale::info::variant | ( | ) | const [inline] |
Get locale variant


Still on the subject of leather
Still on the subject of leather. Shown above is slim card wallet from @78percent based in Hongkong. Super nice and very slim. Aged very well. I gave it up because holding cash with it wasn't too intuitive. There is such a thing as too slim apparently. Below it is a well worn card case from @hardgraft
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