Lecture 1: Introduction, Simulation in Python, Crude Monte Carlo, Importance Sampling, Exponential Tilting
- Lecture: slides
- Code demos: pdf, notebook
- Simulating random variables in Python (13 mins)
- Basic plotting in Python (8 mins)
- Crude Monte Carlo (15 mins)
- Lecture: slides
- Code demos: pdf, notebook
- Importance sampling (7 mins)
- Siegmund's algorithm (16 mins)
- Assignment 1: pdf, notebook
- Assignment 1 Solution: pdf, notebook
Lecture 2: Improved Cross-Entropy and Original Cross-Entropy method, Markov Chain Monte Carlo
- Lecture: slides
- Code demos: pdf, notebook
- Improved cross-entropy and original cross-entropy methods (6 mins)
- Cross-entropy compared to Crude Monte Carlo (4 mins)
- Cross entropy method actuarial example (7 mins)
- Markov chain Monte Carlo (5 mins)
- MCMC starting point (7 mins)
- MCMC dependence (14 mins)
- Assignment 2: pdf, notebook
- Assignment 2 Solution: pdf, notebook
Lecture 3: Sequential Monte Carlo and PyMC3
- Code demos:
- Sequential Monte Carlo (11 mins) [slides]
- MCMC with PyMC3 (10 mins) [pdf, notebook]
- High-performance Python (18 mins) [pdf, notebook]
- Other resources:
- Sequential Monte Carlo: the original paper, and there are some videos on SMC in general (not just the version for rare events which is much simpler) like this simple animation or the recording from this French workshop
- MCMC with PyMC3: a great presentation from the creator of PyMC3, an online book/course "for hackers", and a paper
- High-performance Python: a great screencast introducing Numba and a conference presentation covering Numba and more general performance guidlines at a more advanced level.
- Assignment 3: pdf, notebook
Course materials from 2019.


The typical surfer is pretty obsessed with surf conditions
Swell forecasts are good for planning, but what really helps is knowing exactly what's going on out there.
The Manly Hydraulics Labratory has 7 buoys offshore along the coast, from Eden up to Byron Bay.
npm install mhl-buoy-data
Extracts data from the MHL's API (GIFs).
var parseMHLGraph = require('mhl-buoy-data')
var assert = require('assert')
parseMHLGraph('http://.../syddir.gif', function(err, conditions) {
assert.equal(conditions.direction, 138.46) // Degrees TN
assert.equal(conditions.hmax, 1.75) // Metres
assert.equal(conditions.hsig, 0.97) // Metres
assert.equal(conditions.tp1, 5.1) // Seconds
assert.equal(conditions.tsig, 5.94) // Seconds
})
By reading and pinching some existing GIF decoding code, and reading the rivetting GIF spec I put together a GIF decoder.
Initially I was using a lot of hard–coded values and assumptions to scan for data. Then, I learned that the GIFs change size. So, when something breaks I add the GIF to the test suite and try to fix it up.
The code looks at the GIF's colour table to get each colour's index.
Then, like a deer in a meadow, it scans through the GIF's image data, looking for axes and data.
Then it makes sense of what it has found.
github.com/DylanFM/buoys
Mobile–focused AngularJS app, backed with Express & Redis.
Every hour a worker will read the data from the MHL's GIFs and store it in Redis.
Users interact with an Express app providing a JSON API and serving a little Angular app for presenting the data, which makes use of d3 for graphs.


I’m not a designer, but I spend as much time looking at web pages as the next guy. So I took interest when I came upon this post on font size by Wilson Miner, which in turn is inspired by the 100e2r (100% easy to read) standard by Oliver Reichenstein.
The basic idea is simple: we should have fonts at the "default" size, about 16px, no smaller. This is about the size of text in print, read at a reasonable distance (typically closer up than a screen):
Also it calls out low-contrast color schemes, which I think are mostly passe, and I will not insult you, my reader, by suggesting you don’t entirely agree. Because if you don’t agree, well, I’m afraid I’d have to use some strong words.
I think small fonts, low contrast, huge amounts of whitespace, are a side effect of the audience designers create for.
This makes me think of Modern Architecture:
This is a form of architecture popular for skyscapers and other dramatic structures, with their soaring heights and other such dramatic adjectives. These are buildings designed for someone looking at the building from five hundred feet away. They are not designed for occupants. But that’s okay, because the design isn’t sold to occupants, it is sold to people who look at the sketches and want to feel very dramatic.
Similarly, I think the design pattern of small fonts is something meant to appeal to shallow observation. By deemphasizing the text itself, the design is accentuated. Low-contrast text is even more obviously the domination of design over content. And it may very well look more professional and visually pleasing. But web design isn’t for making sites visually pleasing, it is for making the experience of the content more pleasing. Sites exist for their content, not their design.
In 100e2r he also says let your text breathe. You need whitespace. If you view my site directly, you’ll notice I don’t have big white margins around my text. When you come to my site, it’s to see my words, and that’s what I’m going to give you! When I want to let my text breathe with lots of whitespace this is what I do:
Is a huge block of text hard to read? It is. And yeah, I’ve written articles like that. But the solution?
Similarly, it’s hard to read text if you don’t use paragraphs, but the solution isn’t to increase your line height until every line is like a paragraph of its own.
The solution to the drudgery of large swathes of text is:
- Make your blocks of text smaller.
- Use something other than paragraphs of text.
Throw in a list. Do some indentation.  Personally I try to throw in code examples, because that’s how we roll on this blog.
That’s good writing, that’s content that is easy to read. It’s not easy to write, and I’m sure I miss the mark more often than not. But you can’t design your way to good content. If you want to write like this, if you want to let the flow of your text reflect the flow of your ideas, you need room. Huge margins don’t give you room. They are a crutch for poor writing, and not even a good crutch.
So in conclusion: modern design be damned!
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Ian — right on.
This reminded me of something I found when I was first working with HTML as a college freshman: http://www.poynton.com/notes/rants/Netscape_rant.html — it’s old and it took me a while to find it again but I really liked a lot of the basic ideas for usability that are contained in it and even now, looking back, some of the basic tenets still hold true. At one point, some people had this idea of the web as being populated with documents whose display you and your browser had quite a bit of control over: “I do not assume that I know what text size is best for your display and for your vision; instead, I assume that you know how to set your browser for your own choice.”
Indeed — I could see the idea of 16 pt. font being acceptable if one must pick a default, but designs shouldn’t break when I make the text smaller because I want to see more in a given area and can tolerate a smaller font… indeed, if you’ve done something that breaks when I change the font size, it seems to me you’re thinking of web design too much like print design where the borders are fixed and the media is always the same size — the size you, the designer decide on at the outset
Clearly this fails — sometimes I’m on my 13 in. laptop. Others I’m at my desk, staring at a bigger, wider screen that I sit further away from. I assure you, pages look very different on both of those displays… but they should both be able to look good and be usable… without making me do too much work each time I want to use them to their fullest.
It really doesn’t seem like it’s that hard of a concept and I don’t mean to sound like I’m saying anything novel — all I’m saying is that it seems amazing to me that it’s so often missed.
I have had people say about my blog, “Man, them’s some big arse fonts!” I feel justified now.
All good points and well put. However, large font and contrast are not the only things that help readability. The amount of words on a line plays a big part to. It is said that there should be about 10-12 words in a line.
Actually you should not rely on pixels units if you want to define a fixed size for the reader. Point (pt) is used for typography, and css allows to use points. Pixel dimensions vary with resolution, point units can be converted to centimeters. Nowadays most screen display around 100dpi, 10 years ago it was near 75dpi; my laptop has a 15″4 screen @1680×1050: that’s 128dpi. Thus, 16px are smaller on my screen than many others, whereas 12pt (should) result in the exact same size.
Usually web design involves to play with images, so we end up sizing the text with the same units: pixels. But for pure text, “pt” is more reliable (as well as “em” for controlling width relative to text).
Left and right margins are still nice. I think it’s also easier to read text in somewhat narrow columns, like what Kamil said. In that case, the max width of the paragraphs (or content container) should be specified. Margins may appear for people with very large screens. People typically have very large screens so that they can view windows side by side, not so that they can read wide-columned text (-:
otherwise, great post. small fonts and poor contrast are terribly inconvenient. in firefox when i make text larger it often increases paragraph width so that i have to scroll. not quite the right solution…
I read your posts using RSS reader for last years, so design changes are mostly not a big issue unless you change feed :)
The point of margin whitespace is so that the text isn’t all crowded together and so the columns don’t get too wide. I’m keeping my browser at the size it needs to be for viewing most pages, some of which are very wide. When a page doesn’t need to be wide and has text across the whole screen it becomes harder to read because I have to track my eyes all the way back across (and hopefully not lose my line).
You could argue that I can just resize my browser just like I can resize my fonts, but I can’t have the browser be different sizes for different tabs.
It’s amazing how even the font choice can (size being slightly less relevant) can immediately relax the eyes – I was just comparing your site with others…
Cheers, Piers Harding.
Awesome, I agree completely.
I also hate attempts at space-design that result in pages that have to be viewed in a wide window, else you lose the right column of stuff. Even if someone has a big screen, do you really expect them to have the browser window open to full-screen? Sadly, most people probably do, but I’m not sure whether this is from ignorance/defaults or because they’ve been pushed into it by wide designs.
I wonder whether the growth in mobile-reading will change things?
But that’s the thing… a web page/site should, IMHO, use all the space it is given. If I want to make it 3360px wide (and have the screen space to do so) I should be able to do it and the design should respect my sizing and use it reasonably well.
I’ll grant some notion of minimum spacing — I don’t expect an average page to look good in a 100px wide window, for example — but 800px is clearly too big, so it can go too far…but to limit the maximum width seems to be enforcing old-media ideas on what should be seen as a fundamentally new medium with many new rules. Sure text gets hard to read (for many people) when the rows become really wide — but it’s less of an issue for some and there are even legitimate uses for it from time to time and there’s no reason other than style-nannyism to enforce maximum widths.
Moreover, maximum widths are constraints of hard-copy pages, much more so than they are of web browsers because a browser will have different window sizes and the max size is effectively huge but may be tiny, all for the same document (seen on different screens). Compare that to a print-page being laid out for a magazine — it is designed for one size and that page will always be that size, regardless of who’s reading it or where they’re reading it, once it’s in it’s published form.
Yes, my idea breaks with a lot of what’s standard practice for many web designers, but that’s just the point — they’re doing it wrong and depriving us all of one of the things that makes the web so cool — it’s supposed to be flexible and browser/screen/environment agnostic. And for a good reason — there are many different screens out there!
Which seems better — A) designs that accept/use only one window width (below which they force horizontal scrolling) and above which they pad with ever-increasing white space, ensuring some amount of vertical scrolling because content can’t use the available width. or
B) Designs that use as much of the width they’re given so that the user can decide how they want to use their screen real estate?
From a user’s perspective, I like the latter.
whoa– cool. i get it. it’s the open source mantra: give the user control.
the problem of how wide to users want to read should not be answered by the server–should every server know that about every user?–but by the client. it should be a browser preference.
the only problem with user ownership is user responsibility. i love using emacs (total customization of keys and macros), but i have gotten used to my webpages looking “right” with minimal effort on my part. also, sometimes the server knows more about how its website should look than the user, especially when it’s more than a blog and has specific kind of data.
Arguably my blog is too wide, though it depends some on the window and browser. I’m not certain this is the right layout. But it doesn’t just depend on the browser, it also depends on the post. There is no inappropriately wide space to present code, for instance. Or if you have a many-level list, greater width is almost certainly better. Or tables.
An ideal situation is one where the author could make choices about the layout based on the content (typically per-page). This is how print layout works, after all. They might get 10-12 words per line, but there’s also a lot of work put forth to make sure that isn’t 2-3 words on some lines, with hyphenation, image size, margins, and a variety of tweaks that can make the layout work better. Computer print is seldom handled like this, and there’s a limit to how much work you can put forth at all due to the reading environment that you can’t control (though I’m sure every developer and designer has encountered pressure to use images or PDF to achieve print-like consistency).
The appropriate compromises for computers aren’t the same as print, IMHO. Maybe 10-12 words per line is best, but it might be better to increase that amount to avoid some common situations where layout falls apart. There is some very unreadable content out there, made so because it’s been squeezed into whitespace-loving templates.
Maybe the best solution would be content authoring tools with conventions for breaking out of constraints. E.g., the ability to put
<div class="wide">
around any content. I’m sure there’s applications that allow this explicitly, but they are few and far between.I’ve been told my site is visually striking, and yet I spent almost the entirety of my design efforts in obsessing over how to make it more readable and less cluttered. You can have both. You just have to care about both.
 (And the comments are even more depressing.) Design is not making things pretty. Design is not lipstick. Design is making things work well.
The solution to sites designed with too much focus on visuals is not to renounce design altogether and party like it’s 1996.
Ted:
If every page had its own window that might be a fine argument, but tabbed browsing defeats this point. I am not going to resize my browser every time I switch a tab and not every page presents the same amount of different types of content at once (one, two, three columns, with different amounts of content, etc.). So I am going to routinely give pages more space than I would consider the ideal.
And if you wanted to make your argument honestly, you would have to argue that each site should also give every reader a way to adjust line-heigh to their preferences.
Sorry, but heaps of research on the readability of text makes a solid argument in favour of certain things that you can’t hand-wave away with a “old-media ideas in a fundamentally new medium” platitude unless you also supply new eyes and brains to go with the new medium.
Ian,
I could not agree more. I am constantly adjusting the font size to something I can read. Of course I have the problem of aging eyes which does not help.
My other pet peeve — whitish or light grey text on a dark background. I launch a personal crusade on the issue every time I see a web design of that nature. I know it is all the Matrix vogue to have such designs, sigh. The Wachowski brothers should be marched to Troy, Ohio, tied to a Linotype machine and shot.
> My other pet peeve — whitish or light grey text on a dark background. I launch a personal crusade on the issue every time I see a web design of that nature. I know it is all the Matrix vogue to have such designs, sigh. The Wachowski brothers should be marched to Troy, Ohio, tied to a Linotype machine and shot.
Personally, I find light on dark to be much more readable than dark on light. My bias perhaps comes from two sources: my experience dealing with projectors, and my tendency to surf late at night.
On projected media, light colors tend to bleed into darker areas, so the dark text gets swallowed by the light background surrounding it. I especially noticed this on my high school’s large LCD (which, granted, is not run by a projector) screen, which displays announcements and such before school. People generally had difficulty reading the blue-on-yellow pages, but yellow-on-blue was always fine.
The other is a bit more subjective to lifestyle choices – when I’ve been using my computer in a darkish room, with dark-schemed terminal, editor, and everything else, a sudden switch over to a white-backgrounded website does terrible things to my pupils. Keeping everything light, to avoid that, causes undue stress on my eyes, and I get headaches and have a hard time keeping focus.
tl;dr: Some of us do it for reasons beyond fashion.
Amusingly, white space in print is not a modern design feature. It’s the result of centuries of typesetting history. Wide text and especially the concept of a fluid layout are fairly modern and are rather specific to digital media.
White space can be (and often is) abused, but it isn’t inherently evil. People just need to learn how to use it properly. Unfortunately, the web is not currently capable of an ideal solution, so we’ve mostly degenerated to arguing about fixed, fluid, and elastic layouts.
Very Nice!
The images displayed in this blog are thought provoking and mesmerizing.Your observations regarding fonts, color contrasts, and white spaces is quiet interesting especially from the standpoint of a web master. I agree with you completely because that content of the web site is more important than the visual aspect. To make your content readable it is always a good idea to use bullets and numbering and create appropriate spaces (or whitespaces) between paragraphs. I think the aim is to make your content flow easily as opposed to too much overcrowding of words. Nevertless, your suggestions are welcome and make sense.
Ian, first i like to thank you for this useful post. You have mentioned few important areas of web design. I think a web site is not only for eye comfort and viewing pleasure, but also for visitors useful needs. The goal of a website designers must concentrate on how long the visitor stays at the website. So a good design, font size, color, contrast plays a vital role in designing because visitor may involved with the design as well as content. But this factors must not play as important role that visitor might be out of track and instead of looking at the content he might be busy with its design.
Nice and Informative post!!!. I really enjoyed it what i have read so far.
Great post, Ian. Keeping fonts regular size and maximum contrast makes your content accessible to a significant percentage of people who have mild visual impairment. Great work, thanks!


Motivation¶
The Wall¶
There’s a wall between the optimization algorithm and problem when:
They are written in different language
i.e. algorithm in python and problem in matlab
They are located at different place and can’t be easily put together
i.e. remote optimization due to COVID-19
The policy doesn’t allow the environment configurations that are needed for the algorithm/problem
i.e. The strict policy in the accelerator control rooms
Even within the algorithm there could be a wall: imagine that you want to use some python modules in your matlab algorithm.
Break the Wall¶
Calling one language script/function within another language script/function is cumbersome and sometimes not feasible. Translating the code to the target language usually requires expert skills and lots of attention, energy and time. Besides, the translation process is highly error-prone. Use an implementation that already exists is risky from time to time. The way to go is breaking the wall.
Introducing Teeport.
Concepts¶
Before officially introduce Teeport, let’s have a look at the basic concepts/terms used frequently in a Teeport context: Evaluator, Optimizer, Processor and Monitor.
Evaluator¶
An implementation of a optimization problem. Usually can be abstracted as a function:
Y = evaluate(X, configs)
Where the configs
variable is the configuration of the problem, say:
configs = {
'noise_level': 0.1, # emulate the experimental env
'wall_time': 1, # emulate the experimental env
...
}
Optimizer¶
An implementation of an optimization algorithm:
x_best = optimize(evaluate, configs)
The evaluate
variable is the target function to be optimized:
Y = evaluate(X)
An example of configs
:
configs = {
'D': 8, # dimension of the problem to be optimized
'N': 300, # maximum iterations
...
}
Processor¶
A function that processes data and return the processed result:
result = process(data, configs)
An example of configs
:
configs = {
'return_grad': False,
'ard': True,
...
}
Philosophy of Teeport¶
Teeport is designed to break the wall between the optimization algorithms and problems.


Getting Credentials
To get initial credentials you can follow these steps:
- Request a Trial.
- A Dow Jones representative will reach out and help match your use case with our products.
- You will receive an email with (depending on products)
- API Key
- User/Pwd
- Tokens
- Link to details
You can then use the relevant authentication method of your API to connect and specific SFTP or SSH connection details for feeds.


above |
Ch'ien The Creative, Heaven |
|
below |
Chen The Arousing, Thunder |
Innocence. Supreme success.
Perseverance furthers.
If someone is not as he should be,
He has misfortune,
And it does not further him
To undertake something.
Under heaven thunder rolls:
All things attain the natural state of innocence.
Thus the kings of old,
Rich in virtue, and in harmony with the time,
Fostered and nourished all beings.
Nine at the beginning means:
Innocent behavior brings good fortune.
Six in the second place means:
If one does not count on the harvest while plowing,
Nor on the use of the ground while clearing it,
It furthers one to undertake something.
Six in the third place means:
Undeserved misfortune.
The cow that was tethered by someone
Is the wanderer's gain, the citizen's loss.
Nine in the fourth place means:
He who can be persevering
Remains without blame.
Nine in the fifth place means:
Use no medicine in an illness
Incurred through no fault of your own.
It will pass of itself.
Nine at the top means:
Innocent action brings misfortune.
Nothing furthers.


read data from csv creating a object enumerable. an object template with a property foreach csv column is required with same order as they appears in csv. attributes CsvHeaderAttribute and CsvColumnOrderAttribute can be specified on properties to custommize header and order.
More...
|
| | CsvReader (string pathfilename, CsvOptions options=null) |
| | read csv from given pathfilename with field and decimal separator using templated object properties as descriptor for csv column headers to expect More...
|
| |
| void | Reset () |
| | reset from first row More...
|
| |
| IEnumerator< T > | GetEnumerator () |
| |
| void | Dispose () |
| | dispose stream closing file More...
|
| |
read data from csv creating a object enumerable. an object template with a property foreach csv column is required with same order as they appears in csv. attributes CsvHeaderAttribute and CsvColumnOrderAttribute can be specified on properties to custommize header and order.
◆ CsvReader()
read csv from given pathfilename with field and decimal separator using templated object properties as descriptor for csv column headers to expect
◆ Dispose()
dispose stream closing file
◆ GetEnumerator()
| IEnumerator<T> GetEnumerator |
( |
| ) |
|
◆ Reset()
◆ File
The documentation for this class was generated from the following file:


It's Raining Umbrellas in Gilles Barbier's "Laughing at Clouds" Exhibition
On view at The Chimney in Brooklyn, New York.
by Keith EstilerFrench contemporary artist Gilles Barbier is widely-known for his whimsical sculptures that subvert social convention. His colorful surrealist pieces predominantly spotlight everyday objects and people. Barbier is currently displaying a body of new work at The Chimney in Brooklyn, New York. The centerpiece of the show is an installation comprised of black levitating umbrellas mounted in varying heights. The setup of this immersive piece recalls the famous painting ‘Golconda’ (1953) by René Magritte that depicts a flurry of floating businessmen while also paying homage to the “symbolism and otherworldliness of Mary Poppins’ enchanting story,” as per a press statement.
Installed alongside the umbrellas are white speech bubbles that mimic raindrops — a reoccurring motif in the artist’s prolific oeuvre. “Tinted by Mary Poppins’ realm and childhood’s imagination, umbrellas become the object of teleportation and traveling vessels that allow the journey through alternate realities and times. Like whirling black holes, these protective shelters are portals that defy distance and the constraints of the body,” added the gallery.
Get a closer look at the installation above and learn more about the commission by visiting The Chimney’s website. The exhibition is on view until December 15.
For more mind-bending artworks, take a look at artist Tom Blachford’s “Centro Verso” exhibition featuring surrealist dystopian photography.
The Chimney
200 Morgan Ave
Brooklyn, NY 11237


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V-Day is proud to be supporting the LGBT Asylum Support Task Force of
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has supported more than 62 LGBTQ persons from 15 countries.
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The V-Day grant goes towards supporting JK and Magi, two Ugandan women
who were tortured, jailed and “correctively raped,” because they were
lesbians.   The V-Day grant helps to support them
in the United States while they pursue a legal battle for asylum.
Please read more about the important work of the Task Force at
www.lgbtasylum.org
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As Pastor Judy Hanlon, who runs the program, said, “This is nitty,
gritty life-saving work.”
Gotham Salon: Catherine Ingram & Mark Matousek on In The Body Of
The World
Check out V-Man Mark Matousek and V-Day supporter Catherine Ingram’s
video blog on Eve’s newest book
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In The Body Of The World, and her recent book launch at Barnes and
Noble in New York City.
WATCH Gotham Salon: Eve Ensler’s New Book >
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Chapter
9. Integration with Excel
In this
chapter we look at
integration with Microsoft Excel using COM. This is interesting for
technical and business reasons. Technically, it will give us a chance
to look at both server- and client-side COM. On the business side,
we've built a financial application, and a vast amount of
financial data comes from and ends up going back into spreadsheets.
We'll develop some simple examples that allow you to import and
export data from spreadsheets, and see how to build an alternative
frontend for pulling out data in Excel.


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Poll GeneXus Server for changes. Default is 'true'.
true
If poll is true or is not set, then the GeneXus Server will be polled for changes.
poll


Microphone
If supported, Tone.Microphone uses
getUserMedia
to open the user's microphone where it can then be processed with Tone.js. Note that WebRTC has been deprecated for non-https domains.


With the development of science and technology, computers have become more closely connected with us. In the context of big data, supercomputers have also invested a lot in the application of big data. However, due to the influence of virtualization characteristics, supercomputer systems are prone to failure problems, which bring inconvenience to units and users. In order to reduce the occurrence of this kind of situation and prolong the service life of the supercomputer, it is necessary to carry out regular maintenance on the supercomputer.
scientific and reasonable methods should be adopted in the maintenance of supercomputers in order to improve the performance and working efficiency of supercomputers and further prolong the service life of supercomputers. The maintenance of supercomputers is divided into hardware maintenance and software maintenance. Hardware maintenance refers to the regular inspection and proper cleaning of supercomputer hardware equipment. Attention should be paid to avoid moving equipment as much as possible to avoid damage to equipment. Software maintenance refers to the backup of supercomputer software, regular cleaning of useless files, and attention to prevent viruses from infecting supercomputers as much as possible, so as to avoid damaging supercomputer systems and threatening the information security of companies, research institutions and individuals.
supercomputers are prone to the following failures during maintenance: startup problems, hardware problems and software problems. To solve the problem of supercomputer failure, relevant personnel should take timely maintenance measures to maintain the supercomputer. First of all, when the supercomputer fails, it should be judged reasonably to determine what causes the supercomputer to fail to work normally and not repair the supercomputer blindly, so as to strengthen the inspection of the machine itself and the surrounding environment. Secondly, after determining the failure of the supercomputer, the author conceives the possible causes of the failure and how to deal with the failure, so as to clarify the overall thinking of the failure maintenance, so that the subsequent maintenance work can be carried out smoothly and the efficiency of the maintenance work can be improved.
in addition, the network security of supercomputers needs to be well protected. In the process of protecting the supercomputer network, hackers and Trojan viruses should be avoided. The database needs to be backed up and restored, and the more important data should be backed up and updated, so that even if there is an accident, the data can be restored through backup to avoid unnecessary losses. The more important point is to prevent viruses. By installing a virus firewall, the system can be scanned and monitored, and viruses can be found and removed in time. Since supercomputers are mostly used in scientific research institutions, it is necessary to install offensive software to improve the contextual function of supercomputer systems. Once external intrusion occurs, the system can timely warn and effectively intercept it.


Being quite free during the summer vacation period, I decided to take up CS2107: Introduction to Information and System Security in Special Term 2. It was one of the most interesting modules I have taken taught by an ever youthful professor Hugh. His energy and enthusiasm and deep knowledge on computer security made me even more curious in the various aspects of computer security.
This module covers a wide range of topics from cryptography/ciphers, to common hacking methods (SQLi, Buffer overflows), protection mechanisms against such malcious attacks etc. The assessment was split into the following:
| Homework & Assignments | Project Work | Final Exam |
| 10% | 40% | 50% |
There were a total of 3 assignments (about 5-10 questions) which were to be done at home. They were largely manageable. Google is your best friend. Computer security is a broad topic and the more you learn, the better you understand and appreciate the various concepts.
The project work was indeed an interesting experience. My team consisted of Sri (not his real name), QY and myself. It was a tight timeline considering that the project was to be completed over a span of just 6 weeks. We embarked on the project about 2 weeks before submission, but we made the structure of the report very clear. Regular consultation with Prof Hugh was crucial in helping us achieve a clear understanding of the expectations of this project. As a team, we are really thankful for his advice and guidance.
Our project was on “Common attacks on PC/UNIX/Mac devices”. Here focused on DDoS, Buffer Overflow exploitation and side-channel attacks. I personally involved myself largely towards the buffer overflow section in which I did code sample runs to check the implementation of a feature known as Address Space Layout Randomisation (ASLR) on Windows 8, Mac OS X 10.10 and Ubuntu 15.04. We also compared the effectiveness the various operating systems against the aforementioned attacks and concluded Windows offered the best protection (of course, in reality there will be a wide range of external factors to be considered as well).
The final exam was manageable. I was able to refer to the relevant sections of the notes since it was an open-book examination. Some questions are specifically targeted at your understanding and some were on concepts mentioned in lectures. I guess it paid off to attend each and every lecture and tutorial.
I am really glad I took this module. It is one of the best modules I have taken in NUS thus far and am currently contemplating taking CS3235 (Introduction to Computer Security) sometime later. Then again, the number of required breadth electives for CEG students has been reduced to just 1 which means I need to plan my modules well.
Also taking it in Special Term was great since it allowed me to concentrate fully on one subject. In the regular semester, with 5-6 modules, juggling time between these modules itself is a huge task for most students.
Difficulty: Manageable
Grade obtained: A-
Remarks: Pretty interesting module taught by an amazing professor. Take it!
Cheers,
V.Harish


Version 2.17.0
Released on Thursday, Feb 19, 2015
Requesting Permissions
Editing permission is controlled by the settings of each implementation guide (IG). In earlier versions, it was not obvious when a user did not have permissions to access (or edit) an IG. An addition to the permissions feature now allows the user to request access to an IG for viewing and editing.
IG settings control whether or not the guide is listed as available for access through “Allow Access Control” in the Edit Implementation Guide window. In the Browse Implementation Guides list, those that have the option to be accessed show a “Request Access” link. Requests for access are directed via email to the individual selected in the new “Access Manager” field of the IG.
Note: IGs only show up on the “Request Access” window if an “Access Manager” is defined and “Allow Access Requests” is set to “Yes”.
Figure 1: Request Access Window
Permission Notifications
A new checkbox on the “Edit Implementation Guide” screen allows permission notifications to be sent to the new users or groups being granted access to the IG. Notifications are only sent out to new users/groups; pre-existing permissions are not re-notified. The notification email sent to each user includes a link to view the IG, and specifies what types of permission have been granted.
MS Word Export Default Settings
There are many options for exporting templates to the MS Word format. Appropriate publication settings vary from one implementation guide to the next and re-applying those settings for every export to MS Word takes time.
Template authors can now customize “default” settings for an IG on the MS Word Export screen. A new checkbox at the bottom of the export settings screen allows the currently selected settings to be saved as the default settings for that IG.
Note: This option is only available to template authors that have “edit” permission on the selected IG. The new default settings remain in effect when other users export the IG.
MS Word Export Value Set Settings
Export Templates to MS Word now allows users to define the “value set member maximum” for each value set. The “Value Set” tab in the Export Templates window contains a list of all value sets used in that IG. This feature allows the user to customize the maximum number of members printed for each value set.
Note: The “MS Word Export Default Settings” applies to each value set setting; customizations of these settings are also saved as part of the default settings, when selected.
Development Log
Defect |
Empty CodeSystem element appearing in XML export |
Defect |
Template editor's datatype validation should be ignored for FHIR templates |
Defect |
Value sets exported with ellipses even when there are no more active values in the set |
Improvement |
Editing code systems should not allow duplicate identifiers |
Improvement |
Code system identifiers should be treated similarly to template identifiers |
Improvement |
Value set identifiers are not required to be unique |
Improvement |
Treat value set identifiers the same as template identifiers |
Improvement |
Schematron should include disclaimer |
Improvement |
Export IG: Allow override of default number of printed out values in a value set |
Improvement |
Copy Template - have the implied template come up in the metadata fields |
New Feature |
Notify users when they are given permissions to an implementation guide |
New Feature |
Allow authors to "request access" to implementation guides |
New Feature |
Add "Implies" type to "Relationships" tab on Template Viewer |
New Feature |
Select a Value Set dialog has a link for "more results" |
New Feature |
Default settings for MS Word Export on IG |


Excess Baggage (1997) Rated PG-13 for violence, drinking and sex-related dialogue Starring Alicia Silverstone, Benicio Del Toro, Christopher Walken
Going into Excess Baggage, I didn't quite know what to expect. I knew Alicia Silverstone was in it, and I knew that it was about a kidnapping gone awry. But the trailers are so misleading that one might think Excess Baggage was a comedy in the same realm as Ruthless People. Well, if you do go in expecting this, you might be disappointed, or you may be like me and find yourself quite entertained by the humorous mishaps of Silverstone and Del Toro. Baggage is a very different type of film which somehow barely manages to maintain the threads holding it together. If it wasn't for Del Toro and the rest of the cast, Excess Baggage could have just been another lost cause amongst the August releases.
Excess Baggage is the first film from Alicia Silverstone's new production company, First Kiss Productions. Surprisingly enough, the movie is fun to watch and originally done. Unfortunately, there are a few problems which pop up along the run of the film, especially the script, which could have used some major work. The beginning of Excess Baggage reminded me so much of Clueless, Silverstone's best film, that I wondered if Silverstone was trying to capitalize on the success of that much more entertaining film. So much is similar between her two characters in these films that you begin to think that this is the only role she could ever play. After seeing films like Batman & Robin, this seems like a major possibility. Not that there is anything wrong with that, as I could watch numerous Clueless sequels if as well written as that first one. But I fear that if our poor Alicia doesn't get an original role soon, she will be lost amongst the quickly forgotten stars who could never get past their childhood persona.
Excess Baggage does have a lot going for it, though, namely the cast. The film begins very quickly as a spoiled daughter, Emily Hope (Silverstone), kidnaps herself. The reason is established through a monologue given by Hope, and we learn that she is doing this because her father doesn't pay enough attention to her. Alexander Hope (Jack Thompson) is the ignorant father, but he shows glimpses of compassion when his daughter is kidnapped. She orders her father to throw one million dollars onto a barge floating down the river, and then ties herself up and locks herself in the trunk of her green BMW. This is all rather interesting, and it gets even more intriguing when Vincent Roche (Benicio Del Toro), an advanced, but slow-witted car thief, steals the car Hope is locked in. To his (and her) surprise, he discovers her after he reaches his final destination: a warehouse filled with stolen cars.
This pretty much sets up the entire film for a rush of misunderstandings and coincidental occurances. Still, for some reason I expected these events to be funnier than what they were. Some were quite funny, such as some of the scenes between Del Toro and Silverstone, and some are very dull (scenes of the father all fit in this category). The first half hour of Excess Baggage are entertaining and original, which usually can foreshadow the final half hour as being drop-dead boring. This film doesn't reach that point, thankfully, but cautiously and unintentionally remains on the border. One way could have made the film succeed even moreso, and the other could have caused the film to drop in the ratings. It's a shame that the three or four writers weren't able to come up with some original ideas towards the end of the film. They even tried to create suspense by attempting to make us guess as to what Silverstone's character was going to do. It was actually more insulting than anything else.
To the writers' credit, however, is the wonderfully funny and cute scenes between Silverstone and Del Toro. I would have loved for Excess Baggage to try something new, and not have the two leads fall in love. This wasn't going to happen, and in fact created some unrealistic chemistry between these two (they fell in love in two days--a Hollywood subplot regular). Whenever they didn't get along, the screen lit up with sharp dialogue and humorous situations. It was a lot more fun (and definitely much more believeable) when they couldn't get along, but this is a Hollywood film. In fact, when I think about it, the first hour of Excess Baggage is so wonderfully fun that the last part seems drained and forced. The scenes between Raymond Perkins (Christopher Walken) and Hope's father are excruciatingly painful to watch, but thanks to Walken's power as an actor, he brings some joy into the scenes. Which brings up another point: for the life of me, I couldn't tell whether Perkins was a good or a bad guy until about twenty minutes before the end. Walken is almost always an evil man in films, and to see him in a good role confused me.
Excess Baggage has one main thing going for it: a talented cast. Silverstone is pretty good as the rich brat, but her character is just a cross between Cher from Clueless and Batgirl. Del Toro (from The Usual Suspects) shines in his role as the caring but slow-minded car thief. He is very entertaining and lights up the screen whenever he appears. Christopher Walken is extremely effective as Silverstone's uncle. It's nice to know he can play a good guy once in a while (even if he looks mean). Jack Thompson gives a believeable and rather mean-spirited performance as the hard-hearted business father. I was just waiting for someone to punch him in the face. Harry Connick, Jr. is good in his underwritten role, but he isn't given very much to do. This is purely Del Toro's film, with Silverstone doing nothing more than she did in Clueless.
Excess Baggage is rated PG-13 for violence, drinking and sex-related dialogue. Director Marco Brambilla uses some nice storytelling techniques, but I only wish he could have held that camera still during some scenes. Composer John Lurie creates a very nice musical score to go along with this film. In fact, I was even distracted during some scenes by the wonderful music. Excess Baggage is far from the comedy and entertainment of Clueless, but with four different writers, you think one of them might be able to come up with something funny. Excess Baggage is cute and light-weight, but don't expect to laugh very often.
Reviewed by Respect of Respect's Movie Reviews http://www.aros.net/~respect/movies.html<EMAIL_ADDRESS>The review above was posted to the
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vinit(3f) - [M_draw:DEVICE] Initialise device (LICENSE:PD)
Synopsis
Description
Notes
Example
subroutine vinit(device) character(len=*),intent(in) :: device
Initialise the device.
Note 1 : Currently available devices are:
PC - native MSW PC driver; only tested from CygWin X11 - X11 windows (Black background) x11 - X11 windows (White background) tek - tektronix 4010 and compatibles xtek - X11 xterm Tektronix 4010 emulator
PostScript: [p]psm or [p]postscript - monochrome PostScript [p]psg - grayscale PostScript [p]psc - color PostScript HPGL: hpgl - HP Graphics language and compatibles [p]hpgl2 - HPGL level 2 (obeys prefsize calls) PCL:
[p]pclland - monochrome PCL5 (obeys prefsize calls) [p]pclport - monochrome PCL5 (obeys prefsize calls) pcl5land (color PCL5 landscape) pcl5port (color PCL5 portrait)
PIXMAPS (COLOR) AND BITMAPS (MONOCHROME)
char An ASCII file that can be displayed to most xterm(1) terminal emulators that support color p1/pbm Poskanzer (pbmplus/netplus) portable ASCII bitmap file p3/ppm Poskanzer portable ASCII pixmap file p4 Poskanzer portable binary bitmap file p6 Poskanzer portable binary pixmap file xbm X11 bitmap file bm bitmap format for atobm(1)
mif FrameMaker Interchange Format 3.0 (MIF) files (16 colors) mif4 FrameMaker Interchange Format 4.0 (MIF) files (user-definable colors, but breaks a MIF rule) xfig X11 xfig(1) figure utility METAFILES WITH POST_PROCESSORS/CONVERTERS cgmt a clear-text CGM (Computer Graphics Metafile) gnu GNU plot(1) metafile Adobe Public Document Format unixplot Unix plot(1) metafile
canvas HTML5 CANVAS graphics element file svg Scalable Vector Graphics usemap HTML image map vml Microsoft Vector Markup Language
vog M_draw low level call record (debug)
fti SGI vector-based icons null no output
:- Drivers Ive dropped but code is there for ---------------------------------------------
grwin - (minGW GRwin PC interface) decX11 - the decstation window manager dxy - roland DXY plotter language sun - Sun workstations running sunview next - NeXTStep and other NeXT platforms apollo - Apollo workstations:- Drivers Ive dropped but are in the original distribution ------------------------------------------------------------
hercules - IBM PC hercules graphics card cga - IBM PC cga graphics card ega - IBM PC ega graphics card vga - IBM PC vga graphics card sigma - IBM PC sigma graphics card. mswin - IBM PC Microsoft Windows.Note 2 : If device is a NULL or a null string the value of the environment variable "M_DRAW_DEVICE" is taken as the device type to be opened. The format of the variable is
M_DRAW_DEVICE [ xsize [ ysize [ xoffset [ yoffset ] ] ]That is, if present xsize and ysize will be used in a call to prefsize(3c), and xoffset and yoffset will be used in a call to preposition(3c).
Note 3 : after vinit() it is wise to explicitly clear the screen. e.g.:
call color(D_BLACK) call clear()
gnu
The GNU plotutils package includes a program called plot(1) that can read in the gnu metafile and render images on an X11 display, PNG (Portable Network Graphics) format, portable anymap format (PBM/PGM/PPM), a pseudo-GIF format that does not use LZW encoding, the new XML-based Scalable Vector Graphics format, the format used by Adobe Illustrator, Postscript or Encapsulated Postscript (EPS) that can be edited with idraw(1), CGM format (by default, confirming to the WebCGM profile), the format used by the xfig(1) drawing editor, the Hewlett-Packard PCL 5 printer language, the Hewlett-Packard Graphics Language, ReGIS graphics format (which can be displayed by the dxterm(1) terminal emulator or by a VT330 or VT340 terminal), Tektronix format (which can be displayed by the xterm(1) terminal emulator), and device-independent GNU metafile format itself.pdf
Popular PDF readers are the Adobe PDF viewer, which is often callable from Web browsers; the GhostScript-based gv(1) utility; or the xpdf program.cgmtThe xpdf(1) software , related utilities ( pdftops(1), pdftotext(1), pdfinfo(1), pdffonts(1), pdftoppm(1), pdfimages(1), xpdfrc (5)) and documentation are copyright 1996-2004 Glyph & Cog, LLC. at http://www.foolabs.com/xpdf/
The GhostScript-based tools can convert PDF files to PostScript as well as view the files.
The ralcgm(1) and gplot(1) packages are two very complete CGM viewers.HTML:ppm,pbm (and p1,p3,p4,p6)
* p1/pbm - Poskanzer (pbmplus/netplus) portable ASCII bitmap file * p3/ppm - Poskanzer portable ASCII pixmap file * p4 - Poskanzer portable binary bitmap file * p6 - Poskanzer portable binary pixmap file
The NetPBM package is available for almost every platform and lets you convert the Poskanzer portable pixmap (PPM) files to just about any pixmap or bitmap format, including PNG, JPEG, GIF/PseudoGIF, BPM, ..... Other popular pixmap products such as ImageMagick, gv, ... can read PPM files, convert them, and often edit them.
The vml, canvas, svg, and usemap drivers are primarily used to generate graphics for inclusion in HTML documents. Browsers such as Opera, Safari, Foxfire, and Chrome can easily incorporate graphics generated using the SVG (Scalable Vector Graphics) format or the HTML5 CANVAS element.usemap
This driver writes out the edges of any polygon in a format that can be used with an HTML image map; if the same sizes are used a plot generated with the ppm driver; you will have clickable regions in your pixmap when converted to a GIF image.vmlIf the polygons overlap you need to reverse the order of the polygon definitions in the output file. The numeric field in the<AREA> titles should help.
The VML format can be read in by any MicroSoft Office 2000+ product and MicroSofts web browser Internet Explorer. If the plots contain more than about 9766 vectors MicroSoft Word starts choking (still true in 2005), but otherwise this is a very nice way to generate input for MicroSoft products.xfigI generally use this on a machine running MicroSoft Windows by installing CygWin with the X11 options (and ralcgm, the GhostScript software, the GNU plotutils packages and netpbm).
The xfig(1) command can be used to edit graphics generated with the M_draw graphics library; and to convert the xfig(1)-format file to many other output formats. If you are generating pixmaps with the PPM driver and want to use them as image maps in your HTML documents the usemap driver can be used.If you have xfig(1) installed, you will find that calling fig2dev(1) allows you to generate many output formats from a single file, including LaTex and encapsulated PostScript.
xfig(1) is an X11 Windows application that can be used to interactively edit figures. The HELP utility of xfig(1) provides a description of the xfig(1) file format (as well as a user guide and many other documents).
Unfortunately, the manual indicates the user defined colors must be defined before any other Fig objects. By default, 16 colors are defined. If undefined colors are used they are assigned a dash pattern or a fill pattern to help distinguish them. Use of hardware dash and M_draw software dash could get confusing.
Also, in the current driver version all lines are drawn as a series of move-draw vectors, which can make the files relatively very large.
multiple pages appear to only work with the PostScript and PDF drivers of xfig(1); and even then pages must be all positive numbers from left to right and top to bottom, printing all pages in a rectangular area.
Alternatively, could use depth to keep up to 999 pages separate
Sample program:
program demo_vinit use M_draw use ISO_C_BINDING implicit none integer :: ios, idum character(len=50) :: device! read in device name and start graphics mode print*,Enter output device: read(*,(a),iostat=ios)device if(ios.ne.0)device= call vinit(device) ! by default the drawing surface is ! a square ranging from -1 to 1 in both ! the X and Y axis
! set font to large hardware font call font(large)
! set current color to black call color(D_BLACK)
! clear to current color call clear()
! we want to draw in green call color(D_GREEN)
! draw a horizontal line at y = 0 call move2(-1.0, 0.0) call draw2(1.0, 0.0)
! pause for some input idum=getkey()
! draw a line along x = 0 call move2(0.0, 0.0) call draw2(0.0, 1.0)
! move to the middle of the screen call move2(0.0, 0.0)
! draw Hello starting at the origin call drawstr(Hello)
! pause again idum=getkey()
! wrap up and exit graphics mode call vexit()
end program demo_vinit
| Nemo Release 3.1 | vinit (3) | July 22, 2023 |


--- layout: post title: "noodletraveler: Ubuntu Tweak: Customize Your Ubuntu System" categories: [tumblr, ubuntu] --- noodletraveler: Ubuntu Tweak: Customize Your Ubuntu System
I totally missed that! Very great


4
The LORD Accuses Israel
1 Hear the word of the LORD, O children of Israel,
for the LORD has a controversy with the inhabitants of the land.
There is no faithfulness or steadfast love,
and no knowledge of God in the land;
2 there is swearing, lying, murder, stealing, and committing adultery;
they break all bounds, and bloodshed follows bloodshed.
3 Therefore the land mourns,
and all who dwell in it languish,
and also the beasts of the field
and the birds of the heavens,
and even the fish of the sea are taken away.
4 Yet let no one contend,
and let none accuse,
for with you is my contention, O priest.
5 You shall stumble by day;
the prophet also shall stumble with you by night;
and I will destroy your mother.
6 My people are destroyed for lack of knowledge;
because you have rejected knowledge,
I reject you from being a priest to me.
And since you have forgotten the law of your God,
I also will forget your children.
7 The more they increased,
the more they sinned against me;
I will change their glory into shame.
8 They feed on the sin of my people;
they are greedy for their iniquity.
9 And it shall be like people, like priest;
I will punish them for their ways
and repay them for their deeds.
10 They shall eat, but not be satisfied;
they shall play the whore, but not multiply,
because they have forsaken the LORD
to cherish
11 whoredom, wine, and new wine,
which take away the understanding.
12 My people inquire of a piece of wood,
and their walking staff gives them oracles.
For a spirit of whoredom has led them astray,
and they have left their God to play the whore.
13 They sacrifice on the tops of the mountains
and burn offerings on the hills,
under oak, poplar, and terebinth,
because their shade is good.

Enter not into Gilgal,
nor go up to Beth-aven,
and swear not, “As the LORD lives.”
16 Like a stubborn heifer,
Israel is stubborn;
can the LORD now feed them
like a lamb in a broad pasture?
17 Ephraim is joined to idols;
leave him alone.
18 When their drink is gone, they give themselves to whoring;
their rulers dearly love shame.
19 A wind has wrapped them in its wings,
and they shall be ashamed because of their sacrifices.


We're sorry for the inconvenience, but we've saved your search so you can easily run it again if you still want to book your journey.


for centuries, the Vikings were a certain way of life, and they had the traditional view. They even became the heroes of comic illustrations. to the berserkers in horned helmets, rooks, Valhalla, one-eyed god Odin and the soldiers, dying with a sword in his hand, or drinking from the skulls.
In medieval Norway, it was difficult to engage in agriculture. Many Norwegians living in coastal areas, were unsurpassed masters of shipbuilding. The Vikings built the boat ("longshipy") with a wide, flat-bottomed hull. Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Later, the square sails - for better movement with a fair wind. It significantly speeds up the rowers, and could even replace them.
Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla
In medieval Norway, it was difficult to engage in agriculture. Many Norwegians living in coastal areas, were unsurpassed masters of shipbuilding. The Vikings built the boat ("longshipy") with a wide, flat-bottomed hull. Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Later, the square sails - for better movement with a fair wind. It significantly speeds up the rowers, and could even replace them.
Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla
Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla
In medieval Norway, it was difficult to engage in agriculture. Many Norwegians living in coastal areas, were unsurpassed masters of shipbuilding. The Vikings built the boat ("longshipy") with a wide, flat-bottomed hull. Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Later, the square sails - for better movement with a fair wind. It significantly speeds up the rowers, and could even replace them.
Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla
Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla
Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla
Such ships are perfect for shallow coastal waters and rivers. Feature longshipov - is the absence of the stern, so that the ship had two nose, allowing to change direction without turning the ship. And on such a ship-shifter it was convenient to go to sea, full of hidden icebergs. Paddles were established almost the entire length of the vessel, so that the ship was moving rowed as fast as under sail. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla


--- layout: page title: Menu levels permalink: /menu-levels/ menu: menu-levels group: main ---
This is an example for a menu with levels


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org.javadev.effects
Interfaces
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Classes
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Using const key word with a pointer has subtle aspects and it is worth talking about it.
Point-to-const or const pointer
You can use the const keyword in two different ways with pointers.
The first way is to make a pointer point to a constant object, and that prevents you from using the pointer to change the pointed-to value.
The second way is to make the pointer itself constant, and that prevents you from changing where the pointer points.
This words are subtle and confusing the first time I read them especially after I read some examples about assignment and changeability. However, once I know the purpose of using const key word, things become crystal clear.
So, why are we using const to pointer? The answer is simple: we want to protect the data. Specifically, the data could be value or address. So when you use the const key word, you should ask yourself the question first, which one would you want to protect, the value or the address?
If you want to protect the value, you should make a pointer point to a constant object. You tell the compiler, this pointer point to some value that you’d better not make a change. It means even you have the pointer, you can not change the value through pointer, because the value is now protected.
If you want to protect the address, you should make the pointer itself constant. You tell the compiler this pointer is binding to some address and you’d better not change it. It is more like binding the relationship between the pointer and the value it point to.
Examples
pointer to constant
- Example 1
assigning the address of a const variable to a pointer-to-const.
const float value = 9.80;
const float * ptr = &value;
you can use neither value nor ptr to change the value 9.80. You can not do the following things
*ptr += 1; //invalid, you can't change value
cin >> *ptr; // invalid, you can't assign the value
value = 3.0; // invalid, value is a constant variable
- Example 2
assigning the address of a regular variable to a pointer-to-const.
int value = 50;
const int * ptr = &value;
you can not use ptr to change the value 50, but you can directly change the value through variable “value”. You can not do the following things
*ptr += 1; //invalid, you can't change value through pointer
cin >> *ptr; // invalid, you can't assign the value through pointer
value = 3; // valid, value is regular variable
This case is tricky. It is often used in the cases which you have a function and pass a pointer as the argument. In this case, you do not want the function to change the value that the pointer point to. You want to protect the value, how can you do that? Right, let the pointer be a pointer-to-const.
int a = 20;
const int *ptr = &a;
int func(const int *ptr, some_other_parameters) {
//do something
//because the ptr is point to constant
//variable 'a' would not change.
return 0;
}
- Example 3
assigning the address of a const to a regular pointer.
This is prohibit in c++, because you can use a regular pointer to change the value it point to, however, if the value is decleared constant, it comes to a contradiction.
const int value = 50;
int * ptr = &value; // INVALID
- Example 4
assign the address of a regular pointer to a pointer-to-const
This is not safe. Not recommend.
const int **pp2;
int *p1;
const int n = 13;
pp2 = &p1; // not allowed, but suppose it were
*pp2 = &n; // valid, both const, but sets p1 to point at n
*p1 = 10; // valid, but changes const n
So to wrap up,
You can assign the address of either const data or non-const data to a pointer-to-const, provided that the data type is not itself a pointer, but you can assign the address of non-const data only to a non-const pointer.
- Example 5
ok to change the pointer itself, can change to point to another value
int value = 50;
const int * ptr = &value;
int another_value = 80;
ptr = &another_value; // *ptr is now 80
It just protect the value, you can not change the value through pointer, but it does not protect the address(pointer itself), you can change the address to point to another value.
make the pointer itself constant
- Example
int value = 20;
int *const ptr = &value; // ptr is binding to the address of value
int another = 3;
ptr = &another; // INVALID
Ptr restrain to the address of value.
Here is a picture from book “C++ Primer Plus”.
Const pointer that point to a const object
If you like, you can declare a const pointer to a const object which combines the properties above:
double trouble = 2.0E30;
const double * const ptr = &trouble;
Here ptr can point only to trouble, and ptr cannot be used to change the value of trouble. In short, both ptr
and *ptr
are const.


--- layout: post title: Days of the Week date: '2007-03-09T00:00:00-05:00' tags: - '2007' tumblr_url: http://poetry.liabogoev.com/post/49085386100/days-of-the-week ---
Mondays are for
Madness,
And math,
And mythical
Bad karma,
In the spirit,
Of Monday.

Wednesdays are for,
Weddings,
Wishing wells,
And wonder,
Whispers of
Wealth,
And winding ways,
Winding along to
Wednesdays.
Thursdays are for
Tests, time,
Temperature extremes,
And tree sitting.
For trying,
And truth,
In Thursdays.
Fridays are for
Fun,
And pillow fights,
And frightened parents,
Friends,
And films,
Freedom,
And French fries,
On Fridays.
Saturdays are for
Shopping sprees,
Shoes, stores,
And spending,
For sizing,
And sales,
And special prices,
And special Saturdays.
Sundays are for sleeping in,
For skating,
And skiing,
And snacking,
And swinging,
And swaying,
Spinning,
In sunlit meadows,
On Sundays.


| Package | Description |
|---|---|
| javax.measure |
Specifies Java packages for the programmatic, type safe handling
of quantities and their expression as values of units.
|
| javax.measure.format |
[OPTIONAL] Provides Formatting and Parsing functionality for units, quantities, dimensions or their textual representation.
|
| javax.measure.quantity |
[OPTIONAL] Provides quantitative properties or attributes of thing such as
mass, time, distance, heat, and angular separation.
|
| javax.measure.spi |
[OPTIONAL] The Units of Measurement SPI.
|
| Modifier and Type | Interface | Description |
|---|---|---|
interface |
Quantity<Q extends Quantity<Q>> |
Represents a quantitative property of a phenomenon, body, or substance, that
can be quantified by measurement.
|
interface |
Unit<Q extends Quantity<Q>> |
Represents a determinate quantity (as of length, time, heat, or value) adopted as a standard of measurement.
|
| Modifier and Type | Method | Description |
|---|---|---|
<T extends Quantity<T>> |
Quantity.asType(Class<T> type) |
Casts this quantity to a parameterized unit of specified nature or throw a
ClassCastException if the dimension of the specified quantity
and this measure unit's dimension do not match. |
<T extends Quantity<T>> |
Unit.asType(Class<T> type) |
Casts this unit to a parameterized unit of specified nature or throw a
ClassCastException if the dimension of the specified quantity and
this unit's dimension do not match. |
static <Q extends Quantity<Q>> |
MetricPrefix.ATTO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-18 |
static <Q extends Quantity<Q>> |
MetricPrefix.CENTI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-2 |
static <Q extends Quantity<Q>> |
MetricPrefix.DECI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-1 |
static <Q extends Quantity<Q>> |
MetricPrefix.DEKA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
101 |
static <Q extends Quantity<Q>> |
MetricPrefix.EXA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
1018 |
static <Q extends Quantity<Q>> |
BinaryPrefix.EXBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10246 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.FEMTO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-15 |
static <Q extends Quantity<Q>> |
BinaryPrefix.GIBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10243 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.GIGA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
109 |
static <Q extends Quantity<Q>> |
MetricPrefix.HECTO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
102 |
static <Q extends Quantity<Q>> |
BinaryPrefix.KIBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
1024 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.KILO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
103 |
static <Q extends Quantity<Q>> |
BinaryPrefix.MEBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10242 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.MEGA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
106 |
static <Q extends Quantity<Q>> |
MetricPrefix.MICRO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-6 |
static <Q extends Quantity<Q>> |
MetricPrefix.MILLI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-3 |
static <Q extends Quantity<Q>> |
MetricPrefix.NANO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-9 |
static <Q extends Quantity<Q>> |
BinaryPrefix.PEBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10245 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.PETA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
1015 |
static <Q extends Quantity<Q>> |
MetricPrefix.PICO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-12 |
static <Q extends Quantity<Q>> |
BinaryPrefix.TEBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10244 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.TERA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
1012 |
static <Q extends Quantity<Q>> |
BinaryPrefix.YOBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10248 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.YOCTO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-24 |
static <Q extends Quantity<Q>> |
MetricPrefix.YOTTA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
1024 |
static <Q extends Quantity<Q>> |
BinaryPrefix.ZEBI(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10247 (binary prefix). |
static <Q extends Quantity<Q>> |
MetricPrefix.ZEPTO(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
10-21 |
static <Q extends Quantity<Q>> |
MetricPrefix.ZETTA(Unit<Q> unit) |
Returns the specified unit multiplied by the factor
1021 |
| Modifier and Type | Method | Description |
|---|---|---|
Quantity<Q> |
Quantity.add(Quantity<Q> addend) |
Returns the sum of this
Quantity with the one specified. |
<T extends Quantity<T>> |
Quantity.asType(Class<T> type) |
Casts this quantity to a parameterized unit of specified nature or throw a
ClassCastException if the dimension of the specified quantity
and this measure unit's dimension do not match. |
Quantity<Q> |
Quantity.divide(Number divisor) |
Returns the quotient of this
Quantity divided by the Number
specified. |
Quantity<?> |
Quantity.divide(Quantity<?> divisor) |
Returns the quotient of this
Quantity divided by the Quantity
specified. |
Quantity<?> |
Quantity.inverse() |
Returns a
Quantity that is the multiplicative inverse of this
Quantity , having reciprocal value and reciprocal unit as given by
this.getUnit().inverse() . |
Quantity<Q> |
Quantity.multiply(Number multiplicand) |
Returns the product of this
Quantity with the Number value
specified. |
Quantity<?> |
Quantity.multiply(Quantity<?> multiplicand) |
Returns the product of this
Quantity with the one specified. |
Quantity<Q> |
Quantity.negate() |
Returns a
Quantity whose value is (-this.getValue()) . |
Quantity<Q> |
Quantity.subtract(Quantity<Q> subtrahend) |
Returns the difference between this
Quantity and the one specified. |
Quantity<Q> |
Quantity.to(Unit<Q> unit) |
Returns this
Quantity converted into another (compatible)
Unit . |
default Quantity<Q> |
Quantity.toSystemUnit() |
Convenient method equivalent to
to(getUnit().toSystemUnit()) . |
| Modifier and Type | Method | Description |
|---|---|---|
Quantity<Q> |
Quantity.add(Quantity<Q> addend) |
Returns the sum of this
Quantity with the one specified. |
Quantity<?> |
Quantity.divide(Quantity<?> divisor) |
Returns the quotient of this
Quantity divided by the Quantity
specified. |
Quantity<?> |
Quantity.multiply(Quantity<?> multiplicand) |
Returns the product of this
Quantity with the one specified. |
Quantity<Q> |
Quantity.subtract(Quantity<Q> subtrahend) |
Returns the difference between this
Quantity and the one specified. |
| Modifier and Type | Method | Description |
|---|---|---|
Quantity<?> |
QuantityFormat.parse(CharSequence csq) |
Parses a portion of the specified
CharSequence from the specified position to produce a Quantity . |
Quantity<?> |
QuantityFormat.parse(CharSequence csq,
ParsePosition pos) |
Parses a portion of the specified
CharSequence from the specified position to produce a Quantity . |
| Modifier and Type | Method | Description |
|---|---|---|
String |
QuantityFormat.format(Quantity<?> quantity) |
Formats the specified
Quantity . |
Appendable |
QuantityFormat.format(Quantity<?> quantity,
Appendable destination) |
Formats the specified quantity into an
Appendable . |
| Modifier and Type | Interface | Description |
|---|---|---|
interface |
Acceleration |
Rate of change of velocity with respect to time.
|
interface |
AmountOfSubstance |
Number of elementary entities (molecules, for example) of a substance.
|
interface |
Angle |
Figure formed by two lines diverging from a common point.
|
interface |
Area |
Extent of a planar region or of the surface of a solid measured in square units.
|
interface |
CatalyticActivity |
Catalytic activity.
|
interface |
Dimensionless |
Dimensionless quantity.
|
interface |
ElectricCapacitance |
Electric capacitance.
|
interface |
ElectricCharge |
Electric charge.
|
interface |
ElectricConductance |
Electric conductance.
|
interface |
ElectricCurrent |
Amount of electric charge flowing past a specified circuit point per unit time.
|
interface |
ElectricInductance |
Electric inductance.
|
interface |
ElectricPotential |
Electric potential or electromotive force.
|
interface |
ElectricResistance |
Electric resistance.
|
interface |
Energy |
Capacity of a physical system to do work.
|
interface |
Force |
Quantity that tends to produce an acceleration of a body in the direction of its application.
|
interface |
Frequency |
Number of times a specified phenomenon occurs within a specified interval.
|
interface |
Illuminance |
Illuminance.
|
interface |
Length |
Extent of something along its greatest dimension or the extent of space between two objects or places.
|
interface |
LuminousFlux |
Luminous flux.
|
interface |
LuminousIntensity |
Luminous flux density per solid angle as measured in a given direction relative to the emitting source.
|
interface |
MagneticFlux |
Magnetic flux.
|
interface |
MagneticFluxDensity |
Magnetic flux density.
|
interface |
Mass |
Measure of the quantity of matter that a body or an object contains.
|
interface |
Power |
Rate at which work is done.
|
interface |
Pressure |
Force applied uniformly over a surface.
|
interface |
RadiationDoseAbsorbed |
Amount of energy deposited per unit of mass.
|
interface |
RadiationDoseEffective |
Effective (or "equivalent") dose of radiation received by a human or some other living organism.
|
interface |
Radioactivity |
Radioactive activity.
|
interface |
SolidAngle |
Angle formed by three or more planes intersecting at a common point.
|
interface |
Speed |
Distance traveled divided by the time of travel.
|
interface |
Temperature |
Degree of hotness or coldness of a body or an environment.
|
interface |
Time |
Period of existence or persistence.
|
interface |
Volume |
Amount of space occupied by a three-dimensional object or region of space.
|
| Modifier and Type | Interface | Description |
|---|---|---|
interface |
QuantityFactory<Q extends Quantity<Q>> |
| Modifier and Type | Method | Description |
|---|---|---|
abstract <Q extends Quantity<Q>> |
ServiceProvider.getQuantityFactory(Class<Q> quantity) |
Returns a factory for the given
Quantity type. |
<Q extends Quantity<Q>> |
SystemOfUnits.getUnit(Class<Q> quantityType) |
Returns the default unit for the specified quantity or
null if none is defined for the given quantity in this unit system. |
| Modifier and Type | Method | Description |
|---|---|---|
Quantity<Q> |
QuantityFactory.create(Number value,
Unit<Q> unit) |
Returns the quantity for the specified number stated in the specified unit.
|
Quantity<Q> |
QuantityFactory.create(Number value,
Unit<Q> unit,
Quantity.Scale scale) |
Returns the quantity for the specified number stated in the specified unit and scale.
|
Copyright © 2014–2020 Jean-Marie Dautelle, Werner Keil, Otavio Santana. All rights reserved.


{% block title %}Member Portalbeta{% endblock %}
Welcome
If this is your first time, please search for your profile and claim it. You can use the search bar at the top of the page -- for mobile devices, you may need landscape mode to view it. And if your profile does not exist, create one.
Once you've associated a profile with your account, then you can add race results, share stories, and more.
Alec Kaye
<EMAIL_ADDRESS>Activity
{% load activity_tags %}
{% activity_stream 'model' profile_model %}
-
{% for action in stream|slice:":5" %}
- {% display_action action %} {% endfor %}


Having read a fair amount about meditation and mindfulness, some articles felt famaliar. At the end of each article, I reminded myself to have a growth mindset, looking to learn from the article. It felt like being curious about what I had just read, instead of dismissing it 'already know that, next thing'.
I found the Fogg Method particularly interesting. I reflected on how I could apply this habit forming method to something in my own life.
The notion that behaviour leads to mindset was an underlying theme between a few of the articles/videos. This contradicts the idea that believing 'I can do this' is needed before doing. Just do it, then you can look back and believe in yourself.
A few techniques have held my attention absorbing the content yesterday.
I will be experimenting with: