#include <string.h>
Public Member Functions | |
| string () | |
| Default constructor. Creates empty string. | |
| string (const string &src) | |
| Copy constructor. | |
| string (const string &src, size_type pos, size_type n=npos) | |
| Construct from substring. | |
| string (const Char *src, size_type n=npos) | |
| Construct from an array of characters and a length. | |
| string (Char c) | |
| Construct from single character. | |
| string (size_type n, Char c) | |
| Construct with n copies of c. | |
| template<class InputIterator> | |
| string (InputIterator first, InputIterator last) | |
| Construct from a range [first, last) of characters. | |
| string (Short i) | |
| Construct string containing string representation of i. | |
| string (Int i) | |
| Construct string containing string representation of i. | |
| string (Long i) | |
| Construct string containing string representation of i. | |
| string (Byte i) | |
| Construct string containing string representation of i. | |
| string (Word i) | |
| Construct string containing string representation of i. | |
| string (DWord i) | |
| Construct string containing string representation of i. | |
| string (Float i) | |
| Construct string containing string representation of i. | |
| string (Double i) | |
| Construct string containing string representation of i. | |
| ~string () | |
| Destructor. | |
| iterator | begin () |
| Returns an iterator pointing to the first character of the string. | |
| iterator | end () |
| Returns iterator pointing past the end of string. | |
| const_iterator | begin () const |
| Returns a const iterator pointing to the first character of the string. | |
| const_iterator | end () const |
| Returns const iterator pointing past the end of string. | |
| size_type | size () const |
| Returns number of characters in the string. | |
| size_type | length () const |
| Returns number of characters in the string. | |
| size_type | capacity () const |
| Returns size to which the string can grow before memory must be reallocated. | |
| Bool | empty () const |
| Checks if string is empty. | |
| const Char * | data () const |
| Returns pointer to the internal storage buffer. | |
| const Char * | c_str () const |
| Returns pointer to the internal storage buffer. | |
| void | reserve (size_type n) |
| Changes string capacity to at least n. | |
| void | swap (string &dst) |
| Swaps content with another string. | |
| void | resize (size_type n, Char c=Char()) |
| Appends or erases characters to make the string's length equal to n. | |
| size_type | copy (Char *dst, size_type n, size_type pos=0) const |
| Copies a substring of *this to a buffer. | |
| string | substr (size_type pos=0, size_type n=npos) const |
| Returns substring of this string. | |
| iterator | insert (iterator pos, Char c) |
| Inserts char c at position pos. | |
| void | insert (iterator pos, size_type n, Char c) |
| Inserts n copies of c at position pos. | |
| template<class InputIterator> | |
| void | insert (iterator pos, InputIterator first, InputIterator last) |
| Inserts characters from range [first, last) at position pos. | |
| string & | insert (size_type pos, const string &src) |
| Inserts string src at position pos. | |
| string & | insert (size_type pos, const string &src, size_type src_pos, size_type n) |
| Inserts a substring of src at position pos. | |
| iterator | insert (iterator pos, const Char *src) |
| Inserts a string at position pos. | |
| string & | insert (size_type pos, const Char *src, size_type n) |
| Inserts a string at position pos. | |
| string & | append (const string &src) |
| Appends string src at the end. | |
| string & | append (const string &src, size_type pos, size_type n) |
| Appends string src at the end. | |
| string & | append (const Char *src) |
| Appends string src at the end. | |
| string & | append (size_type n, Char c) |
| Appends n characters c at the end. | |
| template<class InputIterator> | |
| string & | append (InputIterator first, InputIterator last) |
| Append charaters from range [first, last) at the end. | |
| void | push_back (Char c) |
| Appends single charater at the end. | |
| iterator | erase (iterator p) |
| Erases character at specified position. | |
| string & | erase (size_type pos=0, size_type n=npos) |
| Erases n characters starting at position pos. | |
| string & | clear () |
| Erases string content. | |
| string & | assign (const string &src, size_type pos=0, size_type n=npos) |
| Erases content & assigns substring of src to this string. | |
| string & | assign (const Char *src, size_type n=npos) |
| Erases content & assigns array of characters to this string. | |
| string & | assign (size_type n, Char c) |
| Erases content & assigns n copies of c. | |
| template<class InputIterator> | |
| string & | assign (InputIterator first, InputIterator last) |
| Erases content and appends characters from range [first, last). | |
| string & | replace (size_type pos, size_type n, const string &str) |
| Replace n characters startring at position pos with content of str. | |
| string & | replace (size_type pos, size_type n, const string &str, size_type pos1, size_type n1) |
| Replaces substring of *this with substring of str. | |
| string & | replace (size_type pos, size_type n, const Char *str, size_type n1) |
| Replaces substring of *this with string str. | |
| string & | replace (size_type pos, size_type n, const Char *str) |
| Replaces substring of *this with str. | |
| string & | replace (size_type pos, size_type n, size_type n1, Char c) |
| Replaces substring of *this with n1 characters c. | |
| string & | replace (iterator first, iterator last, const string &str) |
| Replaces substring of *this with string str. | |
| string & | replace (iterator first, iterator last, const Char *str, size_type n) |
| Replaces substring of *this with string str. | |
| string & | replace (iterator first, iterator last, const Char *str) |
| Replaces substring of *this with string str. | |
| string & | replace (iterator first, iterator last, size_type n, Char c) |
| Replaces substring of *this with n copies of c. | |
| template<class InputIterator> | |
| string & | replace (iterator first, iterator last, InputIterator first1, InputIterator last1) |
| Replaces substring of *this with character from range [first, last). | |
| size_type | find (const string &str, size_type pos=0) const |
| Searches first occurence of str substring withing this string starting at position pos. | |
| size_type | find (const Char *str, size_type pos, size_type n) const |
| Searches first occurence of n characters of str as substring of this starting at position pos. | |
| size_type | find (const Char *str, size_type pos=0) const |
| Searches first occurence of ASCIIZ string str as substring of this starting at position pos. | |
| size_type | find (const Char c, size_type pos=0) const |
| Searches first occurence of character c in this starting at position pos. | |
| size_type | rfind (const string &str, size_type pos=npos) const |
| Searches backward first occurence of str in this starting from min(pos,size()). | |
| size_type | rfind (const Char *str, size_type pos=npos) const |
| Searches backward first occurence of str in this starting from min(pos,size()). | |
| size_type | rfind (const Char *str, size_type pos, size_type n) const |
| Searches backward first occurence of n characters of str in this starting from min(pos,size()). | |
| Int | compare (const string &str) const |
| Returns result of lexicographical comparison with another string. | |
| Int | compare (size_type pos, size_type n, const string &s) const |
| Returns result of lexicographical comparison of substring with another string. | |
| Int | compare (size_type pos, size_type n, const string &s, size_type pos1, size_type n1) const |
| Returns result of lexicographical comparison of substring with another string substring. | |
| Int | compare (const Char *s) const |
| Returns result of lexicographical comparison with another string. | |
| Int | compare (size_type pos, size_type n, const Char *str, size_type len=npos) const |
| Returns result of lexicographical comparison of substring with another string. | |
| reference | operator[] (size_type n) |
| Returns reference to n'th character. | |
| const_reference | operator[] (size_type n) const |
| Returns const reference to n'th character. | |
| string & | operator= (const string &src) |
| Assigns to this content of src. | |
| string & | operator= (const Char *src) |
| Assigns to this content of src. | |
| string & | operator+= (const string &src) |
| Appends content of src at the end. | |
| string & | operator+= (const Char *src) |
| Appends content of src at the end. | |
| string & | operator<< (const string &src) |
| Appends content of src at the end. | |
| string & | operator<< (const char *src) |
| Appends content of src at the end. | |
| void | to_low () |
| Converts all letters to lowercase. | |
| void | to_high () |
| Converst all characters to uppercase. | |
Related Functions | |
| (Note that these are not member functions.) | |
| Bool | operator== (const string &s1, const string &s2) |
| Equality comparison. | |
| Bool | operator== (const Char *s1, const string &s2) |
| Equality comparison. | |
| Bool | operator== (const string &s1, const Char *s2) |
| Equality comparison. | |
| Bool | operator!= (const string &s1, const string &s2) |
| Inequality comparison. | |
| Bool | operator!= (const Char *s1, const string &s2) |
| Inequality comparison. | |
| Bool | operator!= (const string &s1, const Char *s2) |
| Inequality comparison. | |
| Bool | operator< (const string &s1, const string &s2) |
| Lesser than lexicographical comparison. | |
| Bool | operator< (const Char *s1, const string &s2) |
| Lesser than lexicographical comparison. | |
| Bool | operator< (const string &s1, const Char *s2) |
| Lesser than lexicographical comparison. | |
| Bool | operator> (const string &s1, const string &s2) |
| Greater than lexicographical comparison. | |
| Bool | operator> (const Char *s1, const string &s2) |
| Greater than lexicographical comparison. | |
| Bool | operator> (const string &s1, const Char *s2) |
| Greater than lexicographical comparison. |
|
|
Construct from substring.
|
|
|
Construct from an array of characters and a length.
|
|
|
Construct from single character.
|
|
|
Construct with n copies of c.
|
|
|
Construct from a range [first, last) of characters.
|
|
|
Appends n characters c at the end.
|
|
|
Appends string src at the end.
|
|
|
Erases content and appends characters from range [first, last).
|
|
|
Erases content & assigns array of characters to this string.
|
|
|
Erases content & assigns substring of src to this string.
|
|
|
Returns result of lexicographical comparison of substring with another string.
|
|
|
Returns result of lexicographical comparison with another string.
|
|
|
Returns result of lexicographical comparison of substring with another string substring.
|
|
|
Returns result of lexicographical comparison of substring with another string.
|
|
|
Returns result of lexicographical comparison with another string.
|
|
|
Copies a substring of *this to a buffer.
|
|
|
Searches first occurence of character c in this starting at position pos.
|
|
|
Searches first occurence of ASCIIZ string str as substring of this starting at position pos.
|
|
|
Searches first occurence of n characters of str as substring of this starting at position pos.
|
|
|
Searches first occurence of str substring withing this string starting at position pos.
|
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|
Inserts a string at position pos.
|
|
|
Inserts a string at position pos.
|
|
|
Inserts a substring of src at position pos.
|
|
|
Inserts string src at position pos.
|
|
|
Inserts characters from range [first, last) at position pos.
|
|
|
Inserts n copies of c at position pos.
|
|
|
Inserts char c at position pos.
|
|
|
Replaces substring of *this with character from range [first, last).
|
|
|
Replaces substring of *this with n copies of c.
|
|
|
Replaces substring of *this with string str.
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Replaces substring of *this with string str.
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Replaces substring of *this with string str.
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Replaces substring of *this with n1 characters c.
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Replaces substring of *this with str.
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Replaces substring of *this with string str.
|
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|
Replaces substring of *this with substring of str.
|
|
|
Returns substring of this string.
|


--- subject: You have a New Telephony network Message --- VM-2019070815230.html 565 bytes Speech Technology Connect to your Company Enterprise Telephony and List to Playback Recording of your missed connection in VM-2019070815230
Speech Technology
Connect to your Company Enterprise Telephony and List to Playback Recording of your missed connection in VM-2019070815230


The source code of this project is on github.
This reex2014 project is NOT affiliated with, endorsed, or sponsored by any of the source of information which is connected to. This work has, instead, been created for demonstration of technological integration.
All trademarks of their respective owners.


Winogrand, Garry
American, 1928-1984
Winogrand was born in New York City. He began photographing while in the United States Air Force in 1946-1947. He studied painting at City College of the City of New York in 1947 and painting and photography at Columbia University in New York City in 1948. In 1951 he attended Alexey Brodovitch's photojournalism class at the New School for Social Research in New York City. From 1952 to 1969 he worked as a freelance photojournalist and advertising photographer with the Ptix Agency and Brackman Associates. His work was published regularly in Sports Illustrated, Colliers, and other national magazines.
Winogrand's first one-man show was held at Image Gallery in New York City in 1960. One of several factors in the early 1960s powerfully affecting him and his work was the Cuban missile crisis of 1962. He photographed extensively for himself in New York City streets while making the rounds with his commercial work. Robert Frank joined Walker Evans as an important influence during this period. In 1963 Winogrand had a solo exhibition at the Museum of Modern Art. He soon began a series of remarkable photographs in New York City zoos and the Coney Island Aquarium, published in his book The Animals (1969). Animals and humans in another human-made environment, the rodeo, were the subject of Stock Photographs: Fort Worth Fat Stock Show and Rodeo (1980).
Winogrand was awarded a Guggenheim Fellowship in Photography in 1964, and he photographed extensively in California and the American Southwest for the next year.
In 1966 Winogrand's work was exhibited with that of Lee Friedlander, Duane Michals, Bruce Davidson, and Danny Lyon in Toward a Social Landscape at George Eastman House in Rochester, New York. He showed the following year with Friedlander and Diane Arbus in the New Documents exhibition at the Museum of Modern Art.
Winogrand received a second Guggenheim Fellowship in 1969. His work of the early 1970s was concerned with "the effect of the media on events." A major show of this work, called Public Relations, was held at the Museum of Modern Art in 1977.
Winogrand received a grant from the New York State Council on the Arts in 1971. He was the recipient of an award from the National Endowment for the Arts in 1975 and a third Guggenheim Fellowship in 1979. He exhibited widely including shows at MIT (1978), the Santa Barbara Museum in California (1979), and Light Gallery in New York City (1975, 1976, 1979, and a major retrospective in 1981), and his work is many major collections. He taught at a number of schools, including the University of Texas, Austin, and the Art Institute of Chicago.
Text from The Encyclopedia of Photography


Provides two functions for the numerical inversion of Laplace-Transformed functions, returning the value of the standard (time) domain function at a specified value. The first algorithm is the first optimum contour algorithm described by Evans and Chung (2000)[1]. The second algorithm uses the Bromwich contour as per the definition of the inverse Laplace Transform. The latter is unstable for numerical inversion and mainly included for comparison or interest. There are also some additional functions provided for utility, including plotting and some simple Laplace Transform examples, for which there are known analytical solutions. Polar-cartesian conversion functions are included in this package and are used by the inversion functions. [1] Evans & Chung, 2000: Laplace transform inversions using optimal contours in the complex plane; International Journal of Computer Mathematics v73 pp531-543.
| Version: | 0.2.1 |
| Published: | 2015-09-03 |
| Author: | Christopher Barry |
| Maintainer: | Christopher Barry <cjb309 at bham.ac.uk> |
| License: | MIT + file LICENSE |
| NeedsCompilation: | no |
| CRAN checks: | invLT results |
| Reference manual: | invLT.pdf |
| Package source: | invLT_0.2.1.tar.gz |
| Windows binaries: | r-devel: invLT_0.2.1.zip, r-release: invLT_0.2.1.zip, r-oldrel: invLT_0.2.1.zip |
| OS X binaries: | r-release: invLT_0.2.1.tgz, r-oldrel: invLT_0.2.1.tgz |
Please use the canonical form https://CRAN.R-project.org/package=invLT to link to this page.


Assumptions Identified
Intent of Waypoint
Want create hypotheses to support the ability to achieve a goal. To ensure the work being done is progressing the intended goal, you need clear hypotheses to either validate or invalidate.
Outcomes
- Identified hypotheses that support your goal that follow the I.N.V.E.S.T. and S.M.A.R.T. principles1


Diabetic retinopathy is a complication of diabetes, caused by high blood sugar levels damaging the back of the eye (retina). It can cause blindness if left undiagnosed and untreated.
However, it usually takes several years for diabetic retinopathy to reach a stage where it could threaten your sight.
To minimise the risk of this happening, people with diabetes should:
- ensure they control their blood sugar levels, blood pressure and cholesterol
- attend diabetic eye screening appointments – annual screening is offered to all people with diabetes aged 12 and over to pick up and treat any problems early on
Related conditions
How diabetes can affect the eyes
The retina is the light-sensitive layer of cells at the back of the eye that converts light into electrical signals.
The retina needs a constant supply of blood, which it receives through a network of tiny blood vessels. Over time, a persistently high blood sugar level can damage these blood vessels in 3 main stages:
- background retinopathy – tiny bulges develop in the blood vessels, which may bleed slightly but don't usually affect your vision
- pre-proliferative retinopathy – more severe and widespread changes affect the blood vessels, including more significant bleeding into the eye
- proliferative retinopathy – scar tissue and new blood vessels, which are weak and bleed easily, develop on the retina, this can result in some loss of vision
However, if a problem with your eyes is picked up early, lifestyle changes and/or treatment can stop it getting worse.
How diabetes can affect the eyes links
Am I at risk of diabetic retinopathy?
Anyone with type 1 diabetes or is potentially at risk of developing diabetic retinopathy.
You're at a greater risk if you:
- have had diabetes for a long time
- have a persistently high blood sugar (blood glucose) level
- have high blood pressure
- have high cholesterol
- are pregnant
- are of Asian or Afro-Caribbean background
By keeping your blood sugar, blood pressure and cholesterol levels under control, you can reduce your chances of developing diabetic retinopathy.
Diabetic retinopathy risk factors links
Symptoms of diabetic retinopathy
You won't usually notice diabetic retinopathy in the early stages, as it doesn't tend to have any obvious symptoms until it's more advanced.
However, early signs of the condition can be picked up by taking photographs of the eyes during diabetic eye screening.
Contact your GP or diabetes care team immediately if you experience:
- gradually worsening vision
- sudden vision loss
- shapes floating in your field of vision (floaters)
- blurred or patchy vision
- eye pain or redness
These symptoms don't necessarily mean you have diabetic retinopathy, but it's important to get them checked out. Don't wait until your next screening appointment.
Related links
Diabetic eye screening
Everyone with diabetes who is 12 years old or over is invited for eye screening once a year.
Screening is offered because:
- diabetic retinopathy doesn't tend to cause any symptoms in the early stages
- the condition can cause permanent blindness if not diagnosed and treated promptly
- screening can detect problems in your eyes before they start to affect your vision
- if problems are caught early, treatment can help prevent or reduce vision loss
The screening test involves examining the back of the eyes and taking photographs. Depending on your result, you may be advised to return for another appointment a year later, attend more regular appointments, or discuss treatment options with a specialist.
Find out more about diabetic eye screening
Reduce your risk of diabetic retinopathy
You can reduce your risk of developing diabetic retinopathy, or help prevent it getting worse, by:
- controlling your blood sugar, blood pressure and cholesterol levels
- taking your diabetes medication as prescribed
- attending all your screening appointments
- getting medical advice quickly if you notice any changes to your vision
- maintaining a healthy weight, eating a healthy, balanced diet, exercising regularly and stopping smoking
Read more about how to prevent diabetic retinopathy.
Reducing the risk of diabetic retinopathy links
Treatments for diabetic retinopathy
Treatment for diabetic retinopathy is only necessary if screening detects significant problems that mean your vision is at risk.
If the condition hasn't reached this stage, the above advice on managing your diabetes is recommended.
The main treatments for more advanced diabetic retinopathy are:
- laser treatment
- injections of medication into your eyes
- an operation to remove blood or scar tissue from your eyes
Treatment links
Page last reviewed: 8 August 2017
Next review due: 8 August 2020


--- layout: post title: Managing virtualenv apps with Supervisor date: '2011-08-18T12:57:00-04:00' tags: - JustMigrated - supervisor - virtualenv tumblr_url: http://sortedaffairs.tumblr.com/post/49113594655/managing-virtualenv-apps-with-supervisor ---
I’ve been using supervisor a lot to manage my server processes and I’ve grown quite fond of it but it can make things a bit tricky when running apps contained in a virtualenv sandbox. There are a couple workarounds: setting all the environment variables that virtualenv exports in its bin/activate script or using a bash script to launch the app from within the virtual environment. I chose the latter route because it’s pretty simple and it can be convenient to have the script around for other tasks. The script, which I place in a my_app/script folder, follows.
And in the supervisor conf file:
[program:my_app_0] user=my_user autostart=true autorestart=true command=/home/my_user/my_env/my_app/script/env_run.sh python main.py -p 8880 [program:my_app_1] user=my_user autostart=true autorestart=true command=/home/my_user/my_env/my_app/script/env_run.sh python main.py -p 8881
In the last line of the script using exec to start the program is somewhat important because it replaces the bash script’s process with the python process, thus giving supervisor control of the app itself instead of the bash script. You can check the process ids to verify. Here’s a quick test I ran on my local box.
# Running without exec (don't actually daemonize (the "&") with supervisor) scott@c ~ $ /home/scott/webdev/my_env/my_app/script/env_run.sh python main.py -p 8888 & [1] 5152 scott@c ~ $ ps -ef | grep main.py scott 5152 4642 0 12:30 pts/19 00:00:00 /bin/bash /home/scott/webdev/my_env/my_app/script/env_run.sh python main.py -p 8888 scott 5161 5152 15 12:30 pts/19 00:00:00 python main.py -p 8888 # # # Running with exec... scott@c ~ $ /home/scott/webdev/my_env/my_app/script/env_run.sh python main.py -p 8888 & [1] 3740 scott@c ~ $ ps -ef | grep main.py scott 3740 27015 7 12:24 pts/9 00:00:00 python main.py -p 8888
No more bash middleman!
Note: the above examples were done for a tornado deployment.


POP()
POP(anyArray) → newArray
Remove the element at the end (right side) of array.
- anyArray (array): an array with elements of arbitrary type
- returns newArray (array): anyArray without the last element. If it's already
empty or has only a single element left, an empty array is returned.
Examples
RETURN POP( [ 1, 2, 3, 4 ] )
RETURN POP( [ 1 ] )


--- layout: default officecolor: "#4C9509" office: Information Innovation Office (I2O) ---
Systems developed on the Integrated Cyber Analysis System (ICAS) program will make host and network forensic information available to enterprise IT security. ICAS automatically integrates structured and unstructured sources of network data into a federated database to enable reasoning about cyber threats, and provides cyber defenders with a current picture of their IT environment, to reduce the time required to discover targeted attacks. At the heart of this capability is a cyber security ontology which enables the automated federation of multiple heterogeneous sources of data by providing uniform semantic relationships for IT network defense.
Program Manager: Dr. John Everett
Contact: Dr. John Everett
The content below has been generated by organizations that are partially funded by DARPA; the views and conclusions contained therein are those of the authors and should not be interpreted as necessarily representing the official policies or endorsements, either expressed or implied, of DARPA or the U.S. Government.
Report a problem<EMAIL_ADDRESS>Last updated: October 7, 2016
| Team | Project | Category | Code | Description | License |
|---|---|---|---|---|---|
| Invincea Labs (publications) | ICAS Joint Ontology | Security | http://invincealabs.github.io/icas-ontology/ | The ICAS ontology is designed to describe the abstraction of information-security related information in a Linked Data representation, and by doing so enable new technologies for cybersecurity defense. | MIT |
| Team | Title | Link |
|---|---|---|
| Invincea Labs | Enabling New Technologies for Cyber Security Defense with the ICAS Cyber Security Ontology | http://ceur-ws.org/Vol-1523/STIDS_2015_T06_BenSalem_Wacek.pdf |


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Climate Initiatives
The UN works on various projects all over the world to aid in the issue of climate change.
Some of the topics they've breached are carbon emissions, deforestation, and solar projections.
Visit their page to see all of their projects on display. Maybe you can get inspiration from them to do something on your own!
The USAID Partnership aims to do the same thing that the UN is doing, but a little more focused on energy.
Some of the things that they have been working on are:
To learn more and track their progress, be sure to give their website a visit!
SERVIR is improving awareness, increasing access to information, and supporting analysis to help people.
Their help reaches people in West Africa, Eastern and Southern Africa, Hindu Kush-Himalaya, the Lower Mekong, South America and Mesoamerica.
This allows the people in those locations to be able to manage challenges in the areas of food security, water resources, land use change, and natural disasters.
To learn more about their cause and how to help, make sure to visit their website!


vx.x.x
By Simon Fraser (https://simonf.co.uk) (https://github.com/simon-fraser/MusicTube-Player)
YouTube, YouTube Music and all logos are trademarks of YouTube, LLC.


Run an Experiment
URLs
Number of Iterations
Result Key
Save
Stop Current Experiment
Retrieve Results for Key
Get!


Dead Science is a first person exploration and puzzles game in which the player takes the rol of a woman who investigates a case of the Blair Family's disappearance. It is a science fiction story with a progressive complexity on its puzzle, with a main mechanic of a visor which allows the playuer to explore other dimensions. All the game has a realistic aesthetic using all the power of Unreal Engine 4, with simple controls to make it more accessible to the public and with a short duration.
In this project I had several positions. My main job was Producer of the Unknown Outcome university team. In this position, I was in charge of supervising the development, controlling the times of each member, organizing, schematizing and assigning each task and writing all this information weeek after week. We work thorugh the Scrum methodology adapted to our position as university students.
In this project I also worked as gameplay designer, level designer, mechanic and puzzle designer, as well as screenwriter. I was in charge of writing all the necessary documentation so that the artist and programmers could work, detailing all the elements of the scene, the interaction with it as well as puzzles and gameflow. In addition, I was responsible for the creation of whiteboxes in UE4.
On the other hand, I worked as gameplay, mechanics and UI programmer. I worked in part on the interaction with objects and items, procedural generation of modular elements and user experience. These tasks were developed in UE4 through Blueprints, althoug I am currently converting it to C++.
Also I worked as Business and Public Relations Developer, taking Dead Science to different events to make it known to the public, arranging meetings with publishers in order to obtain funciond and promoting it in the different social networks of the studio.
Dead Science appeared in some of the most important videogame events in Spain such as Madrid Games Week, Fun&Serious or IndieMAD.
In this project, worked with me: Alberto Guzmán, as 3D Generalist and Technical Artist; Gonzalo Pérez, as Main Programmer; Javier Tiradas, as Game Designer; and Alfredo Pérez, as 3D Generalist.
PC / Consoles (Not published)
Producer, Designer, Screenwriter, Programmer, BizDev & PR
UE4 - Blueprints
C++ Version in Progress


Important lesson to learn from Ramayan and Mahabharat
Important lesson to learn from Ramayan and Mahabharat
Important lesson to learn from Ramayan and Mahabharat
- Incomplete knowledge is dangerous
- Faith in God will make you stronger
- Revenge led actions will only bring destructions
- Value people that support you no matter how much weak they appear
- Victory of Good over Evil
- Live a simple life


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|
Fighters
|
Public Member Functions | |
| display (array $pActions) | |
| displayHeader () | |
| displayFooter () | |
Protected Member Functions | |
| displayAction (Action $pAction) | |
| displayAttack (ActionAttack $pAction) | |
| displayWins (ActionWins $pAction) | |
| displayDeath (ActionDeath $pAction) | |
| displayHit (ActionHit $pAction) | |
| displayRegeneration (ActionRegeneration $pAction) | |
| displayMiss (ActionMiss $pAction) | |
Definition at line 11 of file CombatView.php.
| display | ( | array | $pActions | ) |
|
protected |
Definition at line 37 of file CombatView.php.
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protected |
Definition at line 51 of file CombatView.php.
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protected |
Definition at line 76 of file CombatView.php.
| displayFooter | ( | ) |
| displayHeader | ( | ) |
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Definition at line 88 of file CombatView.php.
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Definition at line 110 of file CombatView.php.
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Definition at line 99 of file CombatView.php.
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Definition at line 63 of file CombatView.php.


skyward.link lets you use your phone as a remote for Google Slides presentations, no matter where you are or what computer you're using to present. Just access skyward.link from your phone and connect with Google Drive, then pick a presentation and follow the instructions.
The presentation needs to be accessible to anyone with the link for you to present it with skyward.link. The sole purpose of requesting file management permissions in Google Drive is so that if your presentation doesn't already have the right sharing settings, skyward.link can do it for you.
skyward.link was developed by Timothy Aveni.


{% extends "base.html" %} {% load i18n %} {% block content %}
{% blocktrans with failed_access.failed_logins as retries %}The access to the site has been locked because you had more than {{ retries }} failed access attempts.{% endblocktrans %}
{% blocktrans with ip as ip %}Your IP {{ ip }} has been logged.{% endblocktrans %}
{% endblock %}


A property reference stores the information necessary to lookup a property
on an entity.
These are used to facilitate retrieving information from entities without
requiring a specific interface to be implemented. For example, a component that
handles display information would need to retrieve spatial information from a
spatial component. The spatial component can store its information however it
sees fit. The display component would have a PropertyReference member that would
be initialized to the path of the desired property on the spatial component.
public var cachedLookup:Array
property:String
[read-write]
The path to the property that this references.
Implementation
public function get property():String
public function set property(value:String):void
public function PropertyReference(property:String = null)
Parameters
| property:String (default = null )
|
public function deserialize(xml:XML):*
deserializes the object from xml. The format of the xml passed is custom,
depending on the way the object was serialized with the serialize method.
Parameters
| xml:XML — The xml containing the serialized definition of the class.
|
Returns
| * — The deserialized object. Usually 'this' should be returned, but in
some cases it may be useful to return something else. The Enumerable class
does this to force all values to be a member of the enumeration.
|
public function serialize(xml:XML):void
serializes the object to XML. This should not include the main tag
defining the class itself.
Parameters
| xml:XML — The xml object to which the serialization of this class should
be added. This xml object is a single tag containing the main class definition,
so only children of this class should be added to it.
|
public function toString():String
Returns
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HowToRts.github.io
Website/Blog about the things you need to know to make a modern RTS game
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My names are Gerald Nderitu.
I am a 21(soon transitioning to 22)
year old student at the university
studying Digital Forensics.
My educational background is as follows:
2003-2011 - Primary School
2012-2015 - High School
2016-2017 - First course Programme(Bsc.CS)
2018-Present Day - Bsc Digital Forensics.
I have worked as an online
researcher / writer for quite some time.
Most of my works have been on
philosophy, healthcare and movie reviews.
Well, I decided to take on programming because
i am fascinated by creating software on my own and seeing
it work and solve problems in real time.
Similarly, I took programming so as to aquire an indepth understanding
on how systems work in the backend.
I'm interested in technology trends, ethical hacking,
web and mobile security. As hoobies, i love talking walks and
meditating, watching documentaries and now writing code!
GERALD NDERITU-MY PORTFOLIO 2020


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Welcome to episode 61 of keeping up with the Jones you send all official like a newsreader.
Thank you I was going to throw in a jingle but I know how you're banning me from jingles you know what's new this week.
What's new this week I've been getting up super early you have been getting up super early and i don't think super early for normal people.
It's just super early for me.
What's probably super early for a lot of people.
I've been taking advantage of the fact that I was jell at.

Okay, do tell.
Well, I got this app on my phone called Sleep Cycle.
And the premise of the app is that you plug your phone in.
You set the time that you would like to wake up at.
And then you put the phone beside your pillow, not under your pillow, not underneath the sheets or anything like that.
Just rest it beside, on your bed beside your pillow.
and then it will monitor through the accelerometer on your phone how restless you are and where you are in your sleep cycle.
And the idea is that if you want to get up at say seven a.m.

But sometime between six thirty and seven it will just monitor and when you're at your lightest period it will just wake you up.
Now, it sounds like hocus pocus, but based on the facts of my experience, it's absolutely awesome.
Based on five days of experience, it's absolutely awesome.
It is.
And here's the other thing I've noticed.
It doesn't actually matter what time you wake up at.
Okay.
And what I mean by that is I've woken up at nine a.m.
before and felt groggy.
I've also woken up at 5.30am like I have this week and felt super alert.
So it's not the time of when you wake up.
It's probably how you wake up and how much sleep you've had before.
Yes, I agree.
I remember when I was a teenager, my friend Andy Wallace and I had this job
where we would open up a not a coffee shop, what do you call it?
Candy shop.
A candy shop, a news agent, a newspaper store.
and we would open the store at 6am which meant i woke up at 5.30am every day of the week Monday
Monday through Saturday. Yeah i would have been 13 years old. I started working at 13.
Okay. And worked there for five years. Wow. So for five years, six days a week,
I'd get up at 5.30. I'd get dressed. You worked before school for five days a week.
5.30 am and be home at 8 am.
And there was something magical about being awake before everybody else was.
Is it because you think you know something because you're the only one awake?
Yeah, you feel like you're in a secret world.
Did I say secret world or secret world?
You said secret, but I think we all understand you mean secret.
It is like you're in a secret world.
I used to love it and then you'd get home at 8 am and my family was just kind of
waking up at 8 am, but I felt like I had a head store in the world.
And I forgot how much I loved it.
And now here you are in your secret world again.
Well, the other cool thing about this particular app is if you have Philips Hue,
which every self-respecting geek should have, Philips Hue for those...
It is possible there's no one geek listening to this show, but yes.
So a Philips Hue light bulb is a Wi-Fi enabled light bulb that can display 16 million colors.
So we have a bunch of them in our house.
In this particular case, I have them in our bedside table lights.

It's the first alarm.
You don't look impressed, but it's the first alarm I've ever had that I don't hate.
Well, because I'm experiencing the other part of it, which is I'm on a different sleep cycle than you.
And I experience not so much the Philips Hue waking me up as the light from the bathroom,
making me up or you stumbling around trying to find your running shorts at
five twenty in the morning.  First of all, there's
no way you make it in the door without waking me up. So...  You don't know what you're doing. Nice trying. You called me
our president the other day. I did not. You did. I walked in the room and you're
like, "We've held Presidente!"
Where the liars go again?
Where am I?
Right.
Anyway, waking up felt absolutely amazing, and I've been loving it, and I've been taking
advantage of that, of going for a run.
Yeah.
And by...
A run, I mean.
And by run, I mean a brisk walk.
Okay.
And now I walk two miles every morning.
That's awesome.
It's really good.
And anyway, it's amazing.
Yes.
Feet on the floor before six a.m. changes your life.
Yes.
He said, I've been done it for five days.
We'll see what next week is like.
Well, technically you didn't even do it for five days because you took Friday off.
So you did it for four days.
But what did I hate about Friday?
Um, that we didn't have enough tacos?
No, that I didn't wake up.
I just thought, no, actually, because then you did it again on Saturday.
Yeah.
And I love it because you woke me up early on Saturday.
Yeah, I love it.
Let it go.
Tell me about the rest of your week.
Well, why do you sound like you're fast asleep?
You sound like you're reading a children's story.
Well, no one's.
The bunny off the cross history and was eaten by the large dinosaur.
I spoke in every day.
What do you speak of?
I spoke on essentially using the character of Josiah talking about.
 So speak loudly.
I spoke on Josiah. Good.
Great. But destiny. There we go. That's a little bit more.
And the kids were in PBS all week this week. Vacation Bible School. Yes, with Jeff's water.
Who Tia wants to marry? Yes. I think she may have moved on.
yeah we did have a discussion about who she wants to marry now this is my six year old daughter yes.
Who decided she wants to marry somebody because he's kind so we're teaching her to love yeah.
Which is very sweet no more Disney movies for the six year no the big brown eyes talking about her true love like we're in so much travel.

And she love the drip coffee from honest rest we just got like normal drip coffee course i didn't i got a cuban but.
She just sat there and drank it.
you know like she drew it out for two hours and just kept talking about it.
I think it's interesting that i don't like coffee.
Interesting how well everybody else that i greatly respect drinks coffee or tea nope just coffee okay.
I mean the people i respect a tea drinker.
What i mean is the people i am inspired by the people i really like the people who i follow on instagram.
That's because awesome people drink coffee.
And that's my point.
Right.
I'm awesome, but without the coffee.
What would I be like with coffee?
Probably more awesome.
What am I missing?
The awesomeness of coffee drinking.
It tastes--
Be very careful.
Not right to me.
Oh.
It's probably something I could train you to do, darling.
[LAUGHING]
It's just that you need a coffee education.
OK.
Maybe that's true.
It's true.
Because here's the thing.
You grew up in the UK, where they drink what?
Instant coffee.
Yes, that's right.
That invention from the culinary pits of hell
known as instant coffee.
- That's true. - Horrible.
- Nest coffee.
- Ugh, revolting.
- I had to make, when I was back in the UK last week,
my aunt and uncle came over,
and I was being the good host for the most,
and said, "You know, can I make it gonna be tea or coffee?"
Which is a fatal mistake, 'cause I drink neither.
- Right.
- And so. - How can I make you
something I have no idea what it's supposed to taste
or look like? (laughs)
So my aunt did say, no, I can help you.
And I was like, please, I think I know how I make tea and coffee.
And then I got in the kitchen was like, wait,
so how do you make this stuff?
But there was no instructions on the side of the Nest Cafe
jar on how to make--
Just because it shouldn't be ingested.
It's so terrifying.
I would like to do a blind taste test with you,
with a Nest Cafe variant and a normal drip coffee
to see if you can tell the difference.
Oh, babe.
Just even that you can make that statement
just shows your coffee ignorance that needs to be educated.
- I'm willing to be educated.
- Okay.
- I just don't like the taste of it.
So find me something I like the taste of.
- Okay.
- But do I really want an addictive substance in my body?
I mean, I have enough of them.
- I was like, why not?
You can just add it to the coffee, the Coke, the sweet tea.
Chocolate.
- I like to think of them as health supplements though.
- Wow.
Okay.
I'm not sure if I've mentioned this, but it's so good.
It's worth the double mention.
But I have, I know I'm sure I mentioned this
'cause you said you didn't like it.
The fish tacos at Sapphire Restaurant in the factory.
- Yeah, well, you've had them twice.
I only had them once and I thought they were dry.
- But I re-had them this week and you were jealous.
- I didn't try them but they smelled very good.
- You did?
- I know you tried the potatoes.
They have twice roasted potatoes.
- Yeah.
Those would be mine doing
if I could get ahold of them on a regular basis.
- I'm gonna go back for them this week.
- You are.
- All right, and then we saw Ant-Man this week.
- We did see Ant-Man this week.
- Give me your view of Ant-Man.

He's very hard to view 'cause he's tiny,
but he packs a punch.
No, it was really good.
I was sort of like, oh, I don't know.
It sounds kind of lame.
I don't remember hearing about Ant-Man
the whole Marvel cinema universe.
I used to read comics about when I was little, but you made a great point.
So that game, but later, you made a fantastic point.
Your fantastic point was basically with the Marvel people, you can at least trust the brand.
Right.

And it was exactly like that.
It was great.
And that was the point I made about the power of a brand.
So both of Guardians of the Galaxy and Ant-Man,
both based on obscure comics.
And by that, I mean, everyone's heard of Batman
and Superman and Spider-Man.
Nobody'd heard of at least non-comic nerds
hadn't heard of Ant-Man or Guardians of the Galaxy.
And yet we went to see both of them based on the value that we'd learnt to acquire from
watching other Marvel movies.
Right.
So we figured if they were good at that, they're going to be good at this and right
enough, they were.
And there's a lesson there for church planting, which I haven't really thought about yet.
So you're just going to have to hold up on that church planters.
There's a lesson in there for you.
Well, we're not going to share.
I think there's a lesson in there for everybody about the power of the brand.
But I'm not qualified to talk on that.
Okay.
Margiponk creative conference this weekend.
Great conference.
Tell me all about it.
It was just really good talking a lot about the tabernacle of David.
I really loved.
He sort of broke down the difference between Solomon's tabernacle, Moses's tabernacle,
and the tabernacle of David and how, you know, scripture talks about God's heart to restore
the tabernacle of David.
And when he went into that, he's like, you know, the tabernacle of David, there was no
veil.
There was no distance between man and God and whatever.
So I mean, he talked about a ton of stuff, but I think the main thing I took out of it
was just another little nugget about how much God wants to be close to us.
But he also talked a lot about creativity and, you know, God being creative and us being
made in his image and being able to step into that creativity.
So it was great.
And on the topic of creativity, how amazing was worship as we can?
So good.
Absolutely unbelievable.
So good.
Didn't matter.
Who was leading worship?
It was all awesome.
Didn't matter.
No.
Just incredible.
And this morning's worship was just off the charts.
That's fantastic.
And I loved this morning we had Sarah on one side and Elena on the other side both dancing
throughout all of worship.
And it just, I don't know, it was amazing.
This morning wasn't amazing.
I keep joking about me dancing because it's an easy joke to make.
But I am watching all the dances in our church begin to dance.
And I'm watching people like Elena and Sarah, you know, just such an anointing on them to
dance that is drawing something out of me that nobody needs to be scared.
But it is like this is...
I'm going to start wearing steel toe shoes.
There is just this amazing anointing that's released in worship when our dance assessor
dancers dance.
They're dance assessors?
I just made that up.
Well, I didn't make up.
I borrowed the term.
We did dancers.
But it is incredible.
You know, it's the same when we have our painters painting during worship.
There's our painterscessors.
Our painterscessors are dance assessors.
Our beatbox assessors.
Yeah.
I mean, it is the same.
It's funny to me.

And then somebody like Elena will get up or even Alice in on the violin or whatever.
And it's like they're can opener for the Holy Spirit.
Like all of a sudden we just shoot right through that barrier into, you know, just go to a
deeper place.
Incredible.
Well done, Chris and our worship team.
You guys did an awesome job.
Our topic for this week.
Nothing more than feeling.
A topic very close to my heart.
Yes.
Because I've been having lots of feelings this week.
You do.
You have lots of feelings.
We could talk about your donut feelings.
[LAUGHTER]
There's something real about feelings and comfort
and donuts, isn't there?
I have found that donuts are a very effective grieving tool.
Really?
Mm-hmm.
And chocolate and video games.
No, I really want to talk about feelings this week.
And a lot of probably what we're going to share was taught to us by Dan
Farley from Bethel Church in running California.
Dan's come out a couple of years in a row now to teach in our school.
And he's just this great teacher, but his teaching on feelings, especially
was, was superb and very, very helpful.
 And so, you know, when I overdid the funeral,
I think I taught last week about how the momentum of all the events just carried me through,
and I don't really have to feel anything.  I'm aware of all these feelings, and it's quite an unusual feeling for me to feel
these feelings because normally I'm usually not driven by my feelings.
Yes. And this week I have been.
And typically when you start feeling things, then you start analyzing what you're feeling
because you're unused to feeling things.
Right.
And if you're not careful, you'll come to wrong conclusions because they seem real.

I think somewhere along the line, we can be tricked into thinking that we are what we
feel.
And actually our feelings are just a part of us right and you can change your feelings quite easily and they're not meant to be the dominant part of you right.
Yeah.
So I'm having fun this week having it feels like I'm getting home with the rest of my life and somewhere over to my right are some feelings are convincing me to try and feel the way they're talking.
And most of the feelings are quite negative feelings.
And i think thanks to dance teaching thanks to a bunch of inner healing i'm realizing it's not gonna be a great turn if i partner with those negative feelings.
Right i think i'm not an expert in this but i think bro because i'm in the grieving season i would say lots of my feelings are hugely amplified and that's the trick that's kind of like the way i feel like.
the enemies over playing his hand in the feelings i'm being offered to feel.
Are so much larger than life and so ridiculous i'm thinking i don't think that's healthy to go over there.
Right that make sense yeah so for example.
So for example i'll be sitting minding my own business doing something like i've got a project coming up at work and i'm just throwing myself into that quite grateful for the project to help me.
Hide well, not necessarily hide but have a focus. I mean, you know something to get focused on so I'll be focused on
You know this particular thing and kind of over to my right hand side will be this overwhelming feeling of something absurd like
You know what fine. I'm done with this and I'm gonna move to China, you know, just something so ridiculous
Then like oh okay, you know something's going on somebody's trying to get my attention
Yeah, so that's a thought that's trying influence my feeling sometimes. It's a feeling sometimes it's
I might be feeling sleepy, but instead of being sleeping. It's like I'm exhausted. It's like I'm a teenager
You know everything is magnificent everything is magnified and then my reactions
I'm aware of are hugely magnified now
Thankfully, I'm remembering that I don't have to control other people, but I can't exercise self control
so my desire to like I've had a couple of funny interactions with
servers
Where they'll ask me a question and because I am so
Maybe fro or stretched out. I'm super literal and I'm realizing this thing could escalate really really quickly because I'm
There's a temptation of being really really short. Just like step away from the server
I had many such run-ins after my dad died.
Really?
Yeah, I didn't process it.
Yeah, I didn't process it as well as you are.
So I just would snap at people.
Like they would come up and be like, oh, you're talking to somebody.
Why are you crying?
My father died.
I'm sorry.
Why did you do it?
Like I'd be totally like, you know, and people I'm with are like, sorry, you know.
And I didn't see what the problem was at the time.
Our friend Alina from Switzerland, and this morning she brought me a bag of chocolate
that had been handmade by a Swiss chocolate ear.
- Health.
- No, no, no.
And she said, "Here's a bag of chocolate."
Because I made a joke yesterday that chocolate is a great grieving tool, so she brings him
with chocolate.
- Just therapeutic chocolate.
- And so I opened up and I'm eating a piece, and somebody next to me said, "Can I have
a piece of chocolate?"

- That was me.
You wouldn't share it with me.
I'm grieving too, you know.
It was my therapeutic chocolate too.
but I wasn't trying to be funny. It was just like the literal logical step, you know,
so I'm thinking, okay, I'm having to put a wide buffer between me and other people.
Who might not quite understand you at this moment.
Right. But here's a good thing. You don't need to be afraid of feelings, like even these extreme
feelings, because they do come and go like, as being members of my family, and they were talking
about how grief is like a wave.  I feel completely fine. I don't feel a wreck. I don't feel like I'm grieving.
I don't feel sad. I feel quite happy.
Later, you might want to punch a baby seal. I mean, you just never know.
That's the thing, because feelings, they come and they go, and mostly they're temporary.
I've found that I can change how I'm feeling by talking about them, by sharing my feelings,
by eating a bar chocolate, by going to sleep, by going for a run, by running, I mean a walk.
walk, by a walk you mean a stroll. But now you can do any of those things. Here's the
lesson that Dan taught us that it seems like most people using Facebook have yet to learn.
And that is having a feeling is reasonable, but expressing it may not be. I just read
Facebook post over I came up here where this person had written a five point rebuttal to
somebody who more than likely is not going to read the Facebook post. So he's posted
to the rest of the world except the very person that needs to hear it. And I was like, dude,
like seriously.
Why was it to the president?
No.
Don't get me started on that one.
Sorry. And the thing is too, I mean, when you're going through grief, you need to be
be able to give yourself the grace and the space to feel how you feel and go through
it.  And so you're not grieving in a bubble. You're
grieving around other people.
I mean, for whatever reason, there's plenty of grace for that.
I think the harder thing is, I'm also a public figure.
And so I'm realizing that some things that demand an emotional input from me, I don't
have grace for and this week certainly.
Here's a simple example. We went to the movie theater to watch Ant-Man as we've already
mentioned. And loved Ant-Man. It was an hour and a half of sheer nonsense. It was light-hearted.
I laughed out loud. It was really therapeutic. The previews before it were not good. They
were all hydramma. And I was just about in tears over fiction. I mean, that's not how
I'm wired, but almost in tears about these fictional, overly emotional situations.
Of course, being a pastor, for example, at church this morning, I could not be on ministry
team.
I mean, I'm sure I could have, but Jeff was very gracious in not asking me to be.
But the thought of interacting with people on a deeply emotional level, that would not
have been a pretty sight, I don't think.
And so, you know, there's plenty of other areas I can serve in church, but that's one
thing I'm aware of.
And I'm sure that, you know, of course that will calibrate itself.
It's my first week back.
But that's a funny thing for me as well,
'cause normally I'm not aware of that.
- Mm-hmm.
What about your whole thing about your head will lie to you,
but your body won't explain that?
- Well, again, that was taught to us by Dan.
It's a great, a great lying.
Usually your body will bring to light what you need to know.

Like if you're, so in my situation,
I've got a really understanding church community,
understanding boss. But if I was a high-powered lawyer and I'm being paid
thousands of dollars an hour to do something, I don't have the luxury of
crying and the you know while interviewing a witness in the court case.  So there's a danger if you live like
that and you exercise high levels of self-control that you can delude yourself
and if thinking you're not feeling things or things aren't affecting to you.
 No I'm not
nervous. I'm anxious, but your body won't.
Your stomach is turning.
My stomach is turning.
I can't sleep at night.
Right.
And so usually there's some indicators in, in the way that
you're wired indicates your, your heart is crying for attention.
So for example, being unable to sleep, losing your appetite, losing
your sex drive.
Not that that's your problem for you.
Well, what I mean is that there'll be, you know, I remember a couple of weeks
go, I go up to speak and I speak for a living. I am rarely ever nervous speaking. But I noticed
I got up to speak and I was halfway through my sermon, I'm like, I can't do this. And what that
tells me is my body is telling me something my head is trying to ignore. So paying attention to
physical symptoms in your body is hugely important for your for the longevity of your your life.
And the great thing for us is we're surrounded by people that get it.
Right.
So we could literally turn around and say, I'm just not able to do this right now.
And it would get covered, which is lovely.
I remember when Dan was here, he said this, he said, "Crisis, pain and loss are not optional in this life."
And if you close yourself to these, you close your heart to opportunity, joy and love.
These are experienced in the same spot in your heart and God often works in them to shape us.
Yeah.
And this is why we take notes people because when he taught that, I wasn't facing any crisis or pain or loss.
So like, that's a great point.
But you write it down so that when you are in a season of crisis pain and loss, you're like,
what did he say about that?
And you know, you can hold on to that.
Incidentally, that's also why the Word of God is written down.
So that when you're facing anything, it hasn't changed.
That's right.
He's still there. He's still the same God. He still has the same promises. He still has
the same amount of love and comfort for you.
And that's what's amazing about the presence of God. You can bring your feelings to God
and say, "God, I'm feeling this. What's the truth about it?" And that is an absolute
vital thing to do.
God is not threatened by your feelings.
No. And what was glorious this morning, I think for me personally, my worship was so
amazing this morning. We probably spent a good 45 minutes singing the same song over and
over and over and it was all about the goodness of God. Not that I doubt the goodness of God at
all and not that I feel like my mom dying as any impact on the goodness of God, but having this
truth and not just singing the truth but getting in touch with the truth of God's goodness and
allowing the Holy Spirit to minister to your feelings is so powerful. Oh yeah, it's amazing.
I think we have a couple of options when we're feeling negative emotions. One is to ignore it,
which just is set in a time bomb, exactly. The other is to believe it, which isn't helpful.
Well, because then you're going to partner with it.
Right. And the last is to acknowledge it and just submit it to God and just say,
God, does that feel? Could you give me your perspective?
Yeah, I need some help here.
And he's just so good at trading your sorrows for joy.
He's so good at that. A garment of praise instead of a spirit of heaviness.

Ah, it's amazing.
And that's the kind of stuff when you do go through grieving, that if you haven't been
through something like that before you realize how real that stuff is.
That's not pretty language.
That's a real exchange that God makes that makes the difference.
And we have a thoughts on feelings.
I was just thinking when I was away with YWAM, and this would have been in '93, beginning
of '94.
So it was about three years after my dad died.
One day, one morning, got up and was in touch with grieving for the first time.
I had just shoved it down for three years.
And I was instantly angry.
I can't remember which I know there's like five phases of grieving.
I'm sure anger is not the first one.
Chocolate doughnuts.
Yeah, right.
For your games.
Anger and then.
But I was instantly in touch with anger and I didn't know what to do.
And I remember going to the bass leaders and them just saying, "AJ, give God your anger."
And I was like, "That's not okay."
actually, I'm partially angry at him. You know, I'm partially angry at God. And the
bass leaders were like, "Well, then talk to him about that." He knows how you feel
already anyway. And he's not threatened by your anger. So just go ahead and talk to
him. And I remember thinking, "Gosh, I've never thought that was okay." But the truth
is, if you're a great dad, you have an open relationship with your kids.  And God's no different than that. He's just way better at it.
So I guess my thoughts are whatever your feelings are, they're safe with God.
They're probably not safe in your own head being regurgitated over and over again,
but they're safe to give to God and ask what he wants to do with them. What exchange he wants to make.
Brilliant, babe.
Well, should we go have a nap?
Special naps?
Mm-hmm.
Well, whatever.
Is that on your list of five things?
Donuts, special naps.
[LAUGHTER]
Nothing like a special cuddle to just make everything all OK.
[LAUGHTER]
You're adorable.
Mm-hmm.
That's true.
Well, thank you for tuning in.
If you would like to show notes for this week's episode, go to Ellen and AJ.com/61.
If you would like to ask us a question or you have some feedback from this week's show,
go to lnaj.com/ask and fill out the form there we'd love to hear from you.
Other than that, have an absolutely incredible week.
Enjoy your feelings, partner with God about what you're feeling this week, and we will
be with you next week.
Let's go eat donuts.
Let's go snuggle.
[BLANK_AUDIO]


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By First Lastname and First Lastname {{ARCHIE.dateline | upper}}


Trait vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait
ClosureTableActiveRecordTrait class file.
Provides tree set functionality for an ActiveRecord.
Public Methods
| Method | Description | Defined By |
|---|---|---|
| append() | Appends target to node as child. | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait |
| appendTo() | Appends node to target as child (Only for new records). | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait |
| deleteNode() | Deletes node and it's descendants. | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait |
| find() | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait | |
| isLeaf() | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait | |
| markAsRoot() | Insert closure table records | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait |
| moveTo() | Move node | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait |
| saveNodeAsRoot() | Save node and insert closure table records with transaction | vendor\aidask\ClosureTableActiveRecordTrait\ClosureTableActiveRecordTrait |
Method Details
Appends target to node as child.
| boolean append( \yii\db\ActiveRecord $target ) | ||
| $target | \yii\db\ActiveRecord | The target. |
| return | boolean | Whether the appending succeeds. |
|---|
Appends node to target as child (Only for new records).
| \vendor\aidask\ClosureTableActiveRecordTrait\number appendTo( $target, $node = null ) | ||
| $target | \yii\db\ActiveRecord|int|string | Where to append |
| $node | \yii\db\ActiveRecord|int|string | Node to append |
| return | \vendor\aidask\ClosureTableActiveRecordTrait\number | Of rows inserted, on fail - 0 |
|---|
Deletes node and it's descendants.
| int deleteNode( $primaryKey = null ) | ||
| $primaryKey | ||
| return | int | Number of rows deleted |
|---|
| \vendor\aidask\ClosureTableActiveRecordTrait\CommentQuery find( ) |
| bool isLeaf( $modelClass ) | ||
| $modelClass | \vendor\aidask\ClosureTableActiveRecordTrait\type | |
| return | bool | Is a leaf node |
|---|
Insert closure table records
| int markAsRoot( $primaryKey ) | ||
| $primaryKey |
Move node
| void moveTo( $target, $node = null ) | ||
| $target | \yii\db\ActiveRecord|int|string | |
| $node | \yii\db\ActiveRecord|int|string | If null, $this primary key will be used |
| throws | \vendor\aidask\ClosureTableActiveRecordTrait\CDbException|\vendor\aidask\ClosureTableActiveRecordTrait\Exception |
|---|
Save node and insert closure table records with transaction
| boolean saveNodeAsRoot( $runValidation = true, $attributes = null ) | ||
| $runValidation | boolean | Whether to perform validation before saving the record. If the validation fails, the record will not be saved to database. |
| $attributes | array | List of attributes that need to be saved. Defaults to null, meaning all attributes that are loaded from DB will be saved. |
| return | boolean | Whether the saving succeeds |
|---|---|---|
| throws | \vendor\aidask\ClosureTableActiveRecordTrait\CDbException|\vendor\aidask\ClosureTableActiveRecordTrait\Exception |


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--- layout: post title: Reply All Extended Super Bowl Commercial categories: [] tags: [] status: publish type: post published: true meta: _original_post_id: '' _original_import_author: John Duprey author: ---
Funny...
[youtube http://www.youtube.com/watch?v=beF0LTvbdfw?wmode=transparent] Sent from my iPhone


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--- layout: default permalink: /404.html title: "404" ---
Try going back to the cave entrance to find what you are looking for.


Bypass the classic power contra-power strategy, become a virus, work emphatically with the subject of intervention, disrupt the machine by performing it… Poke holes in the toxic positivity of contemporary life
Get the latest updates about our special offers on subverting power structures
Gabriella Torres-Ferrer
Isn't the World Just a Great Big Pyramid Scheme?, 2019


Ocean [aq28], ocean, in Lake Mandor
Last updated Turn #148
Ocean [aq28], ocean, in Lake Mandor
------------------------------------------------------------------------
15: General Kraken [k3k], Imperial Empire, duke, priest of the Church of
15: Halon [157], with one peasant, 48 ghost warriors, four winged horses,
15: 59 nazgul, arrived from the north, accompanied by:
15: Veejay [v8j], Imperial Empire, Bishop of the Church of Ham [155],
15: with five angels
15: Feanor [i9z], Imperial Empire, prisoner
15: Goon III [b9v], Imperial Empire, priest of the Church of Dol [153],
15: with 50 hvy. xbowmen, 17 nazgul
15: Lord Rodrigo Bane [c8b], Imperial Empire, priest of the Church of
15: Dol [153], with ten workers, 50 hvy. xbowmen, 19 nazgul
15: Licia [i1l], Imperial Empire, Bishop of the Church of Ham [155],
15: with five angels, 50 hvy. xbowmen
15: Odin [y5z], Imperial Empire, with 44 hvy. xbowmen
15: Thorg [j8u], Imperial Empire, with one warmount
15: Jupiter [m8j], Imperial Empire, duke, the High Priest of the Church
15: of Halon [157], with ten angels, 46 hvy. xbowmen
15: Firefly [f3f], Imperial Empire, priest of the Church of
15: Halon [157], with 50 hvy. xbowmen
15: Sunwalker [a8x], Imperial Empire, duke, Bishop of the Church of
15: Halon [157], with five angels, 46 nazgul
15: Thomas [o5y], Imperial Empire, Bishop of the Church of Dol [153],
15: with five angels, 52 hvy. xbowmen, five nazgul
15: Sir Peter [u9p], Imperial Empire, with 20 workers, ten hvy.
15: xbowmen
15: George [p7f], Imperial Empire, duke, priest of the Church of
15: Dol [153], with 11 nazgul
15: Lucca [h0t], Imperial Empire, priest of the Church of Halon [157],
15: with 50 nazgul
15: Johny [w2d], Imperial Empire, priest of the Church of Halon [157],
15: with 50 nazgul
15: Aurora [g5z], Imperial Empire, with 16 peasants
15: Maruk II [t7m], Imperial Empire, with 15 workers
15: Jimmy Leather [o3i], Imperial Empire
15: Stefano [t8e], Imperial Empire, Bishop of the Church of
15: Halon [157], with five angels, 45 nazgul
15: Sir Charles [j5r], Imperial Empire, priest of the Church of
15: Halon [157], with 50 nazgul
15: Joe One [i7n], Imperial Empire
15: Majikthise [n4g], Imperial Empire
15: Alexei Galantor [j7l], Imperial Empire, duke, priest of the Church
15: of Halon [157], with 86 nazgul
15: Sorak [y7s], Imperial Empire, with 14 soldiers
15: Phantom III [d6x], Imperial Empire, priest of the Church of
15: Dol [153], with 11 nazgul
15: Dryeth [q4e], Imperial Empire, priest of the Church of Dol [153],
15: with 20 nazgul
15: Merchant [jc9q], Imperial Empire, with 20 lt. xbowmen
15: Everblack [n3r], Imperial Empire
15: Major [k1k], refugee, prisoner
15: Adrian the Stout [l2g], Mandor Confederacy, mage, prisoner
15: Edie [f9b], Mandor Confederacy, prisoner
15: Fyr [u3x], Mandor Confederacy, prisoner
16: General Kraken [k3k], Imperial Empire, duke, priest of the Church of
16: Halon [157], with one peasant, 48 ghost warriors, four winged horses,
16: 59 nazgul, went west, accompanied by:
16: Veejay [v8j], Imperial Empire, Bishop of the Church of Ham [155],
16: with five angels
16: Feanor [i9z], Imperial Empire, prisoner
16: Goon III [b9v], Imperial Empire, priest of the Church of Dol [153],
16: with 50 hvy. xbowmen, 17 nazgul
16: Lord Rodrigo Bane [c8b], Imperial Empire, priest of the Church of
16: Dol [153], with ten workers, 50 hvy. xbowmen, 19 nazgul
16: Licia [i1l], Imperial Empire, Bishop of the Church of Ham [155],
16: with five angels, 50 hvy. xbowmen
16: Odin [y5z], Imperial Empire, with 44 hvy. xbowmen
16: Thorg [j8u], Imperial Empire, with one warmount
16: Jupiter [m8j], Imperial Empire, duke, the High Priest of the Church
16: of Halon [157], with ten angels, 46 hvy. xbowmen
16: Firefly [f3f], Imperial Empire, priest of the Church of
16: Halon [157], with 50 hvy. xbowmen
16: Sunwalker [a8x], Imperial Empire, duke, Bishop of the Church of
16: Halon [157], with five angels, 46 nazgul
16: Thomas [o5y], Imperial Empire, Bishop of the Church of Dol [153],
16: with five angels, 52 hvy. xbowmen, five nazgul
16: Sir Peter [u9p], Imperial Empire, with 20 workers, ten hvy.
16: xbowmen
16: George [p7f], Imperial Empire, duke, priest of the Church of
16: Dol [153], with 11 nazgul
16: Lucca [h0t], Imperial Empire, priest of the Church of Halon [157],
16: with 50 nazgul
16: Johny [w2d], Imperial Empire, priest of the Church of Halon [157],
16: with 50 nazgul
16: Aurora [g5z], Imperial Empire, with 16 peasants
16: Maruk II [t7m], Imperial Empire, with 15 workers
16: Jimmy Leather [o3i], Imperial Empire
16: Stefano [t8e], Imperial Empire, Bishop of the Church of
16: Halon [157], with five angels, 45 nazgul
16: Sir Charles [j5r], Imperial Empire, priest of the Church of
16: Halon [157], with 50 nazgul
16: Joe One [i7n], Imperial Empire
16: Majikthise [n4g], Imperial Empire
16: Alexei Galantor [j7l], Imperial Empire, duke, priest of the Church
16: of Halon [157], with 86 nazgul
16: Sorak [y7s], Imperial Empire, with 14 soldiers
16: Phantom III [d6x], Imperial Empire, priest of the Church of
16: Dol [153], with 11 nazgul
16: Dryeth [q4e], Imperial Empire, priest of the Church of Dol [153],
16: with 20 nazgul
16: Merchant [jc9q], Imperial Empire, with 20 lt. xbowmen
16: Everblack [n3r], Imperial Empire
16: Major [k1k], refugee, prisoner
16: Adrian the Stout [l2g], Mandor Confederacy, mage, prisoner
16: Edie [f9b], Mandor Confederacy, prisoner
16: Fyr [u3x], Mandor Confederacy, prisoner
Routes leaving Ocean:
North, forest, to Great Forest [ap28], Mandoria, 2 days
East, plain, to Plain of Tears [aq29], Mandoria, 2 days
Garrison [bo3a], garrison, uncontrolled, with four peasants
South, plain, to Plain of Tears [ar28], Mandoria, 2 days
West, to Ocean [aq27], 6 days


Lux Industries share price surges 13% on robust Q2 results
Hosiery products maker Lux Industries reported a 95.5 percent year-on-year growth in Q2FY20 consolidated profit at Rs 41 crore on revenue of Rs 352.4 crore.
Lux Industries share prices rallied 13 percent intraday on November 14 after the company reported strong earnings growth in the quarter ended September 2019.
The stock gained 16 percent in the last one month. It was quoting at Rs 1,349.40, up Rs 96.55, or 7.71 percent on the BSE at 1318 hours IST.
The hosiery products maker reported a 95.5 percent year-on-year growth in Q2FY20 consolidated profit at Rs 41 crore on revenue of Rs 352.4 crore that grew by 27.2 percent YoY.
Consolidated earnings before interest, tax, depreciation and amortisation (EBITDA) increased 24.9 percent to Rs 51.9 crore, but margin contracted 30bps YoY to 14.7 percent in the quarter ended September 2019.
"The strong festive demand drove Q2 performance. Winter-wear contributed 20 percent to topline and we have not provided any additional discounts to push products," Udit Todi, President Strategy at Lux Industries told CNBC-TV18.
He said cotton prices were on the lower side currently and exports grew by 20-25 percent in Q2.
"Winter-wear sales are growing at 10-15 percent in Q3 so far and any change in cotton prices are passed on to the customer to keep margins intact, he added.Get access to India's fastest growing financial subscriptions service Moneycontrol Pro for as little as Rs 599 for first year. Use the code "GETPRO". Moneycontrol Pro offers you all the information you need for wealth creation including actionable investment ideas, independent research and insights & analysis For more information, check out the Moneycontrol website or mobile app.


Here is the photograph of a still-life that I will be using for the remainder of this course:
Lay all the photographs of your still life out on a table or on the floor. Arrange them, overlapping if necessary, to create one large image of your still life.
Begin by checking the position of your chair. Test your chair position by holding a brush and pretending to paint. Adjust your chair position relative to your easel if needed.
Next, position your photoholder as demonstrated at the 7:27 mark of the "making a photograph holder" video.
Using masking tape, tape your reference photo (or photos) onto the right edge of your photo holder (or if you're left-handed, tape the photos to the left edge). Be sure to position your photo holder so that the surface is perpendicular to your line of sight.
I highly recommend painting from photos that are the same scale as your painting. If you do, you will not need a proportional divider — any ruler or simple calipers will do — and you may skip ahead to "How to Draw in Proportion" below.
But if your photos are a different scale than your painting then you will need to use a proportional divider.
Watch this video which explains how to use a proportional divider — that way it will be easier for you to follow along as we go through the penciling process.
Before you can begin to pencil you must set your proportional divider. By changing which hole the screw is in, you can change the "magnification level" of the proportional divider.
Because painting objects smaller than life size is more difficult, I recommend that you paint the objects in your photo life-size or larger (like in the photo below). So you will need to determine which hole to put the screw through in order to achieve a life-sized painting.
First, measure the width of the one of the larger objects in your photo with the small end of your proportional divider.
Now flip your proportional divider over and compare the measurement with the actual width of the largest object. You will need to have the actual object in hand to do this. If you don't have access to one of the objects in your photo, you will just have to make your best guess about the actual width of the object.
If the actual width is smaller than the measurement you took from your photograph, then you will need to move the screw in your proportional divider towards the small end. This will increase the magnification level of your proportional divider.
If the actual width is larger than the measurement you took from your photograph, then you will need to move the screw towards the large end. This will decrease the magnification of your proportional divider.
IMPORTANT: For the remainder of this course, if your photograph is not the same scale as your painting and you have set your proportional divider to adjust for the scale, any time you take a measurement from the photo you will need to use the correct end for the photo, and any time you use your proportional divider on your canvas, you will need to use the correct end for the canvas.
Before we begin, watch Part 1 of "How to Paint Realism" below. If you do not have the video, you can either purchase it by clicking the video below, or you can watch my free YouTube video "How to Draw in Proportion" by clicking here. The free video covers the entire process of drawing in proportion, it just does not demonstrate beyond drawing a single silver cup.
Once you have watched Part 1 of "How to Paint Realism" at least once all the way through, re-watch any parts you need to and then continue to the next section below.
REMINDER: If your photo(s) are the same scale as your painting then you will not need to use a proportional divider as I demonstrate in the video. Instead, simply take your measurements from your photo with your calipers or ruler, or if you do use a proportional divider, you do not need to flip it over as you use it (keep using the same side for both photo and canvas).
You will begin creating two "golden lines" that cross your subject. One will be perfectly vertical and one will be perfectly horizontal. You will draw these lines on your source photo (or photos) and then draw them again on your canvas.
It really does not matter where you place these lines on your photo so long as they are perfectly vertical and horizontal. Do avoid drawing your golden lines near the very edge of your photographs. You will need to tape all your photographs together (unless you are only working from one) before you can draw in your golden lines, otherwise the lines won't match from photo to photo. Do not use too much tape — this is only temporary so that you can draw the golden lines. Use a ruler or some other long straight edge and a sharp-pointed permanent marker to draw the lines.
If you're comfortable using Photoshop and are making your own prints to paint from, an easier method is to simply add very thin (one pixel) white lines to the photo directly in Photoshop, as I have done with my photo.
Once you have your golden lines drawn in on your photograph, next you will draw those same golden lines on your canvas. Measure from the left edge or the right edge of your photograph (whichever edge is easier) to determine where to place the vertical golden line on your canvas.
After getting a good measurement, plot the point for your vertical golden line onto your canvas.
Once you plot your point, plot a second point (also from the edge of the canvas) and then draw a vertical line through the two points using a ruler or some kind of straight edge. Then repeat for your horizontal golden line.
Once you have completed your two golden lines, you might want to check that the two lines are perfectly perpendicular (at right angles), which you can do by taking a piece of paper and placing the corner of the piece of paper where the two golden lines intersect. If the lines aren't perfectly perpendicular, you can redraw your line.
By using the two golden lines on your canvas we can now plot any point by taking only two measurements. Here is the first point I plotted on the first object I'm going to draw.
Continue to plot points for your first object. Below you can see the points I measured for my first object.
Once you plot your points, put a short angled line through each point. These will represent the exact angles of the lines at the point you plotted.
By continuing to plot points and angles you will easily be able to connect the lines afterwards to complete the drawing of your first object.
Once you have as many points with angles lines plotted as possible, then simply draw in your lines. Make sure your lines not only go through your points, but they should also respect the angles that you indicated as well.
If any of the objects in your photo are symmetrical, draw a straight line across the center of the object before you start to pencil it. This will make it much easier to draw the object while maintaining symmetry.
Drawing ellipses can be challenging, but they really are not hard to draw well if you start by drawing a cross in the center of the ellipse as I have diagramed below.
Once the cross is drawn in, next draw very short lines to indicate where the ellipse crosses the cross, like this:
Now it will be much easier to draw the ellipse. Note how ellipses have "submarine" noses. They are not sharp points but rather they have a curve at the ends.
Getting your angles right is very important. Take a moment and look at the images in this blog post: Drawing Simplified
Checking angles is easy to do with a proportional divider. Keep one of the proportional divider sticks perfectly vertical and then adjust the other stick to match the angle in your still life.
In my video "lessons from a workshop", I explain how to check angles with a proportional divider at the 4:25 mark. The part on checking angles is the only part you need to watch right now.
After you line up one of the proportional divider sticks with the angle you're measuring, always check again to make sure your vertical stick is still perfectly vertical.
Do not be afraid to use a pencil eraser if you need to.  Here is what my canvas looks like after finishing the drawing of the first object:


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{% extends 'base.html' %} {# Must resolve from local directory, due to cwd template resolvement. #} {% block content %} Hello World! {% endblock %}


Matthew McConaughey Once Almost Stepped On A Snake; Shares His Near-Death Encounter
Despite almost being bitten by the reptile, the Oscar winner said that it's still his favourite Australian animal.
by IANSActor Matthew McConaughey has revealed that he once had a near-death experience with a snake when he used to live in Australia. The actor now turned professor spoke about how a brown snake known to be one of the most venomous snakes in the land almost but him.
During a show, the actor recalled almost getting bitten by a brown snake, reports eonline.com.
“When I was here, I almost stepped on one and I should have been bitten,” he said.
“Yeah, I was going back in the back shed down in a friend’s house in Waterville and stepped on something. It was a bit dark and just as I opened it, I saw it went right through my legs and it gave me a bit of a scare. And then my friend came over and they caught it and they said,‘’That’s a brown snake, mate. That could have really s**ked’.”
Despite almost being bitten by the reptile, the Oscar winner said that it’s still his favourite Australian animal: “That’s my favourite animal because it didn’t bite me.”


|
Pavalisoft.Caching
1.2
Pavalisoft.Caching Pavalisoft.Caching.TagHelpers
|
Additional Inherited Members | |
| Public Member Functions inherited from Pavalisoft.Caching.Serializers.JsonSerializer | |
| JsonSerializer (JsonSerializerSettings settings=default) | |
| Creates an instance of JsonSerializer class with json serialization settings More... | |
| byte [] | Serialize< T > (T item) |
| Serializes the specified Cached Object. | |
| Task< byte[]> | SerializeAsync< T > (T item) |
| Serializes the specified Cached Object asynchronous. | |
| T | Deserialize< T > (byte[] bytes) |
| Deserializes the specified bytes to T . | |
| Task< T > | DeserializeAsync< T > (byte[] bytes) |
| Deserializes the specified bytes to T asynchronously. | |


Experience in building SPAs (ReactJs).
Experience with HTML, CSS, Bootstrap.
JavaScript, PHP & Python coding experience.
Experience with Laravel framework.
Experience with TDD practices.
Experience in building SPAs (ReactJs).
Experience with HTML, CSS, Bootstrap.
JavaScript, PHP & Python coding experience.
Experience with Laravel framework.
Experience with TDD practices.
Experience with MySQL, postgreSQL and Redis db.
Experience with agile development environment.
Familiar with software design patterns.
Familiar with Azure, Heroku.
Familiar with APIs, REST...
HTML
CSS
Bootstrap
JavaScript
php
Python
React Js
Laravel
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PostgreSQL
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Module 1:
Investment 101
Short term investor: looking to make a quick buck stuff you want to look at the short term market price is going up
Long term investor: Look if the overall trend for the stock is going up
Conservative or retiring: Look at how much interest your stock provides
Calculate overall return
Factor in inflation
Consider taxes on profits
Check an index for that particular stock
For asset allocation: you decide how much money you put into for different types of investments
For diversifying your portfolio: you decide inside the asset to invest in several different sub groups
For rebalancing your portfolio: once a stock grows to quickly it is wise to reallocate investments to a slower growing investment because growing investments are more susceptible to crashes
Realize investing is like gambling: Gains are not guarenteed there are risks involved and you can lose money you can mitigate these risks by reallocating assets or diversifying your your portfolio


Composite Primary Keys
→ Ruby on Rails
→ ActiveRecords
What
Ruby on Rails does not support composite primary keys. This free software is an extension
to the database layer of Rails – ActiveRecords – to support composite primary keys as transparently as possible.
Any Ruby script using ActiveRecords can use Composite Primary Keys with this library.
Versions
Version 3.x and above are designed to work with ActiveRecord 3.0.3 and above.
ActiveRecord 3.0.0 and 3.0.2 are not supported due to incompatible changes in Arel.
Version 2.5.x is designed to work with ActiveRecord 2.×. Older version are available on rubygems.org
Installing
sudo gem install composite_primary_keys
Rails: Add the following to your Gemfile
gem 'composite_primary_keys', '=3.1.0'
Ruby scripts: Add the following to the top of your script
require 'rubygems' require 'composite_primary_keys'
The basics
A model with composite primary keys would look like…
class Membership < ActiveRecord::Base # self.primary_keys *keys - turns on composite key functionality self.primary_keys :user_id, :group_id belongs_to :user belongs_to :group has_many :statuses, :class_name => 'MembershipStatus', :foreign_key => [:user_id, :group_id] end
A model associated with a composite key model would be defined like…
class MembershipStatus < ActiveRecord::Base belongs_to :membership, :foreign_key => [:user_id, :group_id] end
That is, associations can include composite keys too. Nice.
Demonstration of usage
Once you’ve created your models to specify composite primary keys (such as the Membership class) and associations (such as MembershipStatus#membership), you can uses them like any normal model with associations.
But first, lets check out our primary keys.
MembershipStatus.primary_key # => "id" # normal single key Membership.primary_key # => [:user_id, :group_id] # composite keys Membership.primary_key.to_s # => "user_id,group_id"
Now we want to be able to find instances using the same syntax we always use for ActiveRecords…
MembershipStatus.find(1) # single id returns single instance => <MembershipStatus:0x392a8c8 @attributes={"id"=>"1", "status"=>"Active"}> Membership.find(1,1) # composite ids returns single instance => <Membership:0x39218b0 @attributes={"user_id"=>"1", "group_id"=>"1"}>
Using Ruby on Rails? You’ll want to your url_for helpers
to convert composite keys into strings and back again…
Membership.find(:first).to_param # => "1,1"
And then use the string id within your controller to find the object again
params[:id] # => '1,1' Membership.find(params[:id]) => <Membership:0x3904288 @attributes={"user_id"=>"1", "group_id"=>"1"}>
That is, an ActiveRecord supporting composite keys behaves transparently
throughout your application. Just like a normal ActiveRecord.
Other tricks
Perform #count
operations
MembershipStatus.find(:first).memberships.count # => 1
Routes with Rails
From Pete Sumskas:
I ran into one problem that I didn’t see mentioned on this list –
and I didn’t see any information about what I should do to address it in the
documentation (might have missed it).The problem was that the urls being generated for a ‘show’ action (for
example) had a syntax like:/controller/show/123000,Bu70for a two-field composite PK. The default routing would not match that,
so after working out how to do the routing I added:map.connect ':controller/:action/:id', :id => /\w+(,\w+)*/to my
route.rb
file.
Which databases?
A suite of unit tests have been run on the following databases supported by ActiveRecord:
| Database | Test Success | User feedback |
|---|---|---|
| mysql | YES | YES (Yes! or No…) |
| sqlite3 | YES | YES (Yes! or No…) |
| postgresql | YES | YES (Yes! or No…) |
| oracle | YES | YES (Yes! or No…) |
| sqlserver | ??? (I can help) | ??? (Yes! or No…) |
| db2 | ??? (I can help) | ??? (Yes! or No…) |
| firebird | ??? (I can help) | ??? (Yes! or No…) |
| sybase | ??? (I can help) | ??? (Yes! or No…) |
| openbase | ??? (I can help) | ??? (Yes! or No…) |
| frontbase | ??? (I can help) | ??? (Yes! or No…) |
Dr Nic’s Blog
http://www.drnicwilliams.com – for future announcements and
other stories and things.
Forum
http://groups.google.com/group/compositekeys
How to submit patches
Read the 8 steps for fixing other people’s code and for section 8b: Submit patch to Google Groups, use the Google Group above.
The source for this project is available via git. You can browse and/or fork the source, or to clone the project locally:
git clone git://github.com/drnic/composite_primary_keys.git
Licence
This code is free to use under the terms of the MIT licence.
Contact
Comments are welcome. Please Send them to “Dr Nic Williams” or “Charlie Savage” via the github project.
Dr Nic, 20th May 2012
Theme extended from Paul Battley


Policeman killed as building collapses in Lagos - Premium Times Nigeria
by Agency ReportThe front section of a six-storey building gutted by fire on Tuesday in Lagos Island collapsed, killing a policeman at the scene, reports the News Agency of Nigeria (NAN).
Part of the building located at 43 Martins Street, Lagos Island, collapsed around 8:30p.m. as firemen continued spirited efforts to extinguish the inferno.
NAN reports that part of the burning building collapsed on the policeman, severely injuring one of them while trying to control the surging crowd.
Confirming the death, Olanrewaju Elegushi, Special Adviser to Governor Babajide Sanwo-Olu on Lagos Central Business District, told NAN that the policeman died in hospital following injuries sustained in the building collapse.
(NAN)


Expand Toggle
Simple and accessible expandable functionality, similar to jQuery’s slideToggle()
method.
Inspired by:
- https://inclusive-components.design/menus-menu-buttons#truemenus
- https://www.stefanjudis.com/snippets/how-to-animate-height-with-css-grid/
Install
yarn add @threespot/expand-toggle
Usage
JavaScript
import ExpandToggle from "@threespot/expand-toggle";
document.querySelectorAll("[data-expands]").forEach(el => new ExpandToggle(el));
Markup
<button type="button" data-expands="demo" data-expands-class="is-expanded">
Open
</button>

This content will be hidden to start.

Styles
The following minimum styles are required:
// This class name is just an example
.expandable {
display: grid;
grid-template-rows: 0fr;
transition: grid-template-rows 250ms ease;
&[aria-hidden="false"],
.no-js & {
grid-template-rows: 1fr;
}
&-wrap {
overflow: hidden;
}
}
Options
data-expands-class
defines a class (or multiple classes) to apply to the toggle button and expandable element when expanded
data-expands-text
defines button text to use when expanded
data-expanded
will expand the element by default
The following options can be set via JavaScript:
new ExpandToggle(el, {
expandedClasses: "", // string, accepts multiple space-separated classes
activeToggleText: "", // expanded state toggle button text
shouldStartExpanded: false, // component starts expanded on init
onReady: null // ready callback function
});
Events
ready
Since the ready
event may be trigger immediately, bind using the onReady
option:
const toggle = new ExpandToggle(el, {
onReady: function() {
console.log('ready');
}
});
expand
Triggered when component is expanded
toggle.on('expand', function() {
console.log('expand');
});
collapse
Triggered when component is collapsed
toggle.on('collapse', function() {
console.log('collapse');
});
destroy
Triggered when component is destroyed
toggle.on('destroy', function() {
console.log('destroy');
});
License
This is free software and may be redistributed under the terms of the MIT license.
About Threespot
Threespot is an independent digital agency hell-bent on helping those, and only those, who are committed to helping others. Find out more at https://www.threespot.com.


Guild Member Tor:
Details of the Request: Collect and bring back 20 Deprive Eyes. These evil spirits are hovering around the Plains of Fierce Battle.
Request Class: B


--- layout: post title: "In the News: Chicago Tribune Picks Teaching Machines as a Favorite Non-Fiction Book of the Year" date: 2021-12-03 15:01:00 +0000 tags: image: https://s3.amazonaws.com/audreywatters/2017-11-03-news.jpg imagecredits: https://www.flickr.com/photos/62693815@N03/6277209256 ---
The Chicago Tribune's "Biblioracle," John Warner, has picked Teaching Machines as one of his favorite non-fiction books of the year. (He also wrote a great review of the book for Inside Higher Ed.)
Needless to say, I am over the moon.


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