Hi, I'm Ian and I love Scala!
I am currently looking for a scala contracting position.
I have worked with Scala for nine years and am author and active maintainer of opensource scala projects, have been a speaker at scala conferences and have provided both scala and git training workshops at previous workplaces
Senior Scala Developer working on NOWTV
Senior Scala Developer working on Disney+
Senior Java Developer building new features for Barclaycard Payment Solutions
Senior Java Developer building new features for Barclaycard Payment Solutions
Senior Scala Developer in the Government Gateway team, supporting the sign-in pages
One of four Principal Developers in a 300 strong IT team. Working in a agile environment, shaping the technical direction of the Product Team by building available, scalable and fault tolerant applications that expose product data to the customer
Member of the Product Team, building the Net-A-Porter product API
Member of the Labs Team working on both long term project, as well as building prototypes and proof of concepts using a variety of different languages and technologies
Worked on the release of theOutnet.com
Software analysis of black box recorder data for trains and ships
Presented lessons learned whilst building the Net-A-Poter RESTful Product API in Scala and Spray
Presented our use of the Actor Per Request model for the Wish List API at Net-A-Porter
A day of running a workshop for groups of 13-14 year old students, with the aim of getting them excited about working in technology!
Demoed the Net-A-Porter GoogleTV App in a booth decked out to look like a living room
scala-uri is is a small Scala library that helps you work with URIs. It's used by over 200 open source projects on github. Check out the lemonlabs website to see which companies are using scala-uri, such as theguardian.com on their homepage! (link)
Example spray application that uses the actor per request model (link)
Mocking HTTP services on spray-can for integration testing (link)
Programming Reactive Systems (100%) View Certificate
Certified SAFe 4 Practitioner (84%) View Certificate
Principles of Reactive Programming (100%, Distinction)
Functional Programming Principles in Scala (100%, Distinction)
Scaling up with Akka and Scala
Software Engineering (First Class Honours)


RT @NickJosevski: @codinghorror @secretGeek great now I have to add other people's used GUIDs to my folder http://bit.ly/z4NhqZ
2/1/2012, 6:30:49 PM
Favs: 0
Retweets: 0
link--- layout: tweet ---
RT @NickJosevski: @codinghorror @secretGeek great now I have to add other people's used GUIDs to my folder http://bit.ly/z4NhqZ
2/1/2012, 6:30:49 PM
Favs: 0
Retweets: 0
link


Tetris
A simple tetris game build with HTML5 canvas.
1 Player
2 Players
About
1 Player
Use arrow key 使用上下左右
Score:
0
Pause
Return
2 Players
Use WSAD 使用 WSAD
Use Arrow key 使用上下左右
Pause
Return


American Beauty ***
Rated on a 4-star scale Screening venue: Odeon (Liverpool City Centre) Released in the UK by UIP on February 4, 2000; certificate 18; 122 minutes; country of origin USA; aspect ratio 2.35:1
Directed by Sam Mendes; produced by Bruce Cohen, Dan Jinks. Written by Alan Ball. Photographed by Conrad L Hall; edited by Tariq Anwar, Christopher Greenbury.
CAST..... Kevin Spacey..... Lester Burnham Annette Bening..... Carolyn Burnham Thora Birch..... Jane Burnham Mena Suvari..... Angela Hayes Wes Bentley..... Ricky Fitts Chris Cooper..... Frank Fitts Allison Janney..... Barbara Fitts Peter Gallager..... Buddy Kane
Sam Mendes, the director of "American Beauty", has shot a glorious film about a man who gets a life; what a pity that the screenwriter kills the character off.  But the rest of it is too darn involving. I guess I'll just say that it's great while it lasts.
The film is a study of two dysfunctional three-member families in suburban Connecticut. Mainly we follow the Burnhams -- Lester (Kevin Spacey), a depressive loser who writes mindless magazine copy and lusts after his daughter's best friend Angela (Mena Suvari), Carolyn (Annette Bening), a hideously perky estate agent whose vernacular of upbeat capitalist platitudes seems to have come from 1980s self-help tapes, and Jane (Thora Birch), a typically moody teenager. Just moved in next door are the clan Fitz -- Frank (Chris Cooper), a violent, homophobic colonel in the marine corps, Barbara (Alison Janney), his senile wife, and young Ricky (Wes Bentley), who makes vast sums of money selling pot behind his parents' backs.
These are, for the most part, people who refuse to face how disconnected and desperately unhappy they really are, clinging to societal labels and conventional ideas of propriety and beauty to convince themselves that things are going fine. Lester and Carolyn don't see themselves as a loveless couple working jobs they hate, but as productive middle-class earners.
This sounds like ugly and depressing material, but Mendes doesn't try to evoke typical reactions of disgust from the audience; his camera holds back, viewing things from a sympathetic distance, emphasising the absurdity of situations rather than their scandal. We're invited to find both pathos and pantomime humour in behaviour that could have come across as creepy. Lester's infatuation with Angela is a perfect example -- just look at the scene where he's eavesdropping on her outside Jane's door, thinks she's on to him and darts away like a child who doesn't want to be caught misbehaving.
It is Lester's conduct throughout "American Beauty" which points to why this movie is worth seeing, whereas last year's "Happiness" was not. In that movie, the characters just sat and whined about their miserable lives -- here, Lester sees how easily Ricky gets on with life, and finds himself inspired to change, to be honest with himself after all these years of blackout. Even if you instinctively find more happiness in looking at a plastic bag than in buying a silk sofa, the kid quite reasonably points out, then why go to the trouble of pretending otherwise?
In taking stock of what's important to him, Lester quits his job, starts pumping iron and resolves to be frank whenever he speaks -- actions that, in practice, most people would think weird, and the signs of mid-life crisis. But they're healthy for Lester; he's starting to grow as a person. By the end of the movie he's rejecting Angela's sexual advances; at the beginning, he would never have had the self-control or even the opportunity.
Spacey is wonderful in this role. There is an enthused glint people get in their eyes when they begin to re-invent themselves -- he nails it. And pay attention, too, to the subtle way his voice and body language come across as sluggish at the start of the movie and become progressively cooler. There are several good performances in "American Beauty", but his is the standout.
It would have been a great film, too, if it had followed through on its ideas, and allowed Lester's character to develop even further. But instead he is shot dead -- which we're told is going to happen from the outset, but still doesn't feel right. The point of Lester's self-improvement is to show us how it's possible to wake up from self-delusion and embrace what touches us. Killing him off implies that life is meaningless, everyone might as well lead unhappy lives and there's no point trying to work ourselves out of ruts because we're all doomed anyway. As if this isn't bad enough, the final scenes of the movie turn into tacky murder mystery, and set up a series of preposterous misunderstandings to give the killer a motive. What a letdown.
But don't take my word for it. My view is in the minority, and "American Beauty" looks set to win the top Oscars, having been named best picture of the year by the Online Film Critics Society and at the Golden Globes. Me, I think it unfolds as a profound masterpiece, then collapses in a muddle of probably unintentional, certainly unnecessary pessimism. It's as if Aladdin had forgotten how to unleash the genie, gone nuts and used his lamp to burn himself to death.
COPYRIGHT(c) 2000 Ian Waldron-Mantgani
Please visit, and encourage others to visit, the UK Critic's website, which is located at http://members.aol.com/ukcritic
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Head Blacksmith Newyear:
Who are you? A sponsor, you say, but whose?  I can't be expected to remember every apprentice and every sponsor, can I?


Lesson Objectives
By the end of the week you will be able to
- LONrgM10: interpret and extract information about motion from potential energy graph
- LOQua02: understand the photo-electric effect and its physical implications
- LOQua03: describe Einstein’s explanation of the photoelectric effect in terms of quantum light.
- LOQua04: calculate the energy of a quantum of light (photon) given the frequency
News Article
\Recent Progress in Solar Cell Technology\
This week there will also be your second lab, on the photoelectric effect.


1. All menu options except Save will offer to save the current game if the game state has changed since the game was last saved explicitly using the Save option.
2.
3. Hexkit games and scenarios are always stored as XML files. Scenarios are saved as plain XML files and carry an .xml
extension. Games receive additional GZip compression and carry an .xml.gz
extension, but may also be stored uncompressed with an .xml
extension.
The most recent autosave files are stored as AutoSave.xml.gz
(for human players) and ComputerSave.xml.gz
(for computer players) in the current user’s Hexkit\Games
folder.
Please refer to the User’s Guide for more details on Hexkit files.


All About Me
- I have red hair
- I am 24 years old
- I drive to school
- I'm taking classes at CodeFellows
- I play soccer in my free time
Education
- CodeFellows June 2019 - Septemper 2019
- Washington State University
- B.A. of History
Work History
- Thai Ginger
- Einstien Elementary
- BJ's bar and grill
- Garlic Jim's Pizza


Source code for django.views.generic.detail
from django.core.exceptions import ImproperlyConfigured
from django.db import models
from django.http import Http404
from django.utils.translation import gettext as _
from django.views.generic.base import ContextMixin, TemplateResponseMixin, View
class SingleObjectMixin(ContextMixin):
"""
Provide the ability to retrieve a single object for further manipulation.
"""
model = None
queryset = None
slug_field = 'slug'
context_object_name = None
slug_url_kwarg = 'slug'
pk_url_kwarg = 'pk'
query_pk_and_slug = False
def get_object(self, queryset=None):
"""
Return the object the view is displaying.
Require `self.queryset` and a `pk` or `slug` argument in the URLconf.
Subclasses can override this to return any object.
"""
# Use a custom queryset if provided; this is required for subclasses
# like DateDetailView
if queryset is None:
queryset = self.get_queryset()
# Next, try looking up by primary key.
pk = self.kwargs.get(self.pk_url_kwarg)
slug = self.kwargs.get(self.slug_url_kwarg)
if pk is not None:
queryset = queryset.filter(pk=pk)
# Next, try looking up by slug.
if slug is not None and (pk is None or self.query_pk_and_slug):
slug_field = self.get_slug_field()
queryset = queryset.filter(**{slug_field: slug})
# If none of those are defined, it's an error.
if pk is None and slug is None:
raise AttributeError("Generic detail view %s must be called with "
"either an object pk or a slug."
% self.__class__.__name__)
try:
# Get the single item from the filtered queryset
obj = queryset.get()
except queryset.model.DoesNotExist:
raise Http404(_("No %(verbose_name)s found matching the query") %
{'verbose_name': queryset.model._meta.verbose_name})
return obj
def get_queryset(self):
"""
Return the `QuerySet` that will be used to look up the object.
This method is called by the default implementation of get_object() and
may not be called if get_object() is overridden.
"""
if self.queryset is None:
if self.model:
return self.model._default_manager.all()
else:
raise ImproperlyConfigured(
"%(cls)s is missing a QuerySet. Define "
"%(cls)s.model, %(cls)s.queryset, or override "
"%(cls)s.get_queryset()." % {
'cls': self.__class__.__name__
}
)
return self.queryset.all()
def get_slug_field(self):
"""Get the name of a slug field to be used to look up by slug."""
return self.slug_field
def get_context_object_name(self, obj):
"""Get the name to use for the object."""
if self.context_object_name:
return self.context_object_name
elif isinstance(obj, models.Model):
return obj._meta.model_name
else:
return None
def get_context_data(self, **kwargs):
"""Insert the single object into the context dict."""
context = {}
if self.object:
context['object'] = self.object
context_object_name = self.get_context_object_name(self.object)
if context_object_name:
context[context_object_name] = self.object
context.update(kwargs)
return super().get_context_data(**context)
class BaseDetailView(SingleObjectMixin, View):
"""A base view for displaying a single object."""
def get(self, request, *args, **kwargs):
self.object = self.get_object()
context = self.get_context_data(object=self.object)
return self.render_to_response(context)
class SingleObjectTemplateResponseMixin(TemplateResponseMixin):
template_name_field = None
template_name_suffix = '_detail'
def get_template_names(self):
"""
Return a list of template names to be used for the request. May not be
called if render_to_response() is overridden. Return the following list:
* the value of ``template_name`` on the view (if provided)
* the contents of the ``template_name_field`` field on the
object instance that the view is operating upon (if available)
* ``<app_label>/<model_name><template_name_suffix>.html``
"""
try:
names = super().get_template_names()
except ImproperlyConfigured:
# If template_name isn't specified, it's not a problem --
# we just start with an empty list.
names = []
# If self.template_name_field is set, grab the value of the field
# of that name from the object; this is the most specific template
# name, if given.
if self.object and self.template_name_field:
name = getattr(self.object, self.template_name_field, None)
if name:
names.insert(0, name)
# The least-specific option is the default <app>/<model>_detail.html;
# only use this if the object in question is a model.
if isinstance(self.object, models.Model):
object_meta = self.object._meta
names.append("%s/%s%s.html" % (
object_meta.app_label,
object_meta.model_name,
self.template_name_suffix
))
elif hasattr(self, 'model') and self.model is not None and issubclass(self.model, models.Model):
names.append("%s/%s%s.html" % (
self.model._meta.app_label,
self.model._meta.model_name,
self.template_name_suffix
))
# If we still haven't managed to find any template names, we should
# re-raise the ImproperlyConfigured to alert the user.
if not names:
raise
return names
class DetailView(SingleObjectTemplateResponseMixin, BaseDetailView):
"""
Render a "detail" view of an object.
By default this is a model instance looked up from `self.queryset`, but the
view will support display of *any* object by overriding `self.get_object()`.
"""


It was not about being the “bigger man”. Essentially it was about becoming a principled, disciplined person. I think it’s totally normal for us to feel angry at some point. It’s not about teleology - estiology: answer what could this experience mean? From now onwards, whenever I find myself getting frustrated at a person/thing, I delude myself to think of a happy memory associated with it. It’s a pretty hack I’ve been using lately. Foremostly, I need to be mindful of all the moments I share with others, not that many to be honest. I try my best to register the emotions I feel as I proceed with the conversation/activity.
The next step for me would be to acknowledge it then and there and appreciate the beauty of the person.
So whenever my heart feel anything “bad” about that person, I go to my happy place. I remember the specific memory which I share with that person, laughing, playing, eating, talking, working.
All we can do is improve ourselves from within. I don’t think there are right choices or wrong decisions. It’s only our subjective perspective that characterise them as such. For me personally, I think it’s rather important to take decisions that I can live with.
For example, In the current hiring season, I chose to opt out of the campus placements aka mass recruitments. Given the attraction of jobs in “giant” companies, compensation package, its only reasonable for a lot of my colleagues to question it. To me, there were a lot of factors which I would not bore you with. I just want you to know that I took a conscious decision which I’m happy till date. I’m grateful for my ever supportive family who trusted me with the decision rather than enforcing their expectation on me.


Influenza and the virus that causes COVID-19 are two very different viruses and the seasonal influenza vaccine will not protect againt COVID-19.
Vaccines against pneumonia, such as pneumococcal vaccine and Haemophilus influenza type B (Hib) vaccine, only help protect people from these specific bacterial infections. They do not protect against any coronavirus pneumonia, including pneumonia that may be part of COVID-19. However even though these vaccines do not specifically protect against the coronavirus that causes COVID-19, they are highly recommended to protect against pther respiratory illnesses.
No, Antibiotics do not work against viruses; they only work on bacterial infections. Antibiotics do not prevent or treat coronavirus disease(COVID-19), because COVID-19 os caused by a virus, not bacteria.
Currently, there is no specific treatment for this disease, so healthcare providers treat the clinical symptoms with supportive care which has been highly effective for patients with symptoms. Various drug trials are underway (eg: chloroquine, hydroxychloroquine, remdesivir).
At this time, there are no natural health products that are authorized to treat or protect against COVID-19.
Most of the people with mild coronavirus illness will recover on their own. your health care provider may recommend steps you can take to relieve symptoms.
Indian Council of medical Research(ICRM) recommends the use of hydroxy-chloquine for chemoprophylaxis of COVID-19 infection in high risk population.


The RAISE_ERROR Function
The RAISE_ERROR function is a different type of function than we have discussed so far. It is not a column function because it does not take a group of rows and return a single value. Nor is RAISE_ERROR truly a scalar function because it does not transform column data from one state to another.
Instead, the RAISE_ERROR function is used to raise an error condition in the SQLCA. The user supplies the SQLSTATE and error description for the error to be raised. The error will be raised with the specified SQLSTATE and a SQLCODE of –438.
The RAISE_ERROR function can be used to signal application program and data problems. One situation where RAISE_ERROR may prove useful is in a CASE statement such as
SELECT EMPNO,
CASE WHEN SEX = 'M' THEN 'MALE '
WHEN SEX = 'F' THEN 'FEMALE'
ELSE RAISE_ERROR('70SX1', 'INVALID DATA, SEX IS NEITHER F NOR M.')
END
FROM DSN8810.EMP;
The value specified for SQLSTATE must conform to the following rules:
The value must be a character string of exactly five characters in length. Only the characters '0' through '9' and uppercase 'A' through 'Z' may be used. The first two characters cannot be '00', '01', or '02'. If the first character is '0' through '6' or 'A' through 'H', the last three characters must start with a letter from 'I' through 'Z'. If the first character is '7', '8', '9', or 'I' though 'Z', the last three characters can be any valid character.
NOTE
Technically, the RAISE_ERROR function does return a value. It always returns NULL with an undefined data type. You must use the CAST function to cast it to a defined data type to return the value to a program.
|


Volume IV Title
This summer, the second trilogy in the Alora’s Tear series begins. For today, let’s start with the title to book four.
Alora's Tear, Volume IV:
Circlets and Seekers
Make sure you’ve read the Epilogue to The Voice like Water. I’m so excited to share this story with everyone. Check back for more details, back cover text, excerpt, and of course the fantastic cover art!


Hello There!
This is Liching and welcome to my journal. Here I will be posting details on my projects, my thoughts and anything interesting that I find on the internet. I hope you enjoy it. If you like what you see, feel free to get in touch with me using the social media options on the left. Namaste.


YourCo
Data Tracker
dashboard
Dashboard
Data Tracker Dashboard
Toggle navigation
notifications
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WARNING: 90% of Pool Limit


{% extends "layout.html" %} {% block page_title %}gplus archiver{% endblock %} {% block body %}
JSON
The communities listed below have already been archived. Click to download the data.


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An asset feed used to export asset updates to a destinations. An asset feed filter controls what updates are exported. The asset feed must be created within a project, organization, or folder. Supported destinations are: Pub/Sub topics.
Inheritance
Implements
Inherited Members
Namespace: Google.Cloud.Asset.V1
Assembly: Google.Cloud.Asset.V1.dll
Syntax
public sealed class Feed : IMessage<Feed>, IMessage, IEquatable<Feed>, IDeepCloneable<Feed>
Constructors
Feed()
Declaration
public Feed()
Feed(Feed)
Declaration
public Feed(Feed other)
Parameters
| Type | Name | Description |
|---|---|---|
| Feed | other |
Properties
AssetNames
A list of the full names of the assets to receive updates. You must specify
either or both of asset_names and asset_types. Only asset updates matching
specified asset_names or asset_types are exported to the feed.
Example:
//compute.googleapis.com/projects/my_project_123/zones/zone1/instances/instance1
.
See Resource
Names
for more info.
Declaration
public RepeatedField<string> AssetNames { get; }
Property Value
| Type | Description |
|---|---|
| Google.Protobuf.Collections.RepeatedField<System.String> |
AssetTypes
A list of types of the assets to receive updates. You must specify either
or both of asset_names and asset_types. Only asset updates matching
specified asset_names or asset_types are exported to the feed.
Example: "compute.googleapis.com/Disk"
See this topic for a list of all supported asset types.
Declaration
public RepeatedField<string> AssetTypes { get; }
Property Value
| Type | Description |
|---|---|
| Google.Protobuf.Collections.RepeatedField<System.String> |
Condition
A condition which determines whether an asset update should be published.
If specified, an asset will be returned only when the expression evaluates
to true.
When set, expression
field in the Expr
must be a valid CEL expression on a TemporalAsset with name
temporal_asset
. Example: a Feed with expression ("temporal_asset.deleted
== true") will only publish Asset deletions. Other fields of Expr
are
optional.
See our user guide for detailed instructions.
Declaration
public Expr Condition { get; set; }
Property Value
| Type | Description |
|---|---|
| Google.Type.Expr |
ContentType
Asset content type. If not specified, no content but the asset name and type will be returned.
Declaration
public ContentType ContentType { get; set; }
Property Value
| Type | Description |
|---|---|
| ContentType |
FeedName
Declaration
public FeedName FeedName { get; set; }
Property Value
| Type | Description |
|---|---|
| FeedName |
FeedOutputConfig
Required. Feed output configuration defining where the asset updates are published to.
Declaration
public FeedOutputConfig FeedOutputConfig { get; set; }
Property Value
| Type | Description |
|---|---|
| FeedOutputConfig |
Name
Required. The format will be projects/{project_number}/feeds/{client-assigned_feed_identifier} or folders/{folder_number}/feeds/{client-assigned_feed_identifier} or organizations/{organization_number}/feeds/{client-assigned_feed_identifier}
The client-assigned feed identifier must be unique within the parent project/folder/organization.
Declaration
public string Name { get; set; }
Property Value
| Type | Description |
|---|---|
| System.String |


#1 Trending
Señorita" is a song by Canadian singer Shawn Mendes and Cuban-American singer Camila Cabello. It was released as the second single (seventh overall) from the deluxe edition of Mendes' self-titled third studio album through Island Records on June 21, 2019.[2] It is also included on Cabello's second studio album Romance (2019). The song was written by Mendes, Cabello, Charli XCX, Ali Tamposi, Jack Patterson, and its producers Andrew Watt, Benny Blanco, and Cashmere Cat.


Rollball
Touch Rugby is a sport without a proper online database of tournaments statistics. I developed
a tournament manager that allows to create and import tournaments and its statistics displaying
the data automatically.
I used Django and the source code is in github.
This is a collection of some personal projects I’ve worked on that are easily viewable online. Anything that is not browser-friendly will not make the cut.
Culinarius
App for displaying midday lunch specials in Berlin. Currently under development in a very early phase.
I am using scrapy and vuejs the source code is in github.
Geekjobs
Tech job board which pull jobs from other sources like stackoverflow and display them
in a single website. It is also possible to post jobs for companies paying via credit card.
I used django and stripes the source code is in github.


Allay is a technology platform that makes it easy fo...
Assisto is an intuitive, fast and easy to use app to...
Customer Intelligence & Experience company. Focus on...
B9lab delivers education, advisory & research on blo...
Bitcoin Magazine is an online platform that provides...
Bitfinex is a digital asset trading platform offerin...
BitPesa is a pan-African platform redefining how bus...


| Class | Description |
|---|---|
| AnyReader |
ValueReader used for "untyped" values; ones that are bound
to whatever Object is the natural mapping to JSON
value that parser currently points to |
| ArrayReader |
Reader for typed Array values.
|
| BeanPropertyIntrospector |
Helper class that jackson-jr uses by default to introspect POJO properties
(represented as
POJODefinition ) to build general POJO readers
(deserializers) and writers (serializers). |
| BeanPropertyReader | |
| BeanPropertyWriter |
Simple container class used to contain information needed for serializing
value of a single POJO property.
|
| BeanReader |
Class that contains information about dynamically introspected
Bean types, to be able to deserialize (read) JSON into a POJO
and serialize (write) POJO as JSON.
|
| BeanWriter | |
| ClassKey |
Key class, used as an efficient and accurate key
for locating per-class values from
Map s. |
| CollectionReader |
Reader for typed
Collection values. |
| DeferredMap |
A specialized
Map implementation that will collect
entries during building, but only materialize full lookup structure
when needed; that is, actual building of hash lookup is deferred. |
| EnumReader |
Reader for Enum values: needed because we need a simple
Map
for efficient conversion from id (gotten with Enum.toString()
to value. |
| JSONAsObjectCodec |
Convenience wrapper around
JSON that implements ObjectCodec . |
| JSONReader |
Root-level helper object that handles initial delegation to actual
readers (which are
ValueReader s), but does not handle
any of reading itself (despite name). |
| JSONWriter |
Object that handles serialization of simple Objects into underlying
data format (usually JSON).
|
| MapReader |
Reader for typed
Map values. |
| POJODefinition |
Definition of a single Bean-style Java class, without assumptions
on usage for serialization or deserialization, used as input
for constructing bean readers and writers.
|
| POJODefinition.Prop | |
| SimpleValueReader |
Default
ValueReader used for simple scalar types and related,
not including POJO-, Map and Collection
types. |
| ValueReaderLocator |
Helper object used for efficient detection of type information relevant
to our conversion needs when writing out Java Objects as JSON.
|
| ValueWriterLocator |
Helper object used for efficient detection of type information
relevant to our conversion needs when writing out Java Objects
as JSON.
|
Copyright © 2020 FasterXML. All rights reserved.


|
My Project
|
Classes | |
| struct | Date_and_Time |
Functions | |
| int | rtc_subscribe_int () |
| Subscribes RTC interrupts. More... | |
| int | rtc_unsubscribe_int () |
| Unsubscribes RTC interrupts. More... | |
| int | rtc_ih () |
| RTC Interrupt Handler. More... | |
| int | rtc_enable_update_interrupts () |
| Enables RTC Update Interrupts. More... | |
| int | rtc_disable_update_interrupts () |
| Disables RTC Update Interrupts. More... | |
| int | update_RTC_date () |
| Updates the currently date when an update interrupt is recieved. More... | |
| char * | get_current_date_and_time () |
| Return a string with current the date and time. More... | |
utils for rtc
| char* get_current_date_and_time | ( | ) |
Return a string with current the date and time.
| int rtc_disable_update_interrupts | ( | ) |
Disables RTC Update Interrupts.
| int rtc_enable_update_interrupts | ( | ) |
Enables RTC Update Interrupts.
| int rtc_ih | ( | ) |
RTC Interrupt Handler.
| int rtc_subscribe_int | ( | ) |
Subscribes RTC interrupts.
| int rtc_unsubscribe_int | ( | ) |
Unsubscribes RTC interrupts.
| int update_RTC_date | ( | ) |
Updates the currently date when an update interrupt is recieved.


Beautiful city maps for on the wall by Jorick van Raalten
SabeareTexitles with geopaterns by Baukje Rienks
Kenji Wadaproject at a government agency in San Francisco Bay Area.
Jewelery with perspective by Aletta Teunen
Martijn SnelderCraft Map made with Mapbox Studio Classic
LocomodoBed covers of Amsterdam
Elevated Delft Blue Map tiles by Erik Meerburg


https://github.com/udacity/appify
https://github.com/udacity/Sunflower
https://github.com/udacity/Bokeh


Angry protesters throw Molotov cocktail at Russian military vehicle in northern Syria: video
by News DeskBEIRUT, LEBANON (4:25 P.M.) – Angry protesters in the Al-Hasakah Governorate this week were filmed throwing rocks and Molotov cocktails at a Russian military vehicle that was on patrol.
In a video released by EHA Medya, the protesters can be seen pelting the Russian military vehicle with rocks before someone throws a Molotov cocktail at the end of the film.


This is the ** headers section of the functional test document.
This is a paragraph in a level 2 section.
Here is a code Block:
class Paragraph extends DocItem {
/**
* Adds an item to the Paragraph.
*
* @param docItem The item to add.
*/
public void add(DocItem docItem) {
super.items.add(docItem)
}
@Override
public boolean validate() {
return super.items.size() > 0
}
}
End of code block.
This is a block quoted paragraph.
This is also a block quoted paragraph!
This is a block quoted one line paragraph.
Unordered list
Second entry
List within list.
Second entry sub list
Third entry orig list. This entry has 2 lines.
Fourth entry orig list.
This entry has two paragraphs.
New sub list uo
New sub list l2 uo
Ordered list
Second entry ol
1. sub entry ol
2. sub entry 2 ol
Third entry orig ol.
This is a paragraph between 2 horizontal rulers.
This is a simple one line paragraph.
A paragraph is simply one or more consecutive lines of text, separated by one or more blank lines. (A blank line is any line that looks like a blank line — a line containing nothing but spaces or tabs is considered blank.) Normal paragraphs should not be indented with spaces or tabs.
This is a formatting Paragraph. Here is a link. Another link to somewhere. This paragraph also contains a simple code block
. And here is an . Some more text in this paragraph. www.somewhere.net ends this paragraph.
* This is not a list since the '*' is escaped!


Geometric figures
This is the first workshop of the Javascript Practical Course
Find the area and perimeter of a square
Write how long each side of your square is:
Calculate perimeter
Calculate area


- getAmount() - Method in class com.example.bee.QRTransaction
-
get the amount of this transaction, receive money is positive, transfer is negative
- getCancel() - Method in class com.example.bee.Request
-
Returns true if rider cancel the request before the driver picks up the rider
- getCost() - Method in class com.example.bee.Request
-
Returns the cost of the ride
- getCost() - Method in class com.example.bee.Routes
-
- getCurrentLocation() - Method in class com.example.bee.DriverMain
-
- getDatabase() - Static method in class com.example.bee.Utils
-
- getDest() - Method in class com.example.bee.Request
-
Returns destination address
- getDestLatlng() - Method in class com.example.bee.Request
-
Returns destination latitude and longitude
- getDeviceLocation() - Method in class com.example.bee.WaitingForRider
-
This locate the current location for the user device
- getDistance() - Method in class com.example.bee.Offer
-
Get distance of of this offer request from searching point
- getDistance() - Method in class com.example.bee.Request
-
Returns the total distance of the ride
- getDistance() - Method in class com.example.bee.Routes
-
- getDriver() - Method in class com.example.bee.RiderAfterAcceptRequest
-
This is a method to get the information of driver ID from the request
- getDriverID() - Method in class com.example.bee.Request
-
Returns driver's userID
- getEmail() - Method in class com.example.bee.UserProfile
-
- getEndPoint() - Method in class com.example.bee.Offer
-
Returning end point on call
- getFare() - Method in class com.example.bee.Offer
-
Returning request's fare
- getFinished() - Method in class com.example.bee.Request
-
Returns true if the driver pressed the finished button
- getFirstName() - Method in class com.example.bee.UserProfile
-
- getLastName() - Method in class com.example.bee.UserProfile
-
- getLat() - Method in class com.example.bee.Offer
-
Returning starting point latitude and longitude
- getLatLng(String) - Method in class com.example.bee.SearchRide
-
getLatLng method is used to convert a location name into geolocation with type LatLng
- getLng() - Method in class com.example.bee.Offer
-
- getName() - Method in class com.example.bee.QRWallet
-
Get the name of owner
- getOrigin() - Method in class com.example.bee.Request
-
Returns pick up address
- getOriginLatlng() - Method in class com.example.bee.Request
-
Returns the pick up address's latitude and longitude
- getPhone() - Method in class com.example.bee.UserProfile
-
- getPointList() - Method in class com.example.bee.Routes
-
Get the ArrayList of latlng points of the route in in String
- getPoints(String, String) - Method in class com.example.bee.EnterAddressMap
-
Get latitude and longitude from the input location and call draw route function
- getPoints(MarkerOptions, MarkerOptions) - Method in class com.example.bee.PopUpMap
-
This set up the marker points on the map
- getPoints() - Method in class com.example.bee.Request
-
Returns the polylineOptions to draw the routes
- getPoints(MarkerOptions, MarkerOptions) - Method in class com.example.bee.WaitingForRider
-
This set up the marker points on the map
- getReached() - Method in class com.example.bee.Request
-
Returns true if the driver clicks on the button indicating destination is reached
- getRiderId() - Method in class com.example.bee.Offer
-
getRiderID
- getRiderID() - Method in class com.example.bee.Request
-
Returns rider's userID
- getStartingPoint() - Method in class com.example.bee.Offer
-
Returning starting point on call
- getStatus() - Method in class com.example.bee.Request
-
Returns true if the rider accepted the driver's offer
- getTime() - Method in class com.example.bee.Request
-
Returns the duration of the ride
- getTime() - Method in class com.example.bee.Routes
-
- getTotalAmount() - Method in class com.example.bee.QRWallet
-
Get total amount inside wallet
- getTransactions() - Method in class com.example.bee.QRWallet
-
- getUsername() - Method in class com.example.bee.UserProfile
-
- getView(int, View, ViewGroup) - Method in class com.example.bee.CustomList
-
- getView(int, View, ViewGroup) - Method in class com.example.bee.RequestAdapter
-


Best Staples Black Friday 2019 deals
by Sean PortnoyWe combed through Staples' Black Friday 2019 ad and found the best tech deals from its sale.
Like office superstore competitor Office Depot/OfficeMax, Staples has numerous PC deals among its other Black Friday specials.
It even has some of the same deals that other stores have on offer, such as the base 10.2-inch Apple iPad for $249 and the ubiquitous $29.99 Amazon Kindle Fire HD 7 sale. But there are plenty of other Black Friday deals unique to Staples, including our favorites that we've highlighted below.
When is Staples' Black Friday Sale?
- See it now: Staples' Black Friday 2019 sale
Staples recently announced its Black Friday sales, and it's offering great deals on electronics for both your home and office. The in-store sales will kick off on Black Friday, Nov. 29, but the online savings start a day earlier on Nov. 28.
Black Friday 2019: Best Staples deals
If these deals aren't yet available, they will be when Staples' Black Friday sale goes live.
Amazon Fire TV Cube 4K for $90 ($30 off)
- See it now: Staples
The Fire TV Cube turns your TV into an Alexa-enabled device, allowing you to control the volume, power, and much more on your TV through voice control. It also offers all your favorite streaming apps and comes with a nice 25% discount for Black Friday.
Dell Inspiron 15 Laptop for $299.99 ($170 off)
- See it now: Staples
You usually get a processor with very little power when you spend less than $300 on a laptop, but this Dell Inspiron deal is an exception. You get an Intel Core i3-8145U CPU as well as 16GB of Intel Optane memory to speed up boot times. This Inspiron 15 also comes with 4GB of RAM, a 1TB hard drive, and a 15.6-inch display.
HP Pavilion 15-cs2064st Laptop for $499.99
- See it now: Staples
This deal is on the front cover of the Staples Black Friday ad for a good reason: This notebook provides an Intel Core i7 processing power for under $500. Specifically, you'll get the quad-core Core i7-8565U, along with 8GB of RAM, 16GB of Intel Optane memory, and a terabyte hard drive. A full HD 15.6-inch display rounds out the quality specs at an excellent price.
HP Pavilion 590-p0066 Desktop for $349.99 ($280 off)
- See it now: Staples
Like the Pavilion laptop mentioned above, this Pavilion desktop deal delivers a solid spec sheet for a remarkably low price. The components list is topped by a six-core Core i5-8400 processor, 12GB of RAM, and a 1TB hard drive, all for $350.
Lenovo Flex 6 14-inch 2-in-1 Laptop for $499.99 ($210 off)
- See it now: Staples
Office Depot and OfficeMax have a Black Friday deal on a higher-end -- and higher-priced -- version of this convertible laptop, but if your budget is under $500, you should head to Staples instead. You get a Core i5-8265U CPU rather than the Core i7 of the other deal, but you'll otherwise get the same 8GB of RAM, 256GB solid-state drive, and 14-inch full HD touchscreen.
Dell Inspiron 17 Laptop for $499.99 ($250 off)
- See it now: Staples
While the trend with laptop design is always thinner and lighter, there is still a market for desktop replacement style units with larger screens for those who don't mind the heft (or don't plan to carry it around much). Dell has the Inspiron 17 for those people, and Staples has a Black Friday deal to cut the price to just under $500. It features a Core i5-8265U processor, 8GB of RAM, and both a 1TB hard drive and a 128GB SSD, but the major spec for potential purchasers is the 17.3-inch full HD display.
HP All-in-One 24-f0016 Desktop for $719.99 ($100 off)
- See it now: Staples
We've mostly been featuring all-in-one PCs on the lower end of the price spectrum in these Black Friday roundups, but here's one if you don't mind spending a little more to get a more powerful system. While the 8GB of RAM and 1TB hard drive are nothing out of the ordinary, that hard drive is a little faster than what cheaper systems provide (7200rpm versus 5400rpm) and you get much better performance via the Core i5-8250U chip instead of an Intel Pentium or slower AMD processor. The touch-enabled 23.8-inch full HD display rounds out the feature set.
More Staples Black Friday 2019 deals
Didn't see what you wanted above? Here are a handful of other enticing Black Friday deals Staples is offering.
Laptops and desktops
- HP 14-cm0065st Laptop -- AMD A9-9425 processor, 4GB of RAM, 128GB SSD, 14-inch screen for $229.99 ($160 off)
- Lenovo IdeaPad L340 Laptop -- Core i3 processor, 8GB of RAM, 128GB SSD, 15.6-inch full HD screen for $349.99 ($160)
- HP Pavilion 590-p0070 Desktop -- Core i7 processor, 8GB of RAM, 1TB hard drive for $659.99 ($150)
- Dell Inspiron 17 3780 Laptop -- Core i7 processor, 8GB of RAM, 1TB hard drive and 128GB SSD, 17.3-inch full HD display for $629.99 ($260)
- HP Slimline 290-p0046 Desktop -- Core i3 processor, 8GB of RAM, 1TB hard drive for $369.99 ($100)
- Lenovo IdeaPad S340 Laptop -- Core i7 processor, 12GB of RAM, 1TB hard drive, 15.6-inch full HD screen for $599.99 ($200 off)
Other tech
- Canon Color ImageClass Wireless Laser Printer for $280 ($250 off)
- Apple Powerbeats Pro Wireless Bluetooth Earphones for $200 ($50 off)
- Fujifilm Instax Mini 9 with free film for $50 ($20 off)
- Google Nest Hub for $80 ($50 off)
Disclosure: ZDNet may earn a commission from some of the products featured on this page.


I'm always excited about technologies, but even more interested in making sure they work well for people.
I believe every project should start with user research to understand the users and identify the right problem we need to solve for them. Good research up front can help a product go a long way.
Depending on what I want to learn about the users and what stage the project is at, it is very important to select the right research method. I keep a list of methods in my back pocket and pick the best one when I need it.
I love making products beautiful. But when it comes to design, nothing is more important than the overall experience. I always try to deliver the most delightful user experience to my target audiences.
With my experience with Design Thinking, I take into consideration the needs of people, the possibility of technology, and the requirements of the business. Working closely with different stakeholders drives my design towards success.
I enjoy coding whenever I get the chance. I'm also taking some Machine Learning and Big Data courses to gain insights into these fields.
These exercises help me gain deeper insights into the possibilities and limitations of various technologies. Even though I'm not an expert in those fields, having the background knowledge and being able to speak their language helps me greatly when working on related projects.
I've worked on a wide variety of projects. Here are a few examples.
Due to confidentiality reasons, more details on projects are only available upon request.


Here's an article covering some of the main features and enhancements in Apache Shiro 1.2:
https://stormpath.com/blog/whats-new-apache-shiro-12


The story of the "Wunschkonzert" in Nazi Germany is at the same time the history of one of the most successful propaganda projects to take place in the Third Reich. "Wunschkonzert," literally "Wish-Concert" but translated more faithfully as "concert by request," was originally the name of an extremely popular radio program in which listeners could send in bids for their favorite songs and have them played by a live orchestra before what was truly a national audience. It was also the name of a 1940 Nazi film about that radio program which itself has been described as one of the biggest German box office hits of the wartime.
My task will be to tell those two stories, one about the radio program, the other about the film, as a way of talking about the role of the entertainment industry as a disseminator of Nazi propaganda during the twelve-year period between 1933 and 1945. Works about propaganda in the Third Reich often barely even mention the role of the "Wunschkonzert." 1 When one thinks of mass media in the service of the Nazi Party, what most likely comes to mind are films such as Leni Riefenstahl's Triumph of the Will about the 1934 Nazi party rally at Nuremberg or her extraordinary documentary film about the 1936 Olympics. Or one might think of the scurrilous anti-Semitic films like Jud Süss or The Eternal Jew, which were made and distributed in preparation for the final solution beginning in 1941. Or, most insistently, one is reminded of the shrill, piercing radio voice of the Führer himself, intoning his messages of hate over airwaves controlled by the one-party system.
But these were not the only means that the Party employed for garnering support and political legitimation. Nor were they the most successful ones. Of increasing importance was the use of light entertainment in an attempt to bind together the Volksgemeinschaft, the community of the Volk or the people as they called it, into one big happy family. The early years of Nazi rule saw the official media featuring the spectacle of marching troops, torch parades, political speeches to the masses, and brown shirt films directed toward organizing disenchanted male youth into the party. However, it soon became clear to Joseph Goebbels and his entire ministry that the Volk was simply fed up with all this "politics." The answer, they decided, was to make the invocation of their political message a less obvious and overbearing one, to present their political positions in the wrappings of culture.
Certainly the radio would play a very special role in the new communication system. In the development of larger goals, radio programs were seen as having to transcend the pluralism and excessive intellectuality of the Weimar Republic in order to strive for a Volkbildung (the formation rather than simply the education of a people) in a larger sense: now they spoke of forming a new folk soul of "true and genuine life"; of a "deeper" sense of values than are communicated in the belief systems of bourgeois democracies. 2 This "metaphysics of the radio," as it was called, suggested almost a religious calling, and was literally defined as such in a leading media journal: "The art of the radio [Rundfunkkunst] seeks to leave the marketplace and return to the church, to a church, which will encompass all its listeners with the same atmospheric powers and which is capable of bridging distances just like the all uniting House of the Lord. Here the central actors are no longer individual destinies, but rather ideas, they are community creating powers which speak forth with one voice in a manner that moves the many." 3
One of the most successful renditions of this "art of the radio," was the "Wunschkonzert," which has been described as the "miracle working invention" of Heinz Goedecke. 4 The program had its debut in January of 1936, and the format as originally planned was to have five different orchestras playing over a four hour period from eight until midnight on the Deutschlandsender. 5 All a listener had to do to participate was to send a request for a particular song accompanied by a donation for the Winterhilfswerk (social welfare for the poor). With that they would be able to hear their selection along with a dedication. As it turned out, the initial responses went considerably beyond expectations and by March of 1936 the program was expanded to six hours of programming. 6 In short, it was a spectacular success, with the result that by the end of the fourteenth broadcast shortly before the outbreak of World War II, the government had earned well over a quarter of a million marks.
On 1 October 1939, the organizers premiered a new version of the program called the "Wunschkonzert für die Wehrmacht" (Wunschkonzert for the armed forces), which continued the format of calling for donations, but also made as their central focus the soldiers on the front. The new format stipulated that soldiers and families of soldiers were the only ones permitted to participate and that for the remainder of 1939, at least, it was to be broadcast twice a week every Wednesday and Sunday afternoon from 5:00 to 8:00 before a live audience in a concert hall.
And what were the ideological implications of this program? Key for the creating of a genuine Volksgemeinschaft were the musical selections themselves. Where earlier attempts to use the radio for cultural legitimation had featured excessive amounts of high culture--one Beethoven cycle within a twelve day period sent out over all stations included a performance of Fidelio and the nine symphonies--the musical offerings of the "Wunschkonzert" contained a potpourri of material taken from all over the cultural map. 7 Music from operas and operettas, folk songs, march music, overtures, love ballads, children's lullabies, military t tunes, jazz and pop songs, were interspersed with classical music and short oral presentations or the recitation of poems, etc. The program began with a bugle fanfare and Hitler's favorite march, the Badenweiler, and ended with a listing of the day's contributors. In between there were musical performances by some of the leading artists of the day as well as by amateurs who had never performed publicly.
The regime's emphasis on "light entertainment music" was part of a growing recognition on the part of Goebbels and the propaganda ministry concerning the importance of cultural offerings appearing to "interest the common taste and being understandable and pleasing to the less sophisticated listener." 8 Nevertheless, in his dealings with the "Wunschkonzert" itself, Goebbels was known to have intervened on numerous occasions in efforts to raise the level of its quality by having well known artists take part in its programs. Moreover, the increasing pre-censorship of the programs on the part of the propaganda ministry often had as much to do with the selection of particular pieces and artists as it did with what was explicitly said politically in any of the broadcasts. Werner Krauss, Hans Albers, Willi Birgel, Zarah Leander, Gustav Gründgens, Katharina Söderbaum, Jenny Jugo, Hans Söhnker, Grethe Weiser, Paul Hörbiger, Willy Fritsch, Heinz Rühmann, and Marika Rökk were just a few of the stars from the world of screen who were coddled and in some cases intimidated into making unpaid appearances on the program. 9
The point, finally, of the "Wunschkonzert" was precisely not to challenge the audience intellectually, culturally, or above all politically, but rather to provide in this combination of folksy humor and familiar musical oldies a mix of high and low culture which would bring together war front and home front, old and young, children and parents, working people and the educated bourgeoisie; bring them together into a feel-good version of the Reich as national family. It was also designed to make the Volk itself feel actively and vitally involved. If standardized political propaganda had come to feature the Führer as the vanguard re haranguing and imploring the masses to ever greater heights of political and now military commitment to the Fatherland, the coziness of the "Wunschkonzert" sent a very different message. Here there was no mention of Blood and Soil, the Aryan master race, or the beauty of labor; no overbearing use of Nazi iconography or the Führer re with arm in outstretched salute; no sounds of the Horst Wessel song or frenzied singing of "Deutschland, Deutschland über alles." On the contrary, the mood was one of sentimentality, domesticity, and Gemütlichkeit--all of which was meant to replace the latent violence and heroicized sensation of the Nazi public sphere so familiar to us from the cinematic performances of Fascist power in the Riefenstahl film. To be sure, there was still the military march music, yet it was situated now as but one dimension of an expanded horizon in which public and private were conjoined in domestic harmony; and in which the aggression of war was transformed--not forgotten, certainly not repressed--into the solidity of a deeper kind of Volksgemeinschaft.
This integration of family, state, and war in the "Wunschkonzert" was particularly important, for it demonstrated how the power of the radio as a tool of Nazi manipulation lay precisely in its ability to break down the demarcations of private and public, individual and community, which was so central an element of the fascist grasp of power. This was surely one of the reasons why the "Wunschkonzert" was said to have become the symbol for the entire radio project centering on the war. 10 At the level of the military and war itself, the program was often advertised as a direct means of communication, not only between soldiers and their families, but also between soldiers and units which had become separated from each other. One of the most celebrated incidents in this regard was the role it played in paying homage to the captain and crew of the U-boat that had carried out a bold attack on the British fleet anchored at Scapa Flow in October of 1939. Uncertain as to their successes, the bearded men on the returning victorious U-boot turned on their radio to the "Wunschkonzert" only to learn that they had indeed sunk the mighty battleships The Royal Oak and The Repulse and that they had been awarded fifty thousand marks from donations to the "Wunschkonzert" for their efforts. In awe of the powers of the radio, the victorious Captain Günther Prien was quoted as saying: "Now here someone has pulled off something that is a thousand times better than anything we have achieved." 11
On a broader comparative level, it should also be mentioned in conclusion that the paradigm shift occurring within the Nazi public sphere parallelled as much as it clearly differed from public life in other advanced industrial societies. As in the United States, 1930s Germany saw the extensive growth of a culture industry in which mass mediated techniques of advertising and the commodification of politics changed the very framework of contemporary social and political life. The move from a primitive notion of Volksgemeinschaft grounded in concepts of Teutonic ritual and a return to pre-industrial forms of Heimat (home) and community gave way now to an embracing of more modern forms of representation. 12 The building of up-to-date communication systems like the autobahn, sound film, television, and air travel, as well as the development of vast consumer and war industries, brought a profound transformation of cultural forms and of visual and auditory acuity. Where the Nazis originally had sustained, at least ideologically, an anti-modern stance toward urban culture and contemporary life, they now increasingly sought to affirm the potential of technology and modernization precisely as a way to enable the values of a national community that would overcome the alienation of bourgeois democratic societies.
Certainly the message of a Volksgemeinschaft born out of the power of technology and the potential of the newest media was also central to the film Wunschkonzert made by Eduard von Borsody in 1940. And like the radio program, which is so central to its plot-line, this film also participated in a discourse which claimed to overcome the separations between home front and war front, private and public, by an assertion of the healing powers of a benevolent, all domesticating Nazi public sphere. Von Borsody himself underlines this point by stressing the differences between present conditions in the Third Reich and the failures of policy during World War I.
The war front and the home front were no longer able to understand each other back then, they spoke different languages, the common bond was broken. . . . Today the home front stands in intimate contact with the war front. And to that end the radio, and above all the Wunschkonzert for the Wehrmacht, have made major contributions. 13
Billed as a musical comedy about the war, the movie Wunschkonzert tells of two lovers who are separated by war, but who, because of everlasting love, faithfulness to duty, and some help by a radio program, are eventually able to reunite within the reaches of a greater Reich. The story begins when a young girl named Inge Wagner (Ilse Werner) meets Herbert Koch (Carl Raddatz), a lieutenant in the air force, at the 1936 Olympic games in Berlin. After three days of glorious courtship she decides to marry him. This initial section of the film is full of images à la Riefenstahl of the spectacular Berlin games together with tourist guide romancing of the highlights in the capital, all of which is suddenly interrupted by the call to duty of Herbert to carry out a secret mission with the Condor Legion in support of Franco in the Spanish civil war. Because Herbert is not permitted to write letters home, the two lose contact, although Inge never gives up hope, of course. Time goes by and shortly before the outbreak of the war, a young ter pilot named Helmut Winkler (Joachim Brennecke) meets and falls in love with Inge. However, despite the fact that three years have past since Koch's departure, Inge maintains her vigil and turns down Winkler's offer of marriage. Thus it is that the major tension of the film emerges almost at its very outset, namely the tension between the male fulfillment of duty by the stoic lieutenant Koch and the power of emotional feelings represented most forcefully by its eternal guardian, the faithful female Inge Wagner. It is this juxtaposition--it is not, importantly, staged as a conflict--between deep seated, indefatigable desire, on the one hand, and the repeated deferment of its gratification in the name of national duty, on the other, that impels the story to its inevitable resolution. Yet while Inge's desire is indeed the demiurge of the action, it is the "Wunschkonzert" which will finally enable its happy, but also its politically proper ending.
However, this film is more than just a love story. Imbedded in its plot are numerous little subplots dealing with men who go to war and others who stay at home. One concerns a teacher who is inducted into the armed forces and must leave behind his pregnant wife, only to learn later in a broadcast of the "Wunschkonzert" that she has given birth to a son. The announcement is followed by a children's choir singing the egregiously sentimental lullaby "Schlaf mein Princhen, Schlaf ein" (Sleep, my little prince, go to sleep). Another recounts the story of a young man who is a performer of classical music, particularly Beethoven, and who having sacrificed his life in order to save his comrades has a song dedicated to his memory for the "Wunschkonzert." Looking through his notebook, his mother had discovered his handwritten rendering of the song "Gute Nacht, Mutter" (Goodnight, Mother), and as the whole nation listens, it is sung to her now over the Deutschlandsender, posthumously as it were. Yet another subplot offers the comic tale of the two soldiers who steal five pigs from the French and come to Berlin in order to present them live and with a singing of their own horrendously kitschy composition on national radio. Finally, as our plot summaries suggest, each strand of the narrative is woven into and through the "Wunschkonzert" which becomes its ultimate apotheosis and resolution.
Thus the "Wunschkonzert" as a radio program functions within the film both as a place of national reconciliation and as an agent or player in bringing about narrative resolution. As a space of renewal it serves to bridge the gap between home front and war front, and in so doing, quite literally to sing the praises of the media and of the benevolent party which have made it all possible. One of the central themes of Third Reich propaganda was the ever recurring call for the "acquisition of more Lebensraum," living space, to compensate for what Hitler himself felt to be the natural claim of the German race to territorial expansion and rule. 14 Moreover, as an imperialist slogan it served to justify the need for the kinds of expansion which eventually led to the invasions of Poland, the Czech Sudetenland, Austria, the western front, and finally the Soviet Union; or even the kinds of fantasies that dreamed of regaining lost colonies in Southwest Africa.
In their use of the radio, the Nazis succeeded in opening up still another, somewhat broadened sense of Lebensraum, this time via the airwaves. If we speak today of cyberspace as the broaching of a new frontier, clearly the consolidation of a Volksgemeinschaft by means of networking private and public experience within an expanded frontier of national space became an important political point of legitimation and control. Father and mother and newborn babe are brought together again in ether space, enabled by an apparatus that will link their individual destinies spatially and communally to the now expanded familial Reich. Departed son and mourning mother as iconic metaphor for all the losses in the present and anticipated losses in the future are united through and in this expanded Reich as a kind of surrogate religious transcendence.
Here the cinematic representation of this ethereal Reich is particularly important. In the birth scene, the shot/reverse-shot editing creates a relationship between mother and child at home and father at the front, in which their proximity and intimacy are enhanced by having them stare directly out of the frame as though beholding each other face to face. The tilting head of the mother looks up into the father's eyes in a perfect eyeline match as if she were showing him the baby firsthand. As such, it serves as a visual expansion of their auditory intimacy, itself bound together by the sounds of the saccharine lullaby.  In each case, the message is one in which radio and cinematic media unite under the guidance of the Party to represent a Volksgemeinschaft which now has room for family values and a domesticated public sphere, promising as well the possibility for active participation in the shaping of the new cause.
Yet in addition to being a locus for expanded spatial relationships, the "Wunschkonzert" also provided resolution for the plot. To understand its ultimate narrative function in the film, let us return to the main love story. After waiting in vain for word from her fiancé Herbert, Inge suddenly hears his name in a broadcast of the "Wunschkonzert." In memory of their wonderful days at the Olympic Games, Herbert has requested a playing of the Olympic anthem, whereupon Inge learns of his location and writes him a letter requesting a rendezvous. This planned meeting also goes for nought, as Herbert is once more commandeered to the front. In the meantime, Inge's friend and unrequited suitor Helmut Winkler ends up under the command of Koch in the same flying unit. At first they are unaware that they are in love with the same woman, then Koch discovers Winkler's attachment and renounces his love for Inge, whereupon Inge finally arrives on the scene and reaffirms her love for Koch. The two march off into the dusk to the tune of march music and the images of a massive war assault against England by sea and air.
The message of the film seems rather an obvious one. Individual love has been subordinated to the interests of the community. The somewhat pallid, if nevertheless heroic Herbert Koch must first complete his military commitments, twice delaying consummation of their love affair as we, the audience, are taken on death defying flying missions over the enemy skies of Spain in 1936 and the Atlantic in 1939. Moreover the consummation itself, when it finally does occur, is virtually state-initiated by the all encompassing arm of the "Wunschkonzert." Like the other subplots, the reconciliation must occur under the auspices of a public sphere which will weld the two together. Thus it is not at all surprising that Inge, the agent of narrative desire and closure, will come to her major insight while listening to this radio program--more specifically the beautiful strains from the overture to Mozart's The Marriage of ro--at the very end of the film. Love conquers all, as long as it is in league with the forces of communitarian truth. Communitarian truth in this instance is the folksy togetherness of the radio program--now writ large.
Although the focus of Wunschkonzert remains within the generic framework of a love comedy, muting its references to the icons and signification of specifically Nazi politics and history, there are a number of oblique and not so oblique allusions that mark it clearly within the historical reference points of contemporary political events. The opening sequences at the Olympic Stadium, for instance, splice in documentary material from Riefenstahl's film Olympiad and newsreel footage highlighting the opening of the games. The film actually begins with a fade in to the Olympic bell and the Olympic rings with clouds in the background and includes brief cuts to the Führer as well as opening ceremonial parades into the stadium, featuring in particular the teams of Japan and Italy with hands raised in the Hitler salute. While Hitler and the Party are indeed present in Wunschkonzert, they do not play an overbearing or even prominent role in the film as a whole. One sees pictures in the background or swastikas on the margins.
Koch's involvement in the Spanish Civil War as a member of the Condor Legion is also treated through vague allusions to a secret mission, soldiers lined up for inspection before departure, high praise for the Luftwaffe, brief shots of ter raids, etc. Thus "History" is found on the edges of Wunschkonzert and in moments of digression from the main narrative--in documentary footage of the invasion of Poland, in an isolated battle scene in which the good son who plays Beethoven is killed saving his comrades, in a bombing raid in which Koch is shot down and Winkler wounded through anti-aircraft ter flak. History is there, but it clearly remains subordinated to the larger story of the film. 15 While it lends the movie a sense of contemporary events--mobilization, calls to duty, heroic commitment to the Fatherland, etc.--what we are really getting here is history with a small "h": the history of the little people who make war possible and the politics of a government which is creating another mode of togetherness and community. It is a history of private life which, unlike the alienated separations of the older bourgeois order, will be organized into a harmony of the home and state. 16
Yet as much as the message of Wunschkonzert is ultimately a conventionally "political" one, it is the politics of entertainment which is really writing the master text and gaining the upper hand. As Goebbels himself was to point out on numerous occasions:
At a time in which the entire nation is burdened with such heavy cares, entertainment is from the perspective of state politics of special value. . . . A national leadership that wishes to be worthy of such a name has as its first and foremost duty to stand by its people. In this regard, the film is one of the most valuable means by which individual Germans are able to beautify those few non-work hours that they have left for refreshing their spiritual powers. 17
Goebbels does not use the word escapism here, yet the implication is there and the developing policy clearly followed along these lines. While the beginning of the war years brought a repoliticizing of film in its focus on the subject of war, Wunschkonzert as well as another highly popular film of 1942 entitled Die große Liebe (The Great Love) are classic examples of how the codes of Hollywood love comedies were used to sweeten the pill. For instance, the genre that comes most immediately to mind for Wunschkonzert is that of the separation love story as screwball comedy, represented most obviously in Leo McCarey's film Love Affair of 1939, starring Charles Boyer and Irene Dunne, which was remade as An Affair to Remember in 1957 (with Cary Grant and Deborah Kerr) and Love Affair (with Warren Beatty and Annette Bening) in 1994. Looking beneath the thematic surface of war, Reich, Olympic games, and Volksgemeinschaft, one finds at a deeper structural level a powerful homology between the two films in the narrative rhythms generated by the deferred desires of unconsummated love. If lack is the driving force that motivates the events and propels the narrative of any film, Wunschkonzert and Love Affair display remarkably similar patterns in the way that system operates in the denied and finally consummated love of the major res.
In Love Affair, of course, there is nothing remotely political or even socially relevant put forth as the reason for the separation and delayed reconciliation of the two lovers. The jaded Michel Marnay and the younger, but equally skeptical Terry McCay--both about to enter marriages of convenience with wealthy suitors--meet on an ocean liner headed for New York City and, after a flurry of cynical banter and comic repartee, suddenly fall wildly in love. Rather than simply run off together and get married, however, they decide to put themselves on probation by separating for six months in order to determine whether they are worthy of their love. Worthiness, in this context it seems, is being defined by the protestant work ethic, for during their period of delay, Michel works as a sign painter and Terry sings in nightclubs. On her way to the appointed marriage rendezvous, Terry suffers a tragic accident, ending up in the hospital and leaving poor Michel to wait in vain for her arrival. Completely in the dark as to why she didn't show up, Michel assumes he has been left in the lurch and the separation continues--almost unbearably--until they finally manage to find each other again.
Without arguing that Wunschkonzert was directly influenced by Love Affair--I certainly have no evidence that it was--let me suggest two key dimensions of the Hollywood model as revealed therein which might be seen to undergo an interesting reinscription in this German film of the same period. Central to both films is the obvious theme of separation, deferred gratification, and final restitution. Both narratives are driven by an insatiate desire to restore to balance and harmony an initial love idyll that has been torn asunder by unforeseen events. Yet the differences between the two are also significant. The American film attributes the failure to consummate first to a whim of fate (the tragic accident) and then to a not very well motivated stubbornness of pride on Terry's part in refusing to locate Michel and inform him of what has transpired. Wunschkonzert in contrast, would subordinate the whims, desires and actions of individuals to the larger mapping of volkish identity and the goals of the fatherland. Herbert Koch is about to go to Hamburg for his appointed rendezvous with Inge, only to be called once more to duty. Without batting an eyelash he rushes off to do battle over the Atlantic. "Duty is Duty" (Dienst ist Dienst) he is heard to mutter under his breath as he runs out the door.  Only when the time is right on a larger scale will they or can they be reunited.
And there is also the matter of humor and slapstick in the two films. In Love Affair, Michel and Terry are shown initially as superficial, non-serious types: the comedy and screwball antics serve to contrast and highlight their shift to seriousness as lovers and as working, engaged people, as well as the film's potential shift toward seriousness as melodramatic tragedy. In Wunschkonzert the comedy serves above all to distract from the seriousness of war. The comic performances within the framework of the radio program, as well as the playfulness and antics in working out the main love plot and various subplots, serve to fold the invasions of foreign countries, the violence and death of air and ground warfare, into the inexorable flow toward the comedic happy end. The national domestication of the Volk is also in part the domestication of world war.
In an article written about Wunschkonzert shortly before its premiere in 1940, Nazi critic Florian Kienzl uses the film to propound the theory that "the episodic gains importance in films about the present day by reflecting the Volksgemeinschaft as a collection of individual destinies." Where traditional dramatic and cinematic representations have tended to neglect the smaller roles, often casting them with inexperienced actors while playing up the centrality of the lead actors, films like Wunschkonzert
serve as witness to the general experience (Allgemeinerlebnis) and as such are based upon the notion of the multiplicity of the human specific. They attempt to show how everything conflictive [gegensätzlich], idiosyncratic, or different from a sociological and organizational point of view is sublated into harmonic oneness [in einerharmonischenEinheit aufgeht]. A great moment of history should also shed its light upon a small piece of that world and give it meaning. 18
Kienzl's argument reveals two paradigmatic forms of Nazi cooptation. The first is that of a left-wing, even Brechtian oriented aesthetics by a populist cultural politics based on volk rather than class. In the name of a more epic focus upon "episodic res," films like Wunschkonzert are seen to realign (if not radically decenter) the privileged individuals of the main plot in a call for an "imaginary world" made up of "many destinies." In Nazi discourse, the word destiny is often used in place of the word individual; just as "difference" and "conflict" are thematized at the same moment they are said to be subsumed and transcended into a greater whole: "The new contemporary film, this mirror of a folk which consensually unites in service to the Vaterland, has created a form which grants to every performer [Darsteller] an equal task in the service of art."
Kienzl's representation of the role of film within a modern culture industry is equally revealing: the Hollywood seamless narrative, while not completely abandoned, becomes reconred within a larger discursive complex that would acknowledge the centrality of the stars and the main plot, while simultaneously valorizing "the richness of the events revolving around this little kernel" as being "just as important, if not more important." As a corrective to this position, it should not be forgotten that the highly successful marketing campaign for this film over the one-year period prior to its release in December of 1940 was aimed explicitly and repeatedly at the drawing power of the two lead actors; and that Ilse Werner and Carl Raddatz both dramatically enhanced their careers because of their starring roles and, I would argue, the centrality of the main narrative in Wunschkonzert. As is well known, Werner's initial reluctance to accept the part was overruled by an adamant Goebbels, who saw in her the "sympathetic prototype of the refreshing, modern woman," a re who would help bind this disparate film together through her combination of the girl-next-door look (Werner was nineteen at the time of the film) and the allure of a modern star. 19
Having discussed the importance of the Hollywood model for the reworking of political messages in the Wunschkonzert, let us conclude now with some final words about the role of mass culture more generally in the Third Reich during this period. Clearly what became particularly significant strategically for the regime with the beginning of the war was the use of popular cultural forms--film, radio, popular music, sports--in order to garner support at a time of crisis. For instance, the brief appearance of the clarinet jazz band in Wunschkonzert can be viewed today as both a form of cooptation as well as a trope thematizing a forbidden and potentially subversive history in the Third Reich. What was called Jewish jazz or Negro jazz, or "Volk-alien Americanism," much of which had come into Germany via Hollywood musicals and comedy, was officially banned in German radio after 1935. While this prohibition was also meant for the recording industries and public nightlife, there was in fact a surge in the enjoyment of American music in the late thirties. Music by Tommy Dorsey, Coleman Hawkins, Count Basie, Artie Shaw, and Fats Waller was distributed by the major record companies, even after the outbreak of the war.
Nazi efforts to combat this "swing bacillus" ranged from periodic, mostly unsuccessful attempts at prohibition, on the one hand, and a more concentrated strategy in the area of public broadcasting to replace it with what Goebbels himself called "quality entertainment music," on the other. 20 And this is precisely what we see being presented in the "Wunschkonzert." As highly watered down, often sentimentalized or kitschified variations of high swing, it was intended to meet the need for popular music, and in so doing also to counter or at least neutralize the infiltration of the more sophisticated forms of New Orleans Jazz and Benny Goodman swing that were being broadcast into Germany via Radio Luxembourg. 21
"Light entertainment music" then was just another form of domestication. Like the reinscription of Hollywood film and the theologizing of the radio, its ultimate purpose was to utilize the modes of a modern culture industry in the remaking of the Reich as a national family. The film Wunschkonzert brings together a number of differing media working intertextually to support the cause. In his bestselling book entitled We Begin the "Wunschkonzert" for the Armed Forces, Heinz Goedecke, the creator and moderator for the "Wunschkonzert," tells the illustrated story of the program. 22 Published in 1940 to dovetail with the appearance of the film, several of the anecdotes are renditions of the plot and subplot of the movie; just as a number of the photographs of stars from stage, screen, and music hall who have frequented the program also appear in the film. As one of the most successful productions of the Nazi public sphere, the "Wunschkonzert," in all of its permutations, was an entertainment Gesamtkunstwerk (total art work) that would anticipate developments for years to come.
David Bathrick is Professor of German Studies and Chair of Theatre, Film, and Dance at Cornell University. He is also a coeditor of New German Critique. His latest book is The Powers of Speech: The Politics of Culture in the GDR and he is currently working on a book about Nazi visual culture, tentatively titled Seeing is Believing.
1. Hilmar Hoffmann's The Triumph of Propaganda: Film and National Socialism, 1933-1945, trans. John A. Broadwin and V. R. Berghahn (Providence and Oxford: Berghahn Books, 1996) is an exception in this regard, including a discussion of several sequences in their sections on newsreel footage, 108f., 180f.
2. Peter Reichel, Der schöne Schein des dritten Reiches: Faszination und Gewalt des Faschismus (Frankfurt am Main: Fischer Taschenbuch, 1993), 164-5.
3. Quoted from a contemporary trade journal in Wolfram Wessels, Hörspiele im dritten Reich (Bonn: Bouvier, 1985), 122ff.
4. Völkischer Beobachter (1 January 1941).
5. While the "Wunschkonzert" of 1936 was the first such program to appear under this name, the genre of telephone-request programs was introduced in Germany as early as July, 1924, by the Südwestdeutsche Rundfunkgesellschaft in Frankfurt am Main. See Harald Heckmann, "Die Institution "Wunschkonzert," Mitteilungen. Studienkreis und Geschichte 2 : 90-7, for a brief history of the program and its roots in England as well as the Weimar period. See also Heinze Schröter, Unterhaltung für Millinoen: Vom Wunschkonzert zur Schlagerparade (Dusseldorf and Vienna: Econ Verlag, 1973), and Heinze Goedecke and Wilhelm Krug (the organizers of the Nazi "Wunschkonzert"), Wir beginnen das Wunschkonzert für die Wehrmacht (Berlin and Leipzig: Nibelungen-Verlag). These anecdotal works give further historical information on the background to this type of prgram. Goedecke and Krug tell the story of an accidental phone call to a radio show on Christmas Eve 1935 giving rise to the introduction of the program two weeks later, as though there had never been "Wunschabend" or "Wunschnachmittage" programs in the 1920s.
6. The 1 March 1936 edition of the weekly radio magazine Die Sendung lists the following times for that week's program: 3:00-6:00; 6:30-7:40; 8:00-10:00.
7. Heinz Pohle, Der Rundfunk als Instrument der Politik: Zur Geschichte des deutschen Rundfunks von 1923 bis 1938 (Hamburg: Verlag Hans Bredow-Institut, 1955), 279.
8. Quoted in Reichel, Der schöne Schein, 168.
9. See Goedecke and Krug for a listing and pictures of celebrities from high and mass culture who appeared on the program between 1936 and 1941. Harald Heckmann cites a document in which Goebbels communicated to Hans Albers that he could not comprehend "that he [Albers] had no time to work for the Wunschkonzert. He would expect that Albers would indeed be able to do so the following day" (Heckman, "Die Institution 'Wunschkonzert,'" 96).
10. Die Sendung (1 December 1940).
11. Goedecke and Krug, 134-7. The captain and the crew were to be celebrated by the "Wunschkonzert" on numerous other occasions. The November 3, 1940 edition of Die Sendung reported a "unique celebration (of the "Wunschkonzert") repeating the announcement of the latest successes of our submarines and the decoration of Captain Prien with the Cross of Iron by the Führer." The program ended with a rendition of the sailor's chorus from Wagner's The Flying Dutchman. For information on the illustrious career of Captain Prien, who went down with his ship on March 7, 1941, see Robert S. Wistrich, Who's Who in Nazi Germany (London and New York: Routledge, 1995), 194.
12. See Hans Dieter Schäfer, Das gespaltene Bewußtsein: Deutsche Kultur und Wirklichkeit 1933-1945 (Munich: Hanser, 1981), 114-62, for a discussion of the cultural tension between Germany as a pre-modern and modern society in the 1930s.
13. Völkischer Beobachter (22 December 1940).
14. Karl Dietrich Bracher, The German Dictatorship: The Origins, Structures and Effects of National Socialism, trans. Jean Sternberg (New York: Praeger, 1970), 288.
15. See Marc Silberman, German Cinema: Texts in Context (Detroit: Wayne State University Press, 1995) for a discussion of Wunschkonzert as an example of "fascist discourse." While I agree with Silberman that the film uses events of the recent past (Olympics, Spanish Civil War, etc.) to construct "a historical precedent for the fascist perspective," the more long-range historical mythology that the film at once invents and addresses has to do with the "stab[s] in the back" of World War I. The stunning and rapid cinematic victories on land, sea, and air, together with the professed medial achievement of radio to bind together war front and home front, are staged as marked "historical" contrast to the failures of the earlier time. (See the von Borsody quote above, where he clearly links the "Wunschkonzert" to an overcoming of the earlier failure.)
16. See Mary-Elizabeth O'Brien, "Aestheticizing War: Eduard von Borsody's Wunschkonzert," seminar (forthcoming): 8, who argues that the orchestrated and seamless victories of Hitler's war machine as represented in Wunschkonzert indicate the extent to which "war becomes a fictional event despite its staging as documented fact."
17. Joseph Goebbels, "Rede anläßlich der Kriegstagung der Reichsfilmkammer," speech of 2 February 1941, in Gerd Albrecht, Nationalsozialistische Filmpolitik: Eine soziologische Untersuchung über die Spielfilme des Dritten Reiches (Stuttgart: Ferdinand Enke Verlag, 1969), 469.
18. Florian Kienzl, "Das Episodische gewinnt an Bedeutung in Zeitfilmen: In Einzelschicksalen spiegelt sich die Volksgemeinschaft," Film-Kurier (12 December 1940).
19. Fritz Hippler, Die Verstrickung (Düsseldorf: Mehr Wissen, 1981), 216.
20. See Michael H. Kater, Different Drummers: Jazz in the Culture of Nazi Germany (New York: Oxford University Press, 1992) for a treatment of the regime's struggles repress or co-opt jazz in the Third Reich.
21. See Schröter, Unterhaltung für Millionen, 77-120.
22. See note five above.
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hypothes.is user {{annotation.author}}
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MY STORY
My name is Mostafa and I am a Computer Engineer. I graduated from the American University Of Sharjah (AUS) in may 2020, majoring in computer engineering while minoring in computer science.
During my time at AUS I developed many skills, and was able to work on many hardware and software projects. I was also able to land a summer long internship with an indie game studio based in Abu Dhabi, UAE. During this internship I was able to polish up my software and game development ability.
I built this website to showcase some of my skills and the projects that I am most proud off.


This is header 1
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This is a paragraph. I can be styled by CSS
Your content here
I am enclosed within a
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tag. And I can be styled on a document level.
This is an ordered list and it is centered
apple
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This is an unordered list. And i can be styled by CSS.
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Dr. Dre says he didn’t want to appear on his classic ‘2001’ album at all
Watch the hip-hop icon discuss the making of the album with Jimmy Iovine as it celebrates its 20th anniversary
Dr. Dre has admitted that he didn’t want to feature as a rapper at all on his ‘2001’ album – he just wanted to produce it.
- Read more: How ‘The Chronic’ changed hip-hop forever
Released November 16, 1999, the classic Aftermath album features the singles ‘Still D.R.E.’, ‘The Next Episode’ and ‘Forgot About Dre’ and has gone on to sell over 10 million copies worldwide.
To mark the 20th anniversary of the album that featured Snoop Dogg, Eminem, Xzibit, Devin the Dude, Nate Dogg and more, the super producer sat down with longtime friend and business partner Jimmy Iovine to talk about the making of ‘2001’.
The pair discuss the events leading up to the album, how they chose the singles, Jay-Z writing ‘Still D.R.E.’, and even how the N.W.A. co-founder didn’t actually want to feature on the album as a rapper.
“I didn’t wanna appear on the albums at all, to be honest,” Dre says, referring to both ‘2001’ and his debut album, 1992’s ‘The Chronic’. “I just wanted to produce, find artists and produce them. And Doc, The D.O.C. talked me into getting on the mic and doing this thing.”
Watch the making of ‘2001’ video below:
Meanwhile, Dr. Dre is going to be honoured by the Grammys for his trailblazing production work.
The Recording Academy announced that it will salute the six-time Grammy-winning producer at the 13th annual Producers & Engineers Wing. Taking place on January 22, 2020, the event will kick off Grammy Week ahead of the 62nd annual Grammy Awards on January 26.


{# ikhaya/article_delete.html ~~~~~~~~~~~~~~~~~~~~~~~~~~ This template is flashed to ensure that the user wants to delete the selected article. :copyright: (c) 2013-2019 by the Inyoka Team, see AUTHORS for more details. :license: BSD, see LICENSE for more details. #} {% import 'macros.html' as macros %} {% call macros.outer_form(csrf_token(), action=article|url('delete')|e, submit_label=_('Delete')) %}
{% trans link=article|url('show')|e, article=article.subject %} Are you sure you want to delete the article “{{ article }}”? {% endtrans %}
{% if article.public %} {% endif %} {% endcall %}


Returns:None
Description: Writes to file synchronously
Returns: None
Description: Writes to file asynchronously
Returns: File data
Description: Reads file asynchronously
Returns: File data
Description: Reads file synchronously
Returns: If convertToObject is true it will covert the json into JavaScript Object and return it and if its false then it will return json
Description: Reads JSON file synchronously
Returns: If convertToObject is true it will covert the json into JavaScript Object and return it and if its false then it will return json
Description: Reads JSON file asynchronously
Returns: None
Description: The content should be javascript object or array or both. It will then covert it to json and write it synchronously.
Returns: None
Description: The content should be javascript object or array or both. It will then covert it to json and write it asynchronously.


{% extends "learning_logs/base.html" %} {% load staticfiles %} {% block header %}
Register an account to make your own Learning Log, and list the topics you're learning about.


Armand Guim
Armand Guim is an junior developer in training who shares a passion in programming and game design. Born in a supremely hispanic subarb in Miami, Florida, he initially had plans of being a doctor or lawyer. Before leaving High School, he realized he could study whatever he wanted and began his foray into computer coding and technology. He still lives in Miami, working a retail job and studying at UM to become a web developer.


PMF of Poisson Distribution Calculator
The Poisson distribution
is a discrete probability distribution which results from the Poisson experiment.
It classifies the experiment into two different categories, such as success and failure.
Generally, the Poisson random variable “x” defines the probability of the success of the experiment.
From the average rate of success, the Poisson distribution probability can be easily calculated.
In the given formula below :
e = is Euler's number (e = 2.71828...)
k = the number of occurrences (k=0,1,2...)
λ = parameter such that λ>0
\[P.M.F = P(X{=}k)= \frac{\lambda^k e^{-\lambda}}{k!}\]


Object
The Net::SSH::Config class is used to parse OpenSSH configuration files, and translates that syntax into the configuration syntax that Net::SSH understands. This lets Net::SSH scripts read their configuration (to some extent) from OpenSSH configuration files (~/.ssh/config, /etc/ssh_config, and so forth).
Only a subset of OpenSSH configuration options are understood:
Ciphers => maps to the :encryption option
Compression => :compression
CompressionLevel => :compression_level
ConnectTimeout => maps to the :timeout option
ForwardAgent => :forward_agent
GlobalKnownHostsFile => :global_known_hosts_file
HostBasedAuthentication => maps to the :auth_methods option
HostKeyAlgorithms => maps to :host_key option
HostKeyAlias => :host_key_alias
HostName => :host_name
IdentityFile => maps to the :keys option
IdentitiesOnly => :keys_only
Macs => maps to the :hmac option
PasswordAuthentication => maps to the :auth_methods option
Port => :port
PreferredAuthentications => maps to the :auth_methods option
ProxyCommand => maps to the :proxy option
RekeyLimit => :rekey_limit
User => :user
UserKnownHostsFile => :user_known_hosts_file
Note that you will never need to use this class directly–you can control whether the OpenSSH configuration files are read by passing the :config option to Net::SSH.start. (They are, by default.)
Returns an array of locations of OpenSSH configuration files to parse by default.
# File lib/net/ssh/config.rb, line 41 def default_files @@default_files end
Loads the configuration data for the given host from all of the given files (defaulting to the list of files returned by default_files), translates the resulting hash into the options recognized by Net::SSH, and returns them.
# File lib/net/ssh/config.rb, line 49 def for(host, files=default_files) translate(files.inject({}) { |settings, file| load(file, host, settings) }) end
Load the OpenSSH configuration settings in the given file for the given host. If settings is given, the options are merged into that hash, with existing values taking precedence over newly parsed ones. Returns a hash containing the OpenSSH options. (See translate for how to convert the OpenSSH options into Net::SSH options.)
# File lib/net/ssh/config.rb, line 59 def load(path, host, settings={}) file = File.expand_path(path) return settings unless File.readable?(file) globals = {} matched_host = nil multi_host = [] seen_host = false IO.foreach(file) do |line| next if line =~ /^\s*(?:#.*)?$/ if line =~ /^\s*(\S+)\s*=(.*)$/ key, value = $1, $2 else key, value = line.strip.split(/\s+/, 2) end # silently ignore malformed entries next if value.nil? key.downcase! value = $1 if value =~ /^"(.*)"$/ value = case value.strip when /^\d+$/ then value.to_i when /^no$/ then false when /^yes$/ then true else value end if key == 'host' # Support "Host host1 host2 hostN". # See http://github.com/net-ssh/net-ssh/issues#issue/6 multi_host = value.to_s.split(/\s+/) matched_host = multi_host.select { |h| host =~ pattern2regex(h) }.first seen_host = true elsif !seen_host if key == 'identityfile' (globals[key] ||= []) << value else globals[key] = value unless settings.key?(key) end elsif !matched_host.nil? if key == 'identityfile' (settings[key] ||= []) << value else settings[key] = value unless settings.key?(key) end end end settings = globals.merge(settings) if globals return settings end
Given a hash of OpenSSH configuration options, converts them into a hash of Net::SSH options. Unrecognized options are ignored. The settings hash must have Strings for keys, all downcased, and the returned hash will have Symbols for keys.
# File lib/net/ssh/config.rb, line 119 def translate(settings) settings.inject({}) do |hash, (key, value)| case key when 'bindaddress' then hash[:bind_address] = value when 'ciphers' then hash[:encryption] = value.split(/,/) when 'compression' then hash[:compression] = value when 'compressionlevel' then hash[:compression_level] = value when 'connecttimeout' then hash[:timeout] = value when 'forwardagent' then hash[:forward_agent] = value when 'identitiesonly' then hash[:keys_only] = value when 'globalknownhostsfile' hash[:global_known_hosts_file] = value when 'hostbasedauthentication' then if value hash[:auth_methods] ||= [] hash[:auth_methods] << "hostbased" end when 'hostkeyalgorithms' then hash[:host_key] = value.split(/,/) when 'hostkeyalias' then hash[:host_key_alias] = value when 'hostname' then hash[:host_name] = value when 'identityfile' then hash[:keys] = value when 'macs' then hash[:hmac] = value.split(/,/) when 'passwordauthentication' if value hash[:auth_methods] ||= [] hash[:auth_methods] << "password" end when 'port' hash[:port] = value when 'preferredauthentications' hash[:auth_methods] = value.split(/,/) when 'proxycommand' if value and !(value =~ /^none$/) require 'net/ssh/proxy/command' hash[:proxy] = Net::SSH::Proxy::Command.new(value) end when 'pubkeyauthentication' if value hash[:auth_methods] ||= [] hash[:auth_methods] << "publickey" end when 'rekeylimit' hash[:rekey_limit] = interpret_size(value) when 'user' hash[:user] = value when 'userknownhostsfile' hash[:user_known_hosts_file] = value end hash end end
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title = "Department Publications" url = "/dept/:perma/publications" layout = "department" description = "Publications of Department" is_hidden = 0 == function onStart() { $faculties = $this['dept']->faculties; $this['navtitle'] = 'Publications'; $this['active'] = 'publication'; $researches = []; foreach ($faculties as $fac) { foreach( $fac->researches as $research) { $researches[$research->id] = $research->toArray(); } } $researches = collect($researches)->groupBy('year')->sortByDesc('year'); $this['researches'] = $researches; $conferences = []; foreach ($faculties as $fac) { foreach( $fac->conferences as $conference) { $conferences[$conference->id] = $conference->toArray(); } } $this['conferences'] = collect($conferences)->groupBy('year')->sortBy('year'); } ==
By: {{ paper.by }}
Published in: {{ paper.in }}
By: {{ paper.by }}
Published At: {{ paper.in }}


 You have learned that by catching a extra fish you can donate either the money or fish to non-profit. Keep in mind that fish here are already in decline so overfishing may be devestating
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carly stump
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carly stump.
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carly stump
Welcome!
This is my digital portfolio and resume. Please scroll through to see some of my work or take a look at my about page to find out more about me.
my work
2019
Social Media Project
Twitter Clone -- Work in progress...
Project made to mimick Twitter/social media sites. Built on SpringBoot using dependency injection, thymeleaf, and Bootstrap.
my work
2019
Weather App
Basic weather app created using APIs.
my work
2019
Map App
Simple maps app using Google APIs.
my work
2019
MY PORTFOLIO PROJECT
This digital resume is my first portfolio project.
GitHub