 You Don’t Have to Be a Genius.
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“a whole scene of people who were supporting each other, looking at each other’s work, copying from each other, stealing ideas, and contributing ideas.” Scenius doesn’t take away from the achievements of those great individuals; it just acknowledges that good work isn’t created in a vacuum, and that creativity is always, in some sense, a collaboration, the result of a mind connected to other minds.
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We’re all terrified of being revealed as amateurs, but in fact, today it is the amateur—the enthusiast who pursues her work in the spirit of love (in French, the word means “lover”), regardless of the potential for fame, money, or career—who often has the advantage over the professional. Because they have little to lose, amateurs are willing to try anything and share the results. They take chances, experiment, and follow their whims. Sometimes, in the process of doing things in an unprofessional way, they make new discoveries. “In the beginner’s mind, there are many possibilities,” said Zen monk Shunryu Suzuki. “In the expert’s mind, there are few.”
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Amateurs are not afraid to make mistakes or look ridiculous in public.  “The stupidest possible creative act is still a creative act,” writes Clay Shirky in his book Cognitive Surplus. “On the spectrum of creative work, the difference between the mediocre and the good is vast. Mediocrity is, however, still on the spectrum; you can move from mediocre to good in increments. The real gap is between doing nothing and doing something.” Amateurs know that contributing something is better than contributing nothing.
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The world is changing at such a rapid rate that it’s turning us all into amateurs. Even for professionals, the best way to flourish is to retain an amateur’s spirit and embrace uncertainty and the unknown.
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whenever Yorke feels like his songwriting is getting too comfortable or stale, he’ll pick up an instrument he doesn’t know how to play and try to write with it.
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This is yet another trait of amateurs—they’ll use whatever tools they can get their hands on to try to get their ideas into the world.
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The best way to get started on the path to sharing your work is to think about what you want to learn, and make a commitment to learning it in front of others. Find a scenius, pay attention to what others are sharing, and then start taking note of what they’re not sharing. Be on the lookout for voids that you can fill with your own efforts, no matter how bad they are at first. Don’t worry, for now, about how you’ll make money or a career off it. Forget about being an expert or a professional, and wear your amateurism (your heart, your love) on your sleeve. Share what you love, and the people who love the same things will find you.
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But now I realize that the only way to find your voice is to use it. It’s hardwired, built into you. Talk about the things you love. Your voice will follow.
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It sounds a little extreme, but in this day and age, if your work isn’t online, it doesn’t exist.
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If you want people to know about what you do and the things you care about, you have to share.
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“Remembering that I’ll be dead soon is the most important tool I’ve ever encountered to help me make the big choices in life. Because almost everything—all external expectations, all pride, all fear of embarrassment or failure—these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked.”—Steve Jobs
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he was held up while working at a Long John Silver’s. “I realized I was going to die,” he says. “And when that gets into your mind . . . it utterly changed me . . .
2. Think Process, Not Product.
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“A lot of people are so used to just seeing the outcome of work. They never see the side of the work you go through to produce the outcome.”
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As in all kinds of work, there is a distinction between the painter’s process, and the products of her process.
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It Will Be Exhilarating. “By putting things out there, consistently, you can form a relationship with your customers. It allows them to see the person behind the products.” Audiences not only want to stumble across great work, but they, too, long to be creative and part of the creative process. By letting go of our egos and sharing our process, we allow for the possibility of people having an ongoing connection with us and our work, which helps us move more of our product.
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How can you show your work even when you have nothing to show? The first step is to scoop up the scraps and the residue of your process and shape them into some interesting bit of media that you can share. You have to turn the invisible into something other people can see. “You have to make stuff,” said journalist David Carr when he was asked if he had any advice for students. “No one is going to give a damn about your résumé; they want to see what you have made with your own little fingers.”
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Start a work journal: Write your thoughts down in a notebook, or speak them into an audio recorder. Keep a scrapbook. Take a lot of photographs of your work at different stages in your process. Shoot video of you working. This isn’t about making art, it’s about simply keeping track of what’s going on around you. Take advantage of all the cheap, easy tools at your disposal—these days, most of us carry a fully functional multimedia studio around in our smartphones.
3. Share Something Small Everyday.
 Where you are in your process will determine what that piece is. If you’re in the very early stages, share your influences and what’s inspiring you. If you’re in the middle of executing a project, write about your methods or share works in progress. If you’ve just completed a project, show the final product, share scraps from the cutting-room floor, or write about what you learned. If you have lots of projects out into the world, you can report on how they’re doing—you can tell stories about how people are interacting with your work.
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I like the tagline at dribbble.com: “What are you working on?” Stick to that question and you’ll be good. Don’t show your lunch or your latte; show your work.
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Don’t say you don’t have enough time. We’re all busy, but we all get 24 hours a day. People often ask me, “How do you find the time for all this?” And I answer, “I look for it.” You find time the same place you find spare change: in the nooks and crannies.  You might have to miss an episode of your favorite TV show, you might have to miss an hour of sleep, but you can find the time if you look for it. I like to work while the world is sleeping, and share while the world is at work.
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Of course, don’t let sharing your work take precedence over actually doing your work. If you’re having a hard time balancing the two, just set a timer for 30 minutes. Once the timer goes off, kick yourself off the Internet and get back to work.
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“One day at a time. It sounds so simple. It actually is simple but it isn’t easy: It requires incredible support and fastidious structuring.”
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Always remember that anything you post to the Internet has now become public. “The Internet is a copy machine,” writes author Kevin Kelly. “Once anything that can be copied is brought into contact with the Internet, it will be copied, and those copies never leave.” Ideally, you want the work you post online to be copied and spread to every corner of the Internet, so don’t post things online that you’re not ready for everyone in the world to see. As publicist Lauren Cerand says, “Post as though everyone who can read it has the power to fire you.”
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share imperfect and unfinished work that you want feedback on, but don’t share absolutely everything. There’s a big, big difference between sharing and over-sharing.
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The act of sharing is one of generosity—you’re putting something out there because you think it might be helpful or entertaining to someone on the other side of the screen.
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Always be sure to run everything you share with others through The “So What?” Test.
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let it sit for 24 hours. Put it in a drawer and walk out the door. The next day, take it out and look at it with fresh eyes. Ask yourself, “Is this helpful? Is it entertaining? Is it something I’d be comfortable with my boss or my mother seeing?” There’s nothing wrong with saving things for later. The save as draft button is like a prophylactic—it might not feel as good in the moment, but you’ll be glad you used it in the morning.
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Once you make sharing part of your daily routine, you’ll notice themes and trends emerging in what you share. You’ll find patterns in your flow. When you detect these patterns, you can start gathering these bits and pieces and turn them into something bigger and more substantial. You can turn your flow into stock. For example, a lot of the ideas in this book started out as tweets, which then became blog posts, which then became book chapters. Small things, over time, can get big.
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So, if you get one thing out of this book make it this: Go register a domain name. Buy www.[insert your name here].com. If your name is common, or you don’t like your name, come up with a pseudonym or an alias, and register that. Then buy some web hosting and build a website.
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Don’t think of your website as a self-promotion machine, think of it as a self-invention machine. Online, you can become the person you really want to be. Fill your website with your work and your ideas and the stuff you care about. Over the years, you will be tempted to abandon it for the newest, shiniest social network. Don’t give in. Don’t let it fall into neglect. Think about it in the long term. Stick with it, maintain it, and let it change with you over time.
4. Open Up Your Cabinet of Curiosities.
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When you find things you genuinely enjoy, don’t let anyone else make you feel bad about it. Don’t feel guilty about the pleasure you take in the things you enjoy. Celebrate them.
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If you share the work of others, it’s your duty to make sure that the creators of that work get proper credit. Crediting work in our copy-and-paste age of reblogs and retweets can seem like a futile effort, but it’s worth it, and it’s the right thing to do. You should always share the work of others as if it were your own, treating it with respect and care.
5. Tell Good Stories.
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Finally, they listed each object on eBay, using the invented stories as the object’s description, and whatever they had originally paid for the object as the auction’s starting price. By the end of the experiment, they had sold $128.74 worth of trinkets for $3,612.51.
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Words matter. Artists love to trot out the tired line, “My work speaks for itself,” but the truth is, our work doesn’t speak for itself. Human beings want to know where things came from, how they were made, and who made them. The stories you tell about the work you do have a huge effect on how people feel and what they understand about your work, and how people feel and what they understand about your work effects how they value it.
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our audience is a human one, and humans want to connect. Personal stories can make the complex more tangible, spark associations, and offer entry into things that might otherwise leave one cold.”
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“‘The cat sat on a mat’ is not a story. ‘The cat sat on the dog’s mat’ is a story.”—John le Carré
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Sometimes we have to do a lot of cropping and editing to fit our lives into something that resembles a story. If you study the structure of stories, you start to see how they work, and once you know how they work, you can then start stealing story structures and filling them in with characters, situations, and settings from your own life.
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Emma Coats, a former storyboard artist at Pixar, outlined the basic structure of a fairy tale as a kind of Mad Lib that you can fill in with your own elements: “Once upon a time, there was _____. Every day, _____. One day, _____. Because of that, _____. Because of that, _____. Until finally, _____.” Pick your favorite story and try to fill in the blanks. It’s striking how often it works.
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Author John Gardner said the basic plot of nearly all stories is this: “A character wants something, goes after it despite opposition (perhaps including his own doubts), and so arrives at a win, lose, or draw.” I like Gardner’s plot formula because it’s also the shape of most creative work: You get a great idea, you go through the hard work of executing the idea, and then you release the idea out into the world, coming to a win, lose, or draw. Sometimes the idea succeeds, sometimes it fails, and more often than not, it does nothing at all. This simple formula can be applied to almost any type of work project: There’s the initial problem, the work done to solve the problem, and the solution.
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Every client presentation, every personal essay, every cover letter, every fund-raising request—they’re all pitches. They’re stories with the endings chopped off. A good pitch is set up in three acts: The first act is the past, the second act is the present, and the third act is the future. The first act is where you’ve been—what you want, how you came to want it, and what you’ve done so far to get it. The second act is where you are now in your work and how you’ve worked hard and used up most of your resources. The third act is where you’re going, and how exactly the person you’re pitching can help you get there.
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Everybody loves a good story, but good storytelling doesn’t come easy to everybody. It’s a skill that takes a lifetime to master. So study the great stories and then go find some of your own. Your stories will get better the more you tell them.
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the dreaded question, “So, what do you do?” If you happen to be a doctor or a teacher or a lawyer or a plumber, congratulations. You may proceed without caution. For the rest of us, we’re going to need to practice our answers.
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You should be able to explain your work to a kindergartner, a senior citizen, and everybody in between. Of course, you always need to keep your audience in mind: The way you explain your work to your buddies at the bar is not the way you explain your work to your mother.
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Tell the truth and tell it with dignity and self-respect. If you’re a student, say you’re a student. If you work a day job, say you work a day job. (For years, I said, “By day I’m a web designer, and by night I write poetry.”) If you have a weird hybrid job, say something like, “I’m a writer who draws.” (I
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All the same principles apply when you start writing your bio. Bios are not the place to practice your creativity.  Keep it short and sweet. Strike all the adjectives from your bio. If you take photos, you’re not an “aspiring” photographer, and you’re not an “amazing” photographer, either. You’re a photographer. Don’t get cute. Don’t brag. Just state the facts.
6. Teach What You Know.
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“The impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you.  People feel closer to your work because you’re letting them in on what you know.
7. Don’t Turn Into Human Spam.
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No matter how famous they get, the forward-thinking artists of today aren’t just looking for fans or passive consumers of their work, they’re looking for potential collaborators, or co-conspirators. These artists acknowledge that good work isn’t created in a vacuum, and that the experience of art is always a two-way street, incomplete without feedback.
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If you want fans, you have to be a fan first. If you want to be accepted by a community, you have to first be a good citizen of that community. If you’re only pointing to your own stuff online, you’re doing it wrong. You have to be a connector. The writer Blake Butler calls this being an open node. If you want to get, you have to give. If you want to be noticed, you have to notice.  Be thoughtful. Be considerate. Don’t turn into human spam. Be an open node.
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practiced what I call The Vampire Test. It’s a simple way to know who you should let in and out of your life. If, after hanging out with someone you feel worn out and depleted, that person is a vampire. If, after hanging out with someone you still feel full of energy, that person is not a vampire. Of course, The Vampire Test works on many things in our lives, not just people—you can apply it to jobs, hobbies, places, etc.
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As you put yourself and your work out there, you will run into your fellow knuckleballers. These are your real peers—the people who share your obsessions, the people who share a similar mission to your own, the people with whom you share a mutual respect. There will only be a handful or so of them, but they’re so, so important. Do what you can to nurture your relationships with these people. Sing their praises to the universe. Invite them to collaborate. Show them work before you show anybody else. Call them on the phone and share your secrets. Keep them as close as you can.
8. Learn to Take a Punch.
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When you put your work out into the world, you have to be ready for the good, the bad, and the ugly. The more people come across your work, the more criticism you’ll face.
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Relax and breathe. The trouble with imaginative people is that we’re good at picturing the worst that could happen to us. Fear is often just the imagination taking a wrong turn. Bad criticism is not the end of the world. As far as I know, no one has ever died from a bad review. Take a deep breath and accept whatever comes.
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Strengthen your neck. The way to be able to take a punch is to practice getting hit a lot. Put out a lot of work. Let people take their best shot at it. Then make even more work and keep putting it out there. The more criticism you take, the more you realize it can’t hurt you.
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Roll with the punches. Keep moving. Every piece of criticism is an opportunity for new work.
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Having your work hated by certain people is a badge of honor.
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Protect your vulnerable areas. If you have work that is too sensitive or too close to you to be exposed to criticism, keep it hidden. But remember what writer Colin Marshall says: “Compulsive avoidance of embarrassment is a form of suicide.” If you spend your life avoiding vulnerability, you and your work will never truly connect with other people.
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Keep your balance. You have to remember that your work is something you do, not who you are. This is especially hard for artists to accept, as so much of what they do is personal. Keep close to your family, friends, and the people who love you for you, not just the work.
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A troll is a person who isn’t interested in improving your work, only provoking you with hateful, aggressive, or upsetting talk. You will gain nothing by engaging with these people. Don’t feed them, and they’ll usually go away.
9. Sell Out.
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asking for money in return for your work is a leap you want to take only when you feel confident that you’re putting work out into the world that you think is truly worth something. Don’t be afraid to charge for your work, but put a price on it that you think is fair.
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Even if you don’t have anything to sell right now, you should always be collecting email addresses from people who come across your work and want to stay in touch. Why email? You’ll notice a pattern with technology—often the most boring and utilitarian technologies are the ones that stick around the longest. Email is decades and decades old, but it’s nowhere close to being dead. Even though almost everybody hates it, everybody has an email address.
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Don’t betray their trust and don’t push your luck. Build your list and treat it with respect. It will come in handy.
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“We don’t make movies to make money, we make money to make more movies.”—Walt Disney
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Yet a life of creativity is all about change—moving forward, taking chances, exploring new frontiers. “The real risk is in not changing,” said saxophonist John Coltrane. “I have to feel that I’m after something. If I make money, fine. But I’d rather be striving. It’s the striving, man, it’s that I want.”
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Be ambitious. Keep yourself busy. Think bigger. Expand your audience. Don’t hobble yourself in the name of “keeping it real,” or “not selling out.” Try new things. If an opportunity comes along that will allow you to do more of the kind of work you want to do, say Yes. If an opportunity comes along that would mean more money, but less of the kind of work you want to do, say No.
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When you have success, it’s important to use any dough, clout, or platform you’ve acquired to help along the work of the people who’ve helped you get to where you are.  Give them a chance to share their own work. Throw opportunities their way.
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As a human being, you have a finite amount of time and attention. At some point, you have to switch from saying “yes” a lot to saying “no” a lot.
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“The biggest problem of success is that the world conspires to stop you doing the thing that you do, because you are successful,” writes author Neil Gaiman.
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You just have to be as generous as you can, but selfish enough to get your work done.
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“Above all, recognize that if you have had success, you have also had luck—and with luck comes obligation. You owe a debt, and not just to your gods. You owe a debt to the unlucky.”—Michael Lewis
10. Stick Around.
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Every career is full of ups and downs, and just like with stories, when you’re in the middle of living out your life and career, you don’t know whether you’re up or down or what’s about to happen next. “If you want a happy ending,” actor Orson Welles wrote, “that depends, of course, on where you stop your story.” Author F. Scott Fitzgerald wrote, “There are no second acts in American life,” but if you look around you’ll notice that not only are there second acts, there are third, fourth, and even fifth ones.
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The people who get what they’re after are very often the ones who just stick around long enough. It’s very important not to quit prematurely.
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As every author knows, your last book isn’t going to write your next one for you. A successful or failed project is no guarantee of another success or failure. Whether you’ve just won big or lost big, you still have to face the question “What’s next?”
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Add all this together and you get a way of working I call chain-smoking. You avoid stalling out in your career by never losing momentum. Here’s how you do it: Instead of taking a break in between projects, waiting for feedback, and worrying about what’s next, use the end of one project to light up the next one. Just do the work that’s in front of you, and when it’s finished, ask yourself what you missed, what you could’ve done better, or what you couldn’t get to, and jump right into the next project. “We work because it’s a chain reaction, each subject leads to the next.”—Charles Eames
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“The minute you stop wanting something you get it.”—Andy Warhol
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The designer Stefan Sagmeister swears by the power of the sabbatical—every seven years, he shuts down his studio and takes a year off. His thinking is that we dedicate the first 25 years or so of our lives to learning, the next 40 to work, and the last 15 to retirement, so why not take 5 years off retirement and use them to break up the work years?
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“Everything that we designed in the seven years following the first sabbatical had its roots in thinking done during that sabbatical.”
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Commute. A moving train or subway car is the perfect time to write, doodle, read, or just stare out the window. (If you commute by car, audiobooks are a great way to safely tune out.)
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Exercise. Using our body relaxes our mind, and when our mind gets relaxed, it opens up to having new thoughts. Jump on the treadmill and let your mind go.
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It’s very important to separate your work from the rest of your life. As my wife said to me, “If you never go to work, you never get to leave work.”
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“Whenever Picasso learned how to do something, he abandoned it.”—Milton Glaser
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When you feel like you’ve learned whatever there is to learn from what you’re doing, it’s time to change course and find something new to learn so that you can move forward. You can’t be content with mastery; you have to push yourself to become a student again. “Anyone who isn’t embarrassed of who they were last year probably isn’t learning enough,” writes author Alain de Botton.
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When you throw out old work, what you’re really doing is making room for new work.
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The thing is, you never really start over. You don’t lose all the work that’s come before. Even if you try to toss it aside, the lessons that you’ve learned from it will seep into what you do next.
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So don’t think of it as starting over. Think of it as beginning again. Go back to chapter one—literally!—and become an amateur. Look for something new to learn, and when you find it, dedicate yourself to learning it out in the open. Document your progress and share as you go so that others can learn along with you. Show your work, and when the right people show up, pay close attention to them, because they’ll have a lot to show you.


I've found some web links to an OEM solar hot water controller (http://openenergymonitor.org/emon/solarhotwater) but when I click them I get a message "Access Denied: You are not authorized to access this page".
Is this project still being developed ?
Re: Solar Hot Water Controller
I can still see the page.
[I think some maintenance is being done on the website, which might account for this and for the two latest topics being broken].
Re: Solar Hot Water Controller
I've just retried and get the same Access Denied message. I've tried with FF on Linux and Windows. I've just retried via a UK based web proxy and got a 403 error.
Hopefully the webbies will get this fixed soon.
Re: Solar Hot Water Controller
Sorry, it's not an error, I unpublished those pages as I was rewritting them and Im afraid I put it on the back burner for a while while I have been working on other things.
The page is still only half complete, but I have just made it available again in the meantime. I will try and get the code up there soon: http://openenergymonitor.org/emon/applications/shw
Let me know what you think? It would be great to hear your ideas as to the system and your plans.
All the best
Trystan
Re: Solar Hot Water Controller
Thanks for republishing that. I have an existing solar hwc but the controller is stuck in the era before the net. I'm looking to replicate its existing functionality and add the web enabled functions plus data logging. I'll post up more when I've sketched up my todo list :)


frustum. Standard frustum
More...
#include <frustum.h>
frustum. Standard frustum
Definition at line 17 of file frustum.h.
| gbmath::frustum::frustum |
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inline |
| gbmath::frustum::frustum |
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const frustum & |
f) | |
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inline |
| gbmath::frustum::frustum |
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const mat44 & |
mViewProj) | |
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inline |
construct and make
Definition at line 35 of file frustum.h.
| bool gbmath::frustum::checkAABB |
( |
const aabb & |
aabb) | |
const |
Hit Testing in the pyramid box.
Definition at line 98 of file frustum.cpp.
| bool gbmath::frustum::checkPoint |
( |
const vec3 & |
point) | |
const |
Verification of the point of the pyramid.
Definition at line 70 of file frustum.cpp.
| bool gbmath::frustum::checkSphere |
( |
const sphere & |
sphere) | |
const |
Hit Testing in the scope of the pyramid.
Definition at line 84 of file frustum.cpp.
| const plane_s& gbmath::frustum::get_back |
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const |
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inline |
| const plane_s& gbmath::frustum::get_bottom |
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const |
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| const plane_s& gbmath::frustum::get_front |
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const |
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inline |
| const plane_s& gbmath::frustum::get_left |
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const |
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| const plane_s& gbmath::frustum::get_right |
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const |
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inline |
| const plane_s& gbmath::frustum::get_top |
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const |
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inline |
| void gbmath::frustum::make |
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const mat44 & |
mViewProj) | |
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Build the matrix product of the view * proj.
Definition at line 10 of file frustum.cpp.
| void gbmath::frustum::make |
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const mat44 & |
mView, |
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const mat44 & |
mProj |
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inline |
Build the matrix product of the view and proj.
Definition at line 45 of file frustum.h.
| std::ostream& operator<< |
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std::ostream & |
os, |
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const frustum & |
fr |
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) |
| |
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friend |
The documentation for this class was generated from the following files:


| Add information about your business and services. Your virtual receptionist will be able to save you time and use this information to answer customer inquiries. | help_outline |
OOPS.. No numbers available at the moment. Please come back later.
| Select Contry |
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| Select State |
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---
title: 'New Unit Testing Docs'
date: '2010-09-29 14:15:54'
layout: post
slug: new-unit-testing-docs
categories:
- Announcements
tags: { }
---
The Developers page now includes a section on unit testing Phergie plugins. Efforts to improve code coverage of the Phergie codebase continue, so if you'd like to help out, find a plugin lacking a unit test suite and write one. If you're developing your own plugins to contribute back to the project, try to include unit test suites for them when you submit them. Our continued thanks go out to all of our contributors.


This is a binding Agreement between BitPay, Inc. (“BitPay” or “We”) and the person, persons, or entity (“You” or “Your”) using the service, Software, or application (“Software”).
RIGHTS AND OBLIGATIONS
BitPay provides the Software solely on the terms and conditions set forth in this Agreement and on the condition that You accept and comply with them. By using the Software You (a) accept this Agreement and agree that You are legally bound by its terms; and (b) represent and warrant that: (i) You are of legal age to enter into a binding agreement; and (ii) if You are a corporation, governmental organization or other legal entity, You have the right, power and authority to enter into this Agreement on behalf of the corporation, governmental organization or other legal entity and bind them to these terms.
This Software functions as a free, open source, and multi-signature digital wallet. The Software does not constitute an account where We or other third parties serve as financial intermediaries or custodians of Your bitcoin(s).
While the Software has undergone beta testing and continues to be improved by feedback from the open-source user and developer community, We cannot guarantee there will not be bugs in the Software. You acknowledge that Your use of this Software is at Your own discretion and in compliance with all applicable laws. You are responsible for safekeeping Your passwords, private key pairs, PINs, and any other codes You use to access the Software.
 All transaction requests are irreversible. The authors of the Software, employees and affiliates of BitPay, copyright holders, and BitPay, Inc. cannot retrieve Your private keys or passwords if You lose or forget them and cannot guarantee transaction confirmation as they do not have control over the bitcoin network.
 IN NO EVENT SHALL THE AUTHORS OF THE SOFTWARE, EMPLOYEES AND AFFILIATES OF BITPAY, COPYRIGHT HOLDERS, OR BITPAY, INC. BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.


--- layout: page title: Page Notice ---
A page notice must receive programmatic keyboard focus only if a critical task or operation was unsuccessful.
Reload page and simulate critical page notice
Please read the documentation to understand how these examples were created.
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Updated: April 9th, 2020


Like most engineers, I may not be pretty to look at but I get the job done!
This tab is just a web browser. Type the URL for the FMS field monitor page in the address bar. The URL you type will be remembered for next time.


Age
12
18
25
Hobby
boxing
swimming
football
Message
City
Выберите город...
Kyiv
Vinnitsa
Kharkov
submit
clear


I am especially eager to know about opportunities that would help me on my way to learning and launching my career into tech. If you have a job, project, idea, seminar, or other recommendation you think I should check out, please reach out to me


{% include htmlhead.html %}
{% include header.html %} {% include features.html %} {% include architecture.html %} {% include featurematrix.html %} {% include footer.html %} {% include js.html %}


TJ Holowaychuk: Components
For the most part, I agree with what TJ says, and I think that there are some great ideas in his post. Go read it.
A component can be not just JavaScript, but CSS, images, fonts or other resources, or a component may be any combination of these. This is the main idea that I want to sell, we need to broaden modularity beyond just JavaScript source.
Yes. However, they should have the same level of modularity and order that we’ve been able to get with JavaScript packages using npm and Node.js. It’s a much stickier problem, because the deployment environment is so much more hostile.
The classic battle between DOM manipulation libraries such as jQuery and MooTools serve as an obvious example of fragmentation. Even if one is more popular than the other this doesn’t mean we don’t have a problem. Have you ever seen a great jQuery plugin and thought to yourself “damn! I’m using MooTools!” or perhaps the other way around? That highlights the problem right there, we should have no “jQuery plugins”, no “Dojo modules”, just simply “components” that we can all consume.
To a certain extent, this is inescapable. Even if we say, “Use AMD” or “Use CommonJS require()” or whatever else, there’s always going to be some level of segmentation. Hell, even within node there are modules that only work with Express, and so on.
The point that I think TJ is getting at is that we should squeeze down the size of our components until they are very minimal, so that different systems can consume them and turn them into other sorts of things if they want. YUI can wrap them in a YUI widget, jQuery can have some thing that turns them into a jQuery-UI thing, etc.
The next step is to make the segmentation explicit, and make the different segments able to interoperate to the greatest degree possible. I think we’ve succeeded at this in Node, but as I mentioned above, it’s an easier problem there than in the browser. The component approach that TJ describes is very promising.
Components could have a “component.json” much like the commonjs package.json, or we can simply extend package.json. This would of course act as the package manifest, letting the world know if it has stylesheets, templates, scripts, images and so on. I believe we should avoid the minimal gains of magical auto-globbing of files, we can just simply list these and avoid unnecessary complexity and I/O.
It should be package.json. I think “styles” should be spelled “css” and “templates” should be spelled “html”. Otherwise I think we’d soon see stylus and less files in “styles”, and mustache and jade and markdown in “templates”. Maybe that’s ok. It’s a bikeshed we can paint later.
The unnecessary complexity of globbing is not such a big deal, really, but it should be left out of any “spec” that we try to get people to use. npm does this for a few things, and it’s pretty easy. It can be a step that’s performed at publish-time for convenience relatively easily, so that the data is ready at install-time.
Require fragmentation…
In keeping with the spirit of “minimal components consumed in multiple ways”, I think that the Node-style require() and module.exports is the way to go. It’s demonstrably easy to convert to other patterns, and is intuitive and easy to use.
If you are going to be “installing” components and expecting them to Just Work in some fashion, then you’ve already taken on some tooling. Best to just bite the bullet and have the tool do this part as well.
Delivering components…
I disagree with TJ here, and think that using the npm registry is actually the best way to go.
- Any other system will have to run into and solve the same exact problems that the npm registry already has to solve.
- User management, package ownership, and namespace collisions are already taken care of.
- It’s pretty fast, since you’re just fetching content, not the full history.
- There’s a lot of reusable code for interacting with it programmatically, and as npm matures and pieces are factored out of it, this will only get better. Node is the obvious choice for a tool to fetch and build client-side components.
One complaint about using the npm registry is that it’s “confusing” that some packages are only going to be useful for client-side, etc. However, this isn’t really that big of a concern.
If a component system uses the main
field for its JS entry point, and consumes the Node-style require() syntax, then there’s not a huge difference between a Node module and a client-side component. Why not just let people use them this way? If I only want to use the JS bits, why can’t I just do that in Node as well as in the browser? Of course, the vast majority of modules cannot be shared, but so what? People just won’t share those.
Users already ignore many thousands of modules without any trouble. However, if it really is a problematic issue (and I am not convinced that it really is), then the package.json format is infinitely extensible. TJ brings up the example of debug
and debug-component
. But if the module works on both sides, why not just let it be the same thing? If some sort of tagging is needed, then write a tool that uses something, and start using it.
Browserify and ender already exist, and have proven that this approach is effective.
Another advantage of using the main npm registry is that the namespace is shallow. So, there is no chance of having a component named “foo” that is very different from the node module named “foo”, causing confusion for users. It can make it a bit trickier to come up with names, but it also encourages each package/module/component to have a name that doesn’t refer to something else.
If the central registry is problematic, then using the same code as the npm registry, at a different URL and with a different database, is also an option worth considering.


Face Verification App
Upload First Image
Upload Second Image
Match
Status
{% if proba >= 0.4 %}
Not Matched
{% else %}
Matched
{% endif %}


Thermostat
Current Temperature:
+
-
Reset
Power saving mode is
ON
Turn Power Saving Mode On
Turn Power Saving Mode Off
Local temperature:
Basildon
Chelmsford
Tokyo
London
temperature:
20


KTAB SMP Visualization Dashboard
Number of Scenarios:
Scenario Name:
Secnario description:
Number of Actors:
Number of Dimensions:
Turn:
1
Dimension:
Line Graph
Bar Graph
Fixed y-axis scale
Responsive y-axis scale
Download Chart as PNG


Copyright (c) 2002 Joćo Pedro Neto
This game is played on a 10x10 square board with the following setup:
|
| Some captures
The Khan at d5 can push south the soldiers d3 and d4 to capture the green soldier at d2. Also the f5 can push d3 southwest to capture the green Khan at c2. Green can capture by custodian the Khan at d5, by moving his Khan from d7 to e6. Also, the Khan at c2 can jump the soldier at b2 to a2 and capture the soldier at b3. |
|
| Some jumps and
supports
Black can win this game win one move, by supporting h7 with his 3 Khans. For e.g., h7-h5, using Khan at g6, then h5-g3, using Khan g4, then g3-i1, with Khan h2. Green Khan at f3 can jump f3-h5-f7-d7-d9. And if the soldier at h7 wasn't there, Green would won the game on the next move, by supporting his soldier at a6 to the last row. |


 You watch
from afar.
Teng and Cruz live in a paint speckled
apartment. Teng is dotting the ceiling
and the walls with her skinny pale fingers.
She is poking craters into
the moon at night. She is
sending men to their deaths
with holes in their skulls by doing wet
willies in their temples, execution style.
They have gentrified the yuppies.
Cruz has brought the soul back
to the streets. Teng has blown
up all of the art museums.
Such tackiness. Silly ang moh.
Damned gringos. White flight.
New Harlem Renaissance.
But sometimes they are tender
and they lead the yuppies into
coffee shops and buy them muffins.
You watch them dancing and laughing,
you have a pair of binoculars. You
are their peeping tom.
You are also Pork Bun’s baby sitter.
Sometimes they call you whenever
it’s time for them to sing at the
Yum Cha club.
In the afternoon you hear them
echoing, eres para mí, Nǐ hé wǒ,
always, always, always.
You know who they are. You watched
Teng and Cruz, hand in hand, in loving
embrace, almost forming their own cocoon,
crash into Mother Earth as a meteor
on the Lunar Year. They woke with
their lips connected.
Sweetness exchanged, mi amor.
No pendejas shall steal you.
It was a cold night, you figured
you had too much eggnog, despite
that it wasn’t Christmas anymore.
But they were so beautiful.
So much so that when
they were looking for a
caretaker for their daughter,
Pork Bun, you were the first
email in their inbox.
Your cover letter looked
like this:I can cook a meen
meel, I can speak conversational
Spanish, I was once a yoga instructor.
You couldn’t spell or split
your lips to form coherent
sentences. And yet, they
hired you. Silly Ang moh
wants to be our friend.


Multi-View Robot Trajectory GUI
Trajectory Plane Robot GUI: Click and Orient
Trajectory Plane Robot GUI: One Touch


hey y'all
Posted: Wed Sep 20, 2006 10:22 am
i dont know if anyone even still checks this...i stopped awhile ago because every time i think of born to rule it makes me sad that we didnt finish it, or get something out....like really sad
anyways...just wanted to see if y'all were still here. Lemme know
anyways...just wanted to see if y'all were still here. Lemme know


General MIDI percussion note.
In General MIDI, notes played on Channel10 make the following percussion sounds, regardless of any Program Change messages on that channel.
This enum is used with OutputDevice.SendPercussion and PercussionMessage. Equivalently, when cast to Note it can be used with OutputDevice.SendNoteOn and NoteOnMessage on Channel10.
This enum has extension methods, such as Name and IsValid, defined in PercussionExtensionMethods.
| Member Name | Description |
|---|---|
| BassDrum2 | General MIDI percussion 35 ("Bass Drum 2"). |
| BassDrum1 | General MIDI percussion 36 ("Bass Drum 1"). |
| SideStick | General MIDI percussion 37 ("Side Stick"). |
| SnareDrum1 | General MIDI percussion 38 ("Snare Drum 1"). |
| HandClap | General MIDI percussion 39 ("Hand Clap"). |
| SnareDrum2 | General MIDI percussion 40 ("Snare Drum 2"). |
| LowTom2 | General MIDI percussion 41 ("Low Tom 2"). |
| ClosedHiHat | General MIDI percussion 42 ("Closed Hi-hat"). |
| LowTom1 | General MIDI percussion 43 ("Low Tom 1"). |
| PedalHiHat | General MIDI percussion 44 ("Pedal Hi-hat"). |
| MidTom2 | General MIDI percussion 45 ("Mid Tom 2"). |
| OpenHiHat | General MIDI percussion 46 ("Open Hi-hat"). |
| MidTom1 | General MIDI percussion 47 ("Mid Tom 1"). |
| HighTom2 | General MIDI percussion 48 ("High Tom 2"). |
| CrashCymbal1 | General MIDI percussion 49 ("Crash Cymbal 1"). |
| HighTom1 | General MIDI percussion 50 ("High Tom 1"). |
| RideCymbal1 | General MIDI percussion 51 ("Ride Cymbal 1"). |
| ChineseCymbal | General MIDI percussion 52 ("Chinese Cymbal"). |
| RideBell | General MIDI percussion 53 ("Ride Bell"). |
| Tambourine | General MIDI percussion 54 ("Tambourine"). |
| SplashCymbal | General MIDI percussion 55 ("Splash Cymbal"). |
| Cowbell | General MIDI percussion 56 ("Cowbell"). |
| CrashCymbal2 | General MIDI percussion 57 ("Crash Cymbal 2"). |
| VibraSlap | General MIDI percussion 58 ("Vibra Slap"). |
| RideCymbal2 | General MIDI percussion 59 ("Ride Cymbal 2"). |
| HighBongo | General MIDI percussion 60 ("High Bongo"). |
| LowBongo | General MIDI percussion 61 ("Low Bongo"). |
| MuteHighConga | General MIDI percussion 62 ("Mute High Conga"). |
| OpenHighConga | General MIDI percussion 63 ("Open High Conga"). |
| LowConga | General MIDI percussion 64 ("Low Conga"). |
| HighTimbale | General MIDI percussion 65 ("High Timbale"). |
| LowTimbale | General MIDI percussion 66 ("Low Timbale"). |
| HighAgogo | General MIDI percussion 67 ("High Agogo"). |
| LowAgogo | General MIDI percussion 68 ("Low Agogo"). |
| Cabasa | General MIDI percussion 69 ("Cabasa"). |
| Maracas | General MIDI percussion 70 ("Maracas"). |
| ShortWhistle | General MIDI percussion 71 ("Short Whistle"). |
| LongWhistle | General MIDI percussion 72 ("Long Whistle"). |
| ShortGuiro | General MIDI percussion 73 ("Short Guiro"). |
| LongGuiro | General MIDI percussion 74 ("Long Guiro"). |
| Claves | General MIDI percussion 75 ("Claves"). |
| HighWoodBlock | General MIDI percussion 76 ("High Wood Block"). |
| LowWoodBlock | General MIDI percussion 77 ("Low Wood Block"). |
| MuteCuica | General MIDI percussion 78 ("Mute Cuica"). |
| OpenCuica | General MIDI percussion 79 ("Open Cuica"). |
| MuteTriangle | General MIDI percussion 80 ("Mute Triangle"). |
| OpenTriangle | General MIDI percussion 81 ("Open Triangle"). |
Namespace: Midi
Assembly: Midi (in Midi.dll)


I am currently pursuing a Bachelor's degree in Electrical and Communications Engineering. I am interested in web and software development.
CGPA: 9.22
Test score: 98.7 %
Apart from programming and development, I am interested in painting and sketching portraits. I also watch suspense thrillers, sci-fi movies and documentaries of astronomical phenomena, the history of earth and evolutionary theory.


---
layout: def
---
The density matrix is a matrix which represents the state of a mixed state.
Notations
The density matrix is denoted $\rho$, where
$$\begin{align*}
\rho=\sum_{i=1}^m p_i|\psi_i\rangle \langle \psi_i|
\end{align*}$$
Concepts
The density matrix comes from the expectation value calculation and simplifies it so all we need is the operator, density matrix, and eigenstates, instead of a general state $|\psi\rangle$.
Related
Coming soon


Performance
Together with Kirsi Mustalahti, I performed through the use of expressive body movements, sensors and live coding (by Joseph Wilk & Andreas Bergsland) to control words and voice playback. This took place at #MTFLabs in Stockholm, 2018.
Sound & Music Computing
In my master thesis, I investigated the effects of putting a dancer in control of music playback tempo based on real-time estimation of body rhythm and tempo manipulation of audio. The thesis work was selected to present at the 16th SMC 2019 Conference in Málaga, Spain.
Podcast & Radio
For 2 years, me and my partner Cecilia de la Motte produced and hosted Afternoon Tea, existing both as a radioshow and podcast. The concept is based on getting to know guests in a more personal identifying way rather than typical displays that works in the public media-sphere.
Sonic Interaction
A new sonic piece to an already existing sound installation at Scenkonstmuséet, the Swedish Museum of Performing Arts in Stockholm was created in this project by me and my partner Ali Semi Yenimol.
Reflective Design
This project is a collaboration between KTH & Electrolux to find new product ideas with the theme “somaesthetics”. The final design concept became the Winner of Best Concept for Somaesthetic Design by a professional jury team of Electrolux.
XML/php
A light-version of user's own music library were created for this project. I created this XML-based internet-service as a way for the user to store and display its own music data through a browser.
Sonic interaction
AudioM was built as a prototype to examine the effects of audio feedback on memory training within a period of one and half month.
UI/UX
This project was carried out as a result from exploring on how to improve existing music services and the experiences gained from these. Designed with Axure.
Front-end
Through Ticketmaster API, me and my three group members aimed to build an interactive web application for creating your own day of events, depending on the current on-going events on Ticketmaster. Built with ReactJs and Heroku.


Survey Form
Self-taught developer
Name:
Email:
Age:
What is your current role?
Only starting out
Still on the learning track
Applying for jobs
Got the job!
Got the job and continuing learning
What Lanuages do you use?
html
css
JavaScript
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Python
Java
C++
PHP
Any comments?
Submit


S language (1976) Developed in Bell Labs An Alternative to Fortran Routines R Language Derived from S and Scheme (1993) Open Source under the Free Software Foundation's GNU general license (1995)
It's FREE!


Philadelphia plays San Antonio, seeks 4th straight home win
by Associated PressSan Antonio Spurs (5-10, 13th in the Western Conference) vs. Philadelphia 76ers (9-5, fifth in the Eastern Conference)
Philadelphia; Friday, 8 p.m. EST
Philadelphia heads into a matchup against San Antonio as winners of three games in a row at home.
Philadelphia finished 51-31 overall with a 31-10 record at home during the 2018-19 season. The 76ers averaged 7.4 steals, 5.3 blocks and 14.9 turnovers per game last season.
San Antonio finished 30-22 in Western Conference play and 16-25 on the road in the 2018-19 season. The Spurs averaged 14.1 points off of turnovers, 11.6 second chance points and 38.2 bench points last season.
The matchup Friday is the first meeting this season between the two teams.
76ers Injuries: Josh Richardson: day to day (hip), Trey Burke: day to day (ankle/knee).
Spurs Injuries: Derrick White: day to day (foot).
___
The Associated Press created this story using technology provided by Data Skrive and data from Sportradar.


{% extends "base.html" %} {% block content %} {% load staticfiles %}
Cerbere App is a web application to assist companies managing security authorizations, accreditations and documents for their employees. It's primarily aimed at security companies that need to cope with a lot of certifications and frequent renewal of security-related documents. Quickly view the status of your employees, renew documents efficiently and stay productive for your business.
Raw denim you probably haven't heard of them jean shorts Austin. Nesciunt tofu stumptown aliqua, retro synth master cleanse. Mustache cliche tempor, williamsburg carles vegan helvetica. Reprehenderit butcher retro keffiyeh dreamcatcher synth. Cosby sweater eu banh mi, qui irure terry richardson ex squid. Aliquip placeat salvia cillum iphone. Seitan aliquip quis cardigan american apparel, butcher voluptate nisi qui.
Food truck fixie locavore, accusamus mcsweeney's marfa nulla single-origin coffee squid. Exercitation +1 labore velit, blog sartorial PBR leggings next level wes anderson artisan four loko farm-to-table craft beer twee. Qui photo booth letterpress, commodo enim craft beer mlkshk aliquip jean shorts ullamco ad vinyl cillum PBR. Homo nostrud organic, assumenda labore aesthetic magna delectus mollit.
Etsy mixtape wayfarers, ethical wes anderson tofu before they sold out mcsweeney's organic lomo retro fanny pack lo-fi farm-to-table readymade. Messenger bag gentrify pitchfork tattooed craft beer, iphone skateboard locavore carles etsy salvia banksy hoodie helvetica. DIY synth PBR banksy irony. Leggings gentrify squid 8-bit cred pitchfork.
Fanny pack portland seitan DIY, art party locavore wolf cliche high life echo park Austin. Cred vinyl keffiyeh DIY salvia PBR, banh mi before they sold out farm-to-table VHS viral locavore cosby sweater.


[gecode-users] Propagator called too soon...
Christian Schulte
schulte at imit.kth.se
Thu Mar 16 19:37:35 CET 2006
Guido is almost right: however, you cannot distinguish a first from a second
invocation. What you have to do is to record the domain size when the
propagator is created. Then, the propagate function simply has to check
whether the size has changed. If yes, just report failure.
Christian
--
Christian Schulte, http://web.imit.kth.se/~schulte/
-----Original Message-----
From: users-bounces at gecode.org [mailto:users-bounces at gecode.org] On Behalf
Of Guido Tack
Sent: Thursday, March 16, 2006 5:56 PM
To: users at gecode.org
Subject: Re: [gecode-users] Propagator called too soon...
Hi.
I had an idea this morning how to prevent the propagator from failing right
after posting it: each time it is invoked, simply test whether the domain is
still untouched. Remeber that you don't even have to check whether the
domain
is still the same, you could simply check its size!
Of course, your propagator is invoked at most twice. Once right after
creation, where you check the domain, and it is still ok, and you just
return
ES_FIX. Then, possibly, if the domain is shrunk, you test again, this time
you detect the change, and you return ES_FAILED.
Testing is cheap, and it is done at most twice, so I think I'd prefer this
simple solution over changing the subscription interface.
Cheers,
Guido
--
Guido Tack
Programming Systems Lab, Saarland University, Germany
http://www.ps.uni-sb.de/~tack
_______________________________________________
Gecode users mailing list
users at gecode.org https://www.gecode.org/mailman/listinfo/gecode-users
More information about the gecode-users
mailing list


Describe or name a specific kind of beast or plant.
Concentrating on the voice of nature in your surroundings, you learn the direction and distance to the closest creature or plant of that kind within 5 miles, if any are present.
Describe or name a specific kind of beast or plant.
Concentrating on the voice of nature in your surroundings, you learn the direction and distance to the closest creature or plant of that kind within 5 miles, if any are present.


This page contains an index of all the media objects in the database, sorted by their title. Clicking on the title will take you to that media object’s page. If you see media size dimensions above an image, click on the image to see the full sized version.
| Name | Date | Mime Type | |
|---|---|---|---|
| 1 | IMG_2577 | image/jpeg | |
| 2 | IMG_2578 | image/jpeg | |
| 3 | IMG_2579 | image/jpeg | |
| 4 | IMG_2580 | image/jpeg | |
| 5 | IMG_2581 | image/jpeg | |
| 6 | IMG_2582 | image/jpeg | |
| 7 | IMG_2583 | image/jpeg | |
| 8 | IMG_2584 | image/jpeg | |
| 9 | IMG_2585 | image/jpeg | |
| 10 | IMG_2586 | image/jpeg | |
| 11 | IMG_2587 | image/jpeg | |
| 12 | IMG_2588 | image/jpeg | |
| 13 | IMG_2589 | image/jpeg | |
| 14 | IMG_2590 | image/jpeg | |
Below unused media objects | |||
| 15 | File_001 | unknown | |
| 16 | Picture of Kevin Norman Goulding | 2018-09-16 | image/jpeg |


After reading Ott’s and Aardvark’s assertion that mimosa hostilis is psychoactive without MAOI, I performed the cold water extraction exactly as Aardvark describes it in the article, even noting the same eerie, ‘magic potion’ effect of the root bark dust floating out of my herb grinder. I soaked the material in sterile water for an hour, filtered and repeated with new water and combined the results into a beautifully wine-colored brew.
It was more bitter than I had expected, but not really nauseating, maybe like drinking Turkish coffee without any sweetener. Nonetheless it took me about 15 minutes to get the stuff down, chased with a bit of water.
Maybe I drank it too slowly, because my results differed greatly from Ott and Aardvark. After sitting with the brew in my stomach for 30 minutes with no event I decided to smoke a small amount of marijuana – two puffs of good stuff. It set something off, and in a minute I was expelling the bitter fluid off the back porch.
Afterwards I felt fine, but a bit drained.
I was hungry; I hadn’t eaten all day and I’d been up for several hours. I had a small meal, then had a few beers with my friends and smoked a bit more pot. There was a moment there where I felt a little different, but under the circumstances I would blame the beer-pot-nearly empty stomach, although it did seem like there was something else there. But…
While I was sitting with the brew in my stomach, before I threw it up, I felt a bit stimulated, but once again this may have been my excitement as much as any effects of the drug. All in all I would say that no effects worth mentioning were experienced that I couldn’t explain through more mundane means.
After my experience I read Dale Pendell’s chapter on mimosa in Pharmako/Gnosis, and saw that he had had similarly disappointing experiences with mimosa without MAOI. It makes me wonder why Ott and Aarvark were so lucky – maybe some metabolic fluke?
I agree with Dale Pendell’s assertion that, were mimosa reliably effective without MAOI the web would be flooded by reports of its use this way. The silence is indeed deafening. But perhaps a few lucky folks out there have the right metabolism for it…I myself, for instance, am very sensitive to psilocybin mushrooms, whereas my friend isn’t; I can enjoy, and learn from 1 gram of psilocybe cubensis. He needs 3.5 grams for threshold effect. You tell me.
My advice – use your mimosa in ayahuasca, don’t waste it this way. (Disclaimer) That is, of course, unless you live in the United States; I would never endorse the use of any illegal drug within the boundaries thereof.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


These are examples demonstrating how restAF makes it a snap to build web apps for SAS Viya. My hope is that you will study the source code behind these examples and develop your own application using restAF. Again writing apps for SAS Viya using restAF is a snap.


{% extends "withnav_template.html" %} {% from "components/page-header.html" import page_header %} {% block service_page_title %} Accept our data sharing and financial agreement {% endblock %} {% block maincolumn_content %}
Before you can use GOV.UK Notify, you need to accept our data sharing and financial agreement.
This must be done by, or on behalf of, someone with the authority to sign contracts for {{ current_service.organisation.name }}.
Once accepted, the agreement covers all Notify services from {{ current_service.organisation.name }}.
Download a copy of the data sharing and financial agreement.
The agreement is confidential and should not be shared outside your organisation.
Continue


--- layout: data_model title: objectProperty this_version: 4.1 ---
Property; a reference to the object, a timestamp and an unbounded set of properties. This is used to describe extra information about an object. For example, to show the url parameter strings associated with a particular URI object. Or to show file names associated with a particular file. Properties can also be applied to relationships, by referencing the relationship by id. This allows use such as e.g. recording the post data sent in an http request between a malware (file object) and a uri (uri object).
| Field Name | Type | Description |
|---|---|---|
| @idoptional | anySimpleType | |
| references1..1 | referencesInlineType |
The objects the properties pertain to.
|
| timestamp1..1 | dateTime | |
| property1..n | property |


{% autoescape true %}
This is a simple server to test the Z-Alpha JSON publisher of your ODK Aggregate instance. Learn more
Note: All requests received here are publicly accesible. So please use it only for testing purposes and refrain from posting sensitive information.
All POSTs are deleted automatically within 1 hour


Cam's Airlines ✈
Almost all
of our baggage is delivered to the right airport!
Pick your Flight
Depart from:
Arrive at:
Departure Day
Departure Month
Departure Year
Return Day
Return Month
Return Year


int
value in answer is transformed into chars
(and appended to the string).FileWriter
Here is a list of some of the constructors and methods
used with FileWriter
.
All of the methods are inherited from its ancestors.
For a complete list of methods refer to the
Java documentation,
on your disk (if you downloaded it),
or here:
http://java.sun.com/j2se/1.3/docs/api/index.html
Constructors
FileWriter(String fileName) An IOException is thrown if the file cannot be created. FileWriter(String fileName, boolean append) An IOException is thrown if the file cannot be opened for appending.
Methods
public void close() throws IOException Flush the stream and close the file. public void flush() throws IOException Flush the stream. public void write(String str) throws IOException Write a string.
Data might not go immediately to the disk
after a write()
.
The flush()
method ensures that data previously
written is sent to the disk.
The second write()
method sends a portion of
a string to the file.


Time Until Launch
Since 2009, more than fifty schools have been attacked or destroyed since the Boko Haram insurgency began in Nigeria. The conflict has triggered a crisis in the educational system in the northeastern states of Adamawa, Borno and Yobe states, with many educational institutions shut or repurposed as emergency shelter for internally displaced communities. Through the Education is Forbidden website, audiences can engage with narratives around the impact of the conflict on young people and education in the region. This project is produced by Rahima Gambo, a visual Journalist based in Abuja, Nigeria and supported by the International Women's Media Foundation (IWMF).
Get updates and latest content about the project.
Are you a student living in Adamawa, Yobe or Borno states affected by the conflict? Are you an educator or teacher whose school has been affected by the insurgency? Share your story with us. Or send us a message if you would simply like more details about the project.


{% extends 'base_site.html' %} {% load i18n %} {% block content %}
{% url 'signin' as signin_url %} {% blocktrans trimmed %} Your password has been set. You may go ahead and sign in now. {% endblocktrans %}


BJP seeks ban on Facebook page
by Special CorrespondentThe BJP on Thursday filed a complaint before the Police Commissioner of Bengaluru against a Facebook page titled “Jokers of BJP” and sought its ban.
A party delegation comprising MLC Y.A. Narayanaswamy, State media co-ordinator A.H. Anand, and State co-spokesperson S. Prakash alleged in their petition that efforts were being made in social media to tarnish the image of the BJP and its candidates through unlawful means.
They alleged that the Facebook page was being used to defame the BJP and its candidates.


Kitura-StencilTemplateEngine
Kitura-StencilTemplateEngine is a plugin for Kitura Template Engine for using Stencil with the Kitura server framework. This makes it easy to use Stencil templating, with a Kitura server, to create an HTML page with integrated Swift variables.
Swift version
The latest version of Kitura-StencilTemplateEngine requires Swift 4.0 or newer. You can download this version of the Swift binaries by following this link. Compatibility with other Swift versions is not guaranteed.
Stencil Template File
The template file is basically HTML with gaps where we can insert code and variables. Stencil is a templating language used to write a template file and Kitura-StencilTemplateEngine can use any standard Stencil template.
The Stencil user guide provides documentation and examples on how to write a Stencil template file.
The Kitura router, by default, will look in the Views
folder for Stencil template files, that is files with the extension .stencil
.
Usage
Add dependencies
Add the Kitura-StencilTemplateEngine
package to the dependencies within your application’s Package.swift
file. Substitute "x.x.x"
with the latest Kitura-StencilTemplateEngine
release.
.package(url: "https://github.com/IBM-Swift/Kitura-StencilTemplateEngine.git", from: "x.x.x")
Add KituraStencil
to your target’s dependencies:
.target(name: "example", dependencies: ["KituraStencil"]),
Import package
import KituraStencil
Example
The following example takes a server generated using kitura init
and modifies it to serve Stencil-formatted text from a .stencil
file.
The files which will be edited in this example, are structured as follows:
<ServerRepositoryName> ├── Package.swift ├── Sources │ └── Application │ └── Application.swift └── Views └── Example.stencil
The Views
folder and Example.stencil
file will be created later on in this example, since they are not initialized by kitura init
.
Dependencies
Add the dependencies to your Package.swift file (as defined in Add dependencies above).
Application.swift
Inside the Application.swift
file, add the following code to render the Example.stencil
template file on the /articles
route.
import KituraStencil
Add the following code inside the postInit()
function:
router.add(templateEngine: StencilTemplateEngine())
router.get("/articles") { _, response, next in
var context: [String: [[String:Any]]] =
[
"articles": [
["title" : "Using Stencil with Swift", "author" : "IBM Swift"],
["title" : "Server-Side Swift with Kitura", "author" : "Kitura"],
]
]
try response.render("Example.stencil", context: context)
response.status(.OK)
next()
}
Example.stencil
Create the Views
folder and put the following Stencil template code into a file called Example.stencil
:

There are {{ articles.count }} articles.

{% for article in articles %}
- {{ article.title }} written by {{ article.author }}.

{% endfor %}

This example is adapted from the Stencil user guide code. It will display the number of articles followed by a list of the articles and their authors.
Run the application and once the server is running, go to http://localhost:8080/articles to view the rendered Stencil template.
API Documentation
For more information visit our API reference.
Community
We love to talk server-side Swift, and Kitura. Join our Slack to meet the team!
License
This library is licensed under Apache 2.0. Full license text is available in LICENSE.


Welcome To Debate Team!
Debate Team is a message board based app designed to enourage thoughtful discussion between people who have differing opinions.
Debate Team is a message board based app designed to enourage thoughtful discussion between people who have differing opinions.


Jamshedpur tops in Waste Management
Jamshedpur is the best and the cleanest city, no arguments. So, it tops in the waste management category all over India. Proud to be a Jamshedpurian.
{% load static %}
India collects 50-60% of its 56 million solid waste generated, creating a huge junk of unnoticed waste and making it one of the largest waste contributors of the world. Our main aim is to bring the unnoticed waste to the notice of Government officials and interested NGOs, using drone and vehicular surveillance and even to general public’s intervention.
We aim at providing a solution for efficient waste collection by incorporating in it the innovative technologies of Machine learning and Geo-tagging. Our project sends notifications to nearest concerned Government officials and NGOs through a Website and an App, giving higher priority to areas with more dense and dangerous level of waste accumulation.
Learn more →The drones and cameras on Government vehicles, on regular rounds of the cities, will capture videos, along with automatic location, date and time and directly send it to our main server. The interested citizens can also capture the images of waste in their nearby locality and send it through an App.
By looking for water bodies near the garbage dumps, we can monitor for the spread of these wastes into the water bodies and prevent a great deal of water pollution.
Waste in residential areas need to be managed earlier as compared to waste in outskirts as it affects health of the people
Our product automatically counts the number of animals around a garbage dump, therefore alerting the Government officials of their presence near hazardous wastes, and, so preventing them from consuming those wastes as well spreading them to other places.
Ratings:
{{li.one.contribution}}
Ratings:
{{li.two.contribution}}
Rating:
{{li.three.contribution}}


Injured Soldier:
But adventurer... You cannot carry me all by yourself. Aren't there more of you? We'll never make it just the two of us... get some people to help! I don't have much time.
My party is ready, let's go.
They'll be here soon, can't we wait?


IDE Preparation for Gearpump Development
Intellij IDE Setup
- In Intellij, download scala plugin. We are using scala version 2.11
- Open menu “File->Open” to open Gearpump root project, then choose the Gearpump source folder.
- All set.
Eclipse IDE Setup
I will show how to do this in eclipse LUNA.
There is a sbt-eclipse plugin to generate eclipse project files, but seems there are some bugs, and some manual fix is still required. Here is the steps that works for me:
- Install latest version eclipse luna
- Install latest scala-IDE http://scala-ide.org/download/current.html I use update site address: http://download.scala-ide.org/sdk/lithium/e44/scala211/stable/site
- Open a sbt shell under the root folder of Gearpump. enter “eclipse”, then we get all eclipse project file generated.
- Use eclipse import wizard. File->Import->Existing projects into Workspace, make sure to tick the option “Search for nested projects”
- Then it may starts to complain about encoding error, like “IO error while decoding”. You need to fix the eclipse default text encoding by changing configuration at “Window->Preference->General->Workspace->Text file encoding” to UTF-8.
- Then the project gearpump-external-kafka may still cannot compile. The reason is that there is some dependencies missing in generated .classpath file by sbt-eclipse. We need to do some manual fix. Right click on project icon of gearpump-external-kafka in eclipse, then choose menu “Build Path->Configure Build Path”. A window will popup. Under the tab “projects”, click add, choose “gearpump-streaming”
- All set. Now the project should compile OK in eclipse.


DeepComposer Got Talent
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Person Name
Contacts
Authentication
Save
System Users
#
First Name
Last Name
Phonenumber
Actions
Deleted and Suspended System Users
#
First Name
Last Name
Phonenumber
Actions


Fortnite: Hidden letter E location
by Joseph KnoopThe Fortnite week 8 loading screen has leaked a little early, giving us the letter E location to finish up the Alter Ego F-O-R-T-N-I-T-E challenge. Here's how to get the letter E, and what you'll need to do beforehand.
Fortnite letter E location
Week 8's loading screen features the hydro dam, located west of Lazy Lake. Here's the loading screen.
Check out the light pole on the left side of the dam. You'll find the letter E perched on top of it. All you should need to do is build a ramp up a dozen feet or so and you'll be able to grab it.
Remember though, you'll need to complete eight of the week 8 mission challenges before you'll be able to grab the letter E. This mission goes live later this week, one assumes Thursday since it's an early leak.
Need more help with the latest Fortnite challenges? We've got you covered. Here's where to find the Pipeman, Hayman, and Timber Tent. Here's where to find the orchard, and where to find the letter T as part of the Alter Ego mission. Here's the best Fortnite creative codes, too.


Before Change
**kwargs):
super(Inception3x3Branch, self).__init__(**kwargs)
with self.name_scope():
self.conv1 = conv1x1_block(
in_channels=in_channels,
out_channels=mid_channels,
use_bias=True,
bn_use_global_stats=bn_use_global_stats)
self.conv2 = conv3x3_block(
in_channels=mid_channels,
out_channels=out_channels,
strides=strides,
use_bias=True,
bn_use_global_stats=bn_use_global_stats)
def hybrid_forward(self, F, x):
x = self.conv1(x)
x = self.conv2(x)
After Change
use_bias=use_bias,
use_bn=use_bn,
bn_use_global_stats=bn_use_global_stats)
self.conv3 = conv3x3_block(
in_channels=out_channels,
out_channels=out_channels,
strides=strides,
use_bias=use_bias,
use_bn=use_bn,
bn_use_global_stats=bn_use_global_stats)
def hybrid_forward(self, F, x):
x = self.conv1(x)
x = self.conv2(x)
x = self.conv3(x)
return x
class InceptionPoolBranch(HybridBlock):
BN-Inception avg-pool branch block.


Choose your favorite Pizza!
Home Page
IndexTwo Page
DeltaV GitHub Page
Papa Vitos!
The various Pizzas


benchbuild.utils.db module¶
Database support module for the benchbuild study.
-
benchbuild.utils.db.
create_run
(cmd, project, exp, grp)[source]¶ Create a new ‘run’ in the database.
This creates a new transaction in the database and creates a new run in this transaction. Afterwards we return both the transaction as well as the run itself. The user is responsible for committing it when the time comes.
Parameters: - cmd – The command that has been executed.
- prj – The project this run belongs to.
- exp – The experiment this run belongs to.
- grp – The run_group (uuid) we blong to.
Returns: The inserted tuple representing the run and the session opened with the new run. Don’t forget to commit it at some point.
-
benchbuild.utils.db.
create_run_group
(prj)[source]¶ Create a new ‘run_group’ in the database.
This creates a new transaction in the database and creates a new run_group within this transaction. Afterwards we return both the transaction as well as the run_group itself. The user is responsible for committing it when the time comes.
Parameters: - The project for which we open the run_group. (prj) – Returns: A tuple (group, session) containing both the newly created run_group and the transaction object.
-
benchbuild.utils.db.
persist_compilestats
(run, session, stats)[source]¶ Persist the run results in the database.
Parameters: - run – The run we attach the compilestats to.
- session – The db transaction we belong to.
- stats – The stats we want to store in the database.
-
benchbuild.utils.db.
persist_config
(run, session, cfg)[source]¶ Persist the configuration in as key-value pairs.
Parameters: - run – The run we attach the config to.
- session – The db transaction we belong to.
- cfg – The configuration we want to persist.
-
benchbuild.utils.db.
persist_experiment
(experiment)[source]¶ Persist this experiment in the benchbuild database.
Parameters: experiment – The experiment we want to persist.
-
benchbuild.utils.db.
persist_perf
(run, session, svg_path)[source]¶ Persist the flamegraph in the database.
The flamegraph exists as a SVG image on disk until we persist it in the database.
Parameters: - run – The run we attach these perf measurements to.
- session – The db transaction we belong to.
- svg_path – The path to the SVG file we want to store.


Curious? Just ask!
Openly or anonymously.
Ask your friends.
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Already a member of Feedo?
"Feedo" is an open source Angular project which lets you ask your friends variable questions openly or anonymously.
Full information can be found on: Feedo GitHub


{% extends "global/Base.html" %} {% load otree static %} {% block title %} Survey {% endblock %} {% block content %} {% formfield player.q18 %}
On a scale from 1 (Not at all) to 7 (Very much), please rate how close did you feel to members of the _______
{% formfield player.q19 %} {% formfield player.q20 %} {% formfield player.q21 %} {% formfield player.q22 %}On a scale from 1 to 10, please rate how familiar you were before the experiment with the paintings made by ______
{% formfield player.q23 %} {% formfield player.q24 %} {% formfield player.q25 %} {% formfield player.q26 %} {% formfield player.q27 %} {% next_button %} {% endblock %}


My name is Charles Hendricks.
I'm a software developer at Carfax in Columbia, Missouri.
I enjoy tinkering with microcontrollers in my free time.
I am a music and beer enthusiast. Not to say I don't like them individually. Maybe a music or beer enthusiast. Although if there's beer, there should probably be music too.


Bacon ipsum dolor amet meatball cupim tenderloin shankle kevin frankfurter tail beef. Short loin chicken turkey kielbasa biltong bacon ball tip, pork loin tail beef. Flank meatball pork loin sirloin, chicken tri-tip brisket t-bone turkey ball tip. Spare ribs rump beef shank buffalo meatloaf t-bone short loin pig tail frankfurter. Swine venison frankfurter, boudin drumstick hamburger shankle landjaeger chicken burgdoggen brisket salami corned beef.
Bacon ipsum dolor amet meatball cupim tenderloin shankle kevin frankfurter tail beef. Short loin
Bacon ipsum dolor amet meatball cupim tenderloin shankle kevin frankfurter tail beef. Short loin
Bacon ipsum dolor amet meatball cupim tenderloin shankle kevin frankfurter tail beef. Short loin
Bacon ipsum dolor amet meatball cupim tenderloin shankle kevin frankfurter tail beef. Short loin
Bacon ipsum dolor amet meatball cupim tenderloin shankle kevin frankfurter tail beef. Short loin
Bacon ipsum dolor amet meatball cupim tenderloin shankle kevin frankfurter tail beef. Short loin


Here's a slight modification of the excellent clustering examples provided by sci kit learn which normally yields this informative visualization:
import time
import warnings
import numpy as np
import matplotlib.pyplot as plt
from sklearn import cluster, datasets, mixture
from sklearn.neighbors import kneighbors_graph
from sklearn.preprocessing import StandardScaler
from itertools import cycle, islice
import pandas as pd
import seaborn as sns
def cluster_check(X_ndarray, default_base, ):
'''Takes a 2D numpy.ndarray of continuous data and
a dictionary of parameters for sklearn clustering algorithms'''
my_data = (X_ndarray, 'Where were going we dont need y')
# ============
# Set up cluster parameters
# ============
plt.figure(figsize=(9 * 2 + 3, 3))
plt.subplots_adjust(left=.02, right=.98, bottom=.001, top=.96, wspace=.05,
hspace=.01)
plot_num = 1
# Heres where you can pass parameters to override the default_base
#
datasets = [
(my_data, {})]
for i_dataset, (dataset, algo_params) in enumerate(datasets):
# update parameters with dataset-specific values
params = default_base.copy()
params.update(algo_params)
X, y = dataset
# normalize dataset for easier parameter selection
X = StandardScaler().fit_transform(X)
# estimate bandwidth for mean shift
bandwidth = cluster.estimate_bandwidth(X, quantile=params['quantile'])
# connectivity matrix for structured Ward
connectivity = kneighbors_graph(
X, n_neighbors=params['n_neighbors'], include_self=False)
# make connectivity symmetric
connectivity = 0.5 * (connectivity + connectivity.T)
# ============
# Create cluster objects
# ============
ms = cluster.MeanShift(bandwidth=bandwidth, bin_seeding=True)
two_means = cluster.MiniBatchKMeans(n_clusters=params['n_clusters'])
ward = cluster.AgglomerativeClustering(
n_clusters=params['n_clusters'], linkage='ward',
connectivity=connectivity)
spectral = cluster.SpectralClustering(
n_clusters=params['n_clusters'], eigen_solver='arpack',
affinity="nearest_neighbors")
dbscan = cluster.DBSCAN(eps=params['eps'])
affinity_propagation = cluster.AffinityPropagation(
damping=params['damping'], preference=params['preference'])
average_linkage = cluster.AgglomerativeClustering(
linkage="average", affinity="cityblock",
n_clusters=params['n_clusters'], connectivity=connectivity)
birch = cluster.Birch(n_clusters=params['n_clusters'])
gmm = mixture.GaussianMixture(
n_components=params['n_clusters'], covariance_type='full')
clustering_algorithms = (
('MiniBatchKMeans', two_means),
('AffinityPropagation', affinity_propagation),
('MeanShift', ms),
('SpectralClustering', spectral),
('Ward', ward),
('AgglomerativeClustering', average_linkage),
('DBSCAN', dbscan),
('Birch', birch),
('GaussianMixture', gmm)
)
for name, algorithm in clustering_algorithms:
t0 = time.time()
# catch warnings related to kneighbors_graph
with warnings.catch_warnings():
warnings.filterwarnings(
"ignore",
message="the number of connected components of the " +
"connectivity matrix is [0-9]{1,2}" +
" > 1. Completing it to avoid stopping the tree early.",
category=UserWarning)
warnings.filterwarnings(
"ignore",
message="Graph is not fully connected, spectral embedding" +
" may not work as expected.",
category=UserWarning)
algorithm.fit(X)
t1 = time.time()
if hasattr(algorithm, 'labels_'):
y_pred = algorithm.labels_.astype(np.int)
else:
y_pred = algorithm.predict(X)
plt.subplot(len(datasets), len(clustering_algorithms), plot_num)
if i_dataset == 0:
plt.title(name, size=18)
colors = np.array(list(islice(cycle(['#377eb8', '#ff7f00', '#4daf4a',
'#f781bf', '#a65628', '#984ea3',
'#999999', '#e41a1c', '#dede00']),
int(max(y_pred) + 1))))
plt.scatter(X[:, 0], X[:, 1], s=10, color=colors[y_pred])
plt.xlim(-2.5, 2.5)
plt.ylim(-2.5, 2.5)
plt.xticks(())
plt.yticks(())
plt.text(.99, .01, ('%.2fs' % (t1 - t0)).lstrip('0'),
transform=plt.gca().transAxes, size=15,
horizontalalignment='right')
plot_num += 1
plt.show()
I removed several parts, including the part that creates random data sets. As a function it takes two arguments 1) a two column numpy.ndarray containing X data and 2) a dictionary of parameters for clustering algorithms.
df =\
pd.read_csv('https://raw.githubusercontent.com/josephofiowa/GA-DSI/master/NHL_Data_GA.csv')
df.head(4)
#.as_matrix turns a data frame into an numpy.ndarray
X = df[['GA','PIM']].as_matrix()
# These defaults are taken directly from the original sklearn code.
# Keep in mind there is _no_ reason they should make sense for your data
default_params = {'quantile': .3,
'eps': .3,
'damping': .9,
'preference': -200,
'n_neighbors': 10,
'n_clusters': 3}
# Hit it!
cluster_check(X,default_params)
So we have stood on the shoulders of giants and have a good way of visualizing 2d clustering and quickly trying out different parameters for several algorithms. Now its time to check the documentation for these algorithms so we can make reasonable changes to the default parameters:
| MiniBatch KMeans |
| Affinity Propagation |
| Mean Shift |
| Spectral Clustering |
| Ward |
| Agglomerative Clustering |
| DBSCAN |
| Birch |
| Gaussian Mixture |


documentable usage of specific domains
February 14, 2017
edited April 26, 2017
documentable usage of specific domains:
domain name is made up of a series of character strings (called "labels") separated by dots. The right-most label in a domain name is referred to as its "top-level domain" (TLD)
<------- top level
label.label.label
A 'Top level expansion^3, follows a
unix philosophy name system. And, a
Plan 9 Mounting table (which is,):
one mount table per process group where each process is/? only has access to itself. And the operations of the parent and child are not visible and each process has its own private namespace, and does not inherit open files from the parent.
(I/O) input/output of a child process can be captured and share open files with the parent runnig the child in encapsulated server.-
Like CSS, domains have specificity (increasing moving left to right and decreasing reading from right to left).
DNS [RFC-1035, REC-1034] The DNS system is a schema "of [Mnemonic]^3 labels (of at most 63 characters) separated by dots"^2. "... [A] hierarchical name space and pathnames with components separated by dots. Like [any] postal address, but unlike most computer-related naming hierarchies, DNS puts the highest level domain at the end..." (page 87)
Thus, the root of the DNS is an empty name so all tld designations end in dot (seen in DNS records)
Note: modifications in the DNS system creates a type of traffic: the global server distribution (described on page 87-88)
In JavaScript one property accessor is called dot notation; the syntax is object.property
. I propose for this discussion - we use /refer to the 'last' or rightmost domain label (TLD) as a property value of the dot object.
So, for the domain person.computer person is the object, computer is the value of a property of person.
As JaveScript syntax governs, these property values can be changed:
get = object.property;
object.property = set;


What the heck is this thing? -->
Want to know what that wierd symbol () is? This is the page for you
That symbol is an alto clef. Just like a treble clef or bass clef, it appears at the beginning of a sheet music staff and is known as the "C clef".
So lets say you have a grand staff, like so:
Well you can put the alto clef right in the middle, like this:
So this makes the middle line on the alto staff C4, which is why it is called the "C clef".


33.3% Since last month
40% Since last week
30.22% Since last month
| Driver | Departure | Destination | State |
|---|---|---|---|
| {{transaction.driver.first_name +' '+transaction.driver.last_name}} | {{transaction.address_start + '-'+ transaction.city_start}} | {{transaction.address_destination + '-'+ transaction.city_destination}} | {{transaction.state}} |


her story.
Her subject matter varies with frequent forays into portraiture, landscapes, food, and abstracts. The scale of her paintings varies widely as well - ranging from small 6" x 6" pieces to huge 60" x 60".
Today, she shows in several venues. If you are interested in adding Erica's work to your collection, please contact the venues directly for specific work. To add her work to your venue or your show, contact Erica directly.
Erica Vhay was born into a family of architects and artists. Her great grandfather Gutzon Borglum and his son Lincoln Borglum were famous for their sculpting of Mt. Rushmore and many other renowned works of art.
Erica received a degree in Art from the University of Oregon, with an emphasis in ceramics, sculpture and drawing. She opened her own ceramics studio after graduating in 1993, producing sculpture and functional pottery.
Erica moved to Boulder, CO and worked as a graphic designer, creating industrial graphic designs for audio CDs and product packaging. While living in Boulder, she married a great guy who had followed her from Eugene. It was also during this time changed her artistic focus from ceramics to drawing ‐ working primarily with pastels. In 1999 she moved to a remote ranch in Montana, an elk hoof's throw from the Yellowstone river. She continued sketching and painting - taking classes at Montana State University.
From there she moved to the Phoenix area and produced two fine works that are still in progress - Miles Lincoln Brown, born 2001, and Leopold Ivan Brown, born 2003. Though the sculpting of these two works impacted her productivity in other areas for a time, she excelled as a web designer and continued producing her own visual artwork.
Erica and family moved to Flagstaff, AZ in 2006. Erica focused on oil painting from this point forward. She began producing focused work and was able to dedicate time to art. She began showing at venues in Flagstaff, Arizona. Her portraiture in particular was a new take on a classic style and has been well received.
Over the last ten years, Erica's career has picked up wide following with collectors across the United States. She has participated in many shows as an artist and as a juror.
She currently shows in several venues including Marshall Gallery in Scottsdale, AZ and RARE Gallery in Jackson, WY.


Installing CBHC
Coldboot Haxchi (CBHC) is basically just Haxchi on boot.
You don't need to go and click on the Haxchi title to launch you CFW, it does this all automatically.
You MUST have a working Haxchi installation!
Your Haxchi title MUST be on the Wii U's System Memory
You MUST have bought your Haxchi title from the eShop
You MUST remove all USB devices before proceeding
Failing to follow these instructions will RESULT IN A BRICK
In the unlikely event that anything goes wrong, cfw.guide, its owner, and FIX94 will not be held responsible for any damage done to your console.
Preparations
- Download the latest release of CBHC
- Extract the contents of the CBHC ".zip" to the root of your Wii U's SD Card
- Put the SD Card into your Wii U
Instructions
- Remove all USB devices from your Wii U
- If you haven't done this yet, there's a chance that you didn't read the massive red boxes above.
- Read them or you will brick
- Enter the Homebrew Launcher by holding A while launching your Haxchi DS Virtual Console Title
- Launch the CBHC installer
- Ensure that:
- You have Haxchi installed
- Your Haxchi installation is functional
- You bought your Haxchi title from the eShop
- Your Haxchi title is on the System Memory
- You have removed all USB devices
- Read the warning that appears
- Press A to install
- Once it's done, you'll be kicked back to the Home Menu
- You may now reconnect any USB devices which were disconnected earlier
- Reboot your Wii U
- Go down to "Autoboot: Disabled"
- Press A to enable autoboot
- Press A on "Boot System Menu"
- Reboot again to make sure everything works
- Move your CBHC install to somewhere where it won't annoy you
NEVER uninstall the CBHC DS Virtual Console Title
NEVER reinstall the game you installed CBHC on from the eShop
NEVER move the CBHC DS Virtual Console Title to a USB Drive
NEVER delete the user account NNID that purchased the game you installed Haxchi on
NEVER format your Wii U while CBHC is installed
Doing any of the above will PERMANENTLY BRICK your Wii U
Proceed to Homebrew Launcher (Channel)
Press
Home
while CBHC is starting to access the CBHC boot options menu.
From here, you'll be able to:
Boot System Menu > Boots sysNAND
Boot Homebrew Launcher > Boots the Homebrew Launcher from sysNAND
Boot Mocha CFW > Boots Mocha CFW from redNAND (Not needed)
Boot fw.img on SD Card > Boots a fw.img based CFW from SD Card (Not needed)
Boot vWii System Menu > Boots into the vWii Menu
Boot vWii Homebrew Channel > Boots into the Homebrew Channel for vWii
Proceed to
Homebrew Launcher (Channel)