Javascript is a programming language used to make your web page interactive by listening to user actions and make changes on the page
Control flow is the order of how statements are executed. Loops are used to determine whether a st of statements need to be repeated.
Example:
Arrays: access and modify data using indexes (numeric)
Objects: access and modify data using properties (can be anything)
Functions are a collection code and it is useful because you can call the function multiple times without rewriting the whole code


HTML Basics
Lists
Ordered list
- first item
- second item
- third item
- fourth item
- fifth item
Undered list
- A
- B
- C
- D
- E
Discriptions list
- Name
- Ivan
- Born
- 1993
- Birthplace
- Russia
- Color
- Dark blue
Nested list
- List item one
- List item two with subitem:
- Subitem 1
- Subsubitem 1
- Subsubitem 2
- Subitem 2
- Subitem 1
- Final list item
List with links
Paragraphs
We leaf to snug on no need. Sportsman do offending supported extremity breakfast by listening. Indulgence contrasted sufficient to unpleasant in in insensible favourable. Secure shy favour length all twenty denote. Any delicate you how kindness horrible outlived servants. Mrs assured add private married removed believe did she.
Course sir people worthy horses add entire suffer.
Advantages entreaties mr he apartments do. undefined.
Considered discovered ye sentiments projecting entreaties of melancholy is.
Up hung mr we give rest half. Way own uncommonly travelling now acceptance bed compliment solicitude.
Took sold add play may none him few.
Estate was tended ten boy nearer seemed.
At principle perfectly by sweetness do.
You high bed wish help call draw side.
Called though excuse length ye needed it he having.
Their saved linen downs tears son add music. Decisively advantages nor expression unpleasing she led met.
Tables
| First name | Last name |
|---|---|
| Jogn | Doe |
| Jogn | Doe |
Image
Pre tag
if (time = 20) { greeting = "Good day"; } else { greeting = "Good evening"; }


|
All ART Patients are located in this table providing useful information such as start ART Dates, regimens and more. To qualify as an on ART, a patient must have pharmacy information showing ARVs dispensed for treatment and not prophylaxis.
#
|
Name
|
Type
|
Description
|
Options
|
1
|
PatientPK
|
Integer
|
System assigned unique key
|
0,1,2,3,4,5,6,7
|
2
|
PatientID
|
Text
|
Facility assigned unique patient ID
|
10001-01
|
3
|
SiteCode
|
Text
|
Government or facility assigned ID
|
|
4
|
FacilityName
|
Text
|
Name of Main facility
|
|
5
|
SatelliteName
|
Text
|
Name of Satellite
|
|
6
|
Gender
|
Text
|
|
Male, Female
|
7
|
DOB
|
Date
|
Date of Birth
|
dd/mm/yyyy
|
8
|
RegistrationDate
|
Date
|
Date registered at CCC clinic
|
dd/mm/yyyy
|
9
|
PatientName
|
Text
|
Patient’s Names
|
first middle last
|
10
|
PatientSource
|
List
|
Patient’s entry point
|
VCT, TransferIn
|
11
|
LastVisit
|
Date
|
Last Clinical Visit
|
|
12
|
AgeARTStart
|
Decimal
|
Calculated = StartARTDate - DOB
|
|
13
|
AgeEnrollment
|
Decimal
|
Calculated = registrationDate - DOB
|
|
14
|
AgeLastVisit
|
Decimal
|
Calculated = lastVisit - DOB
|
|
15
|
StartARTDate
|
Date
|
Date patient started on ART
|
|
16
|
PreviousARTStartDate
|
Date
|
If patient was on treatment in another facility, this date will show the start date in the previous facility
|
|
17
|
PreviousRegimen
|
|
Regimen patient was on in the previous facility
|
|
18
|
StartARTAtThisFacility
|
Text
|
The start ART Date in the current facility
|
|
19
|
StartRegimen
|
Text
|
|
|
20
|
StartRegimenLine
|
Text
|
Start Regimen Line
|
|
21
|
LastARTDate
|
Date
|
Last ART pharmacy dispense
|
|
22
|
LastRegimen
|
Text
|
Last Regimen
|
|
23
|
LastRegimenLine
|
Text
|
|
|
24
|
Duration
|
Number
|
Duration of last dispense
|
|
25
|
ExpectedReturn
|
Date
|
lastARTDate + duration
|
|
26
|
Provider
|
Text
|
Treatment provider
|
Gov, USG, Self
|
27
|
ExitReason
|
Text
|
Care termination reason
|
Transfer
Lost
Stop
Death
|
28
|
ExitDate
|
Date
|
Care termination date
|
|
|


An Augmented Classroom for Practice-based Teacher Learning.
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There is more information in the help (?) button at the bottom of the screen.
© 2022 StageTools
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- e-enable clicks-and-mortar e-tailers
- facilitate enterprise interfaces
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Infinite Industries invites everyone to be challenged and enriched by the contemporary art experience. We believe that art can mean more than mass produced prints from big box stores. At the same time, powerful art does not need to come with a prohibitive price tag. Each month, we feature a work of art that is available to download for free. We pair the release of each piece with materials that help you learn about the work and the artist who created it.
March-April 2017
Cartoon Bubble Sunset
Amanda Church
The floating imagery of Amanda Church’s “Cartoon Bubble Sunset” depicts vibrant irreverence, uplifting the bright palettes that beam at us from mass media with equal pleasure as a traditionally viewed sunset. Speech bubble or sunset, comma or balloon, sperm or egg sac, this piece embodies pop sensibility and invites the viewer into Amanda’s sheer pleasure of painting. Amanda fills the piece with large expanses of color, contained by an elegant border. The viewer’s eye oscillates between the colors and the open white areas of the page: constantly moving between representation and abstraction. Read More...
Amanda Church is an artist and writer living and working in New York City and a recipient of a 2015 Guggenheim Fellowship for Fine Art. Her paintings’ overarching Pop ethos has consistently referenced the body in landscape, and of late has veered toward figuration, with recognizable body parts populating what remains an essentially abstract arena.
Her paintings have been exhibited widely throughout the United States and Europe and over the years she has contributed to a variety of publications, including Flash Art, Art in America, ARTnews, and Art Papers. Amanda has also co-curated three shows to date, two – “Tract” and “Sunrise Sunset”– with art historian Courtney J. Martin, and the third – “Data Panic” – with fellow artist Franklin Evans. Amanda’s work was featured in Sharon Louden’s 2013 book, Living and Sustaining a Creative Life, with a concurrent show at Aberson Exhibitions in Tulsa, Oklahoma. Her most recent solo exhibition was at Espacio 20/20 Gallery in San Juan, Puerto Rico, and she has another upcoming in 2017 at Galerie du Tableau in Marseille, France.
Additional works can be viewed on the artist's website.


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Susan Granger's review of "TRAINING DAY" (Warner Bros.)
It's obvious why perennial good-guy Denzel Washington was intrigued by the malevolent role of veteran L.A.P.D. Detective Sergeant Alonzo Harris, who heads an elite, undercover narcotics squad.  His "street justice" ethics and morality are outside the norm but he has his own ambiguous integrity. So when Jake Hoyt, an idealistic rookie, played by Ethan Hawke, wants to join his unit, Harris gives him 24 hours to prove himself saying, "You've got today and today only to show me what you're made of....You've got to decide if you're a sheep or a wolf." Their day begins with drugs and alcohol, part of "getting to know the streets," and includes extortion, execution, and a $4 million seizure, which quickly decreases to $3 million as the corrupt cops take their cut.  "Play the game, grow wise and then you can change things." Both Washington and Hawke deliver, supported by Scott Glenn, Tom Berenger, Snoop Dogg, Macy Gray and Dr. Dre.  Certainly a subplot involving the Russian Mafia is irrelevant and, right now, after the World Trade Center, the timing seems inappropriate for gratuitous police corruption and brutality. Director Antoine Fuqua brings a cinematic restlessness, street smarts and a touch of slick senationalism to this police thriller which all-too-soon becomes pedestrian, even sadistic, with an unsatisfying conclusion. On the Granger Movie Gauge of 1 to 10, "Training Day" is a gritty, foul-mouthed 6, questioning whether law enforcement comes at the expense of justice and public safety.
========== X-RAMR-ID: 29638 X-Language: en X-RT-ReviewID: 252370 X-RT-TitleID: 1110027 X-RT-SourceID: 742 X-RT-AuthorID: 1274 X-RT-RatingText: 6/10
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


|
|
Castanet clicks up distribution
By Tim Clark and Nick Wingfield October 7, 1996, 1 p.m. PT
Marimba, a closely watched start-up company, today took the wraps off a new suite of Java-based technology that lets Web sites broadcast information and software over the Internet.
Marimba's first products, collectively called Castanet, will include client and server software along with a development kit for distributing information across a network to clients, ranging from graphics to spreadsheets. The company has applied for a patent on its core technology.
The company also said today that several leading Web sites, including those run by online magazine HotWired and search engine Excite, are already offering content through "channels" using Castanet.
While traditional Web pages require a user to seek out a site to view information and run applets, the Marimba system will use a TV-style metaphor for delivering content or applications to users--broadcasting, or "pushing," information and programs out to desktops.
This is a method of distributing information that was pioneered by PointCast and is receiving more attention from Internet companies such as Microsoft and Netscape Communications. Earlier this year, PointCast debuted a specialized client application--part Web browser, part screensaver--that automatically receives news headlines, financial information, and advertisements over the Net.
The two leading browser companies, Microsoft and Netscape, have also made clear their intentions to offer Net broadcasting capabilities in the next releases of their products. For example, Microsoft's Internet Explorer 4.0 will feature "active themes," or onscreen widgets, that display news and other information on the Windows 95 desktop like a TV channel.
"In the pull-model, the onus is always on the user to go back," said Ira Machevsky, a senior industry analyst at Giga Information Group. "These are devices to throw the electronic newspaper to your doorstep."
But while most companies are focused primarily on broadcasting content, Castanet is expected to allow the distribution of Java applications such as a front-end to a database, which can be regularly updated by a network administrator. Analysts and developers hope that Castanet will appeal to companies that want to ease the task of constantly updating applications.
"At the corporate level, it will help the MIS director who has to update 1,000 or 2,000 copies of an application," said Karl Jacob, CEO of Dimension X. "Users won't even notice it."
Marimba also claims that Castanet can update news stories so quickly that it is "near real time," requires little network bandwidth, and can scale to millions of users. The improved performance of programs and content is due chiefly to the fact that Castanet allows Java code to "persist"--that is, to be stored locally on a hard disk--rather than disappearing when a PC is shut down.
"That's one of the big holes in Java and network computers: the lack of persistence," said David Smith, research director at Gartner Group. "This really does use local storage intelligently. In real-world applications, download times are important."
The Marimba system will feature a client-side "tuner" program for receiving data and a back-end "transmitter" program for broadcasting the data, both of which will be written in Java. The software applications and data channels themselves are stored on the user's hard drive instead of being downloaded over the Internet each time the user looks for new information.
Marimba also unveiled a drag and drop development toolkit, called Bongo, for assembling broadcast data next week. Initially, Castanet will be limited to distributing Java applications for security reasons. The system will later allow for distribution of a variety of applications, including ActiveX controls. Version 1.1, due in the first half of 1997, will include encryption support and support for application deployment over public networks.
Marimba's first product announcement has been eagerly anticipated by Silicon Valley. Headed up by Kim Polese, a former Sun Microsystems manager, the company is among the first to focus exclusively on developing Java applications. In addition to Polese, the company is staffed by several former Java engineers from Sun, including Jonathan Payne, Arthur van Hoff, and Sami Shaio.
Founded in February, Marimba received its first round of venture funding from the Java Fund, handled by the venture capital firm of Kleiner Perkins Caufield & Byers.
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| Copyright © 1995-97 CNET, Inc. All rights reserved. |


PPI-GREMLIN
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Files
Available files
File
Description
Link
Source code
Contains the source code and a tutorial about how to run ppiGReMLIN.


MenuItemGroup QML Type
A group for managing native menu items. More...
| Import Statement: | import Qt.labs.platform 1.0 |
| Since: | Qt 5.8 |
| Inherits: |
Properties
- checkedItem : MenuItem
- enabled : bool
- exclusive : bool
- items : list<MenuItem>
- visible : bool
Signals
Methods
- void addItem(MenuItem item)
- void clear()
- void removeItem(MenuItem item)
Detailed Description
The MenuItemGroup groups native menu items together.
MenuItemGroup is exclusive by default. In an exclusive menu item group, only one item can be checked at any time; checking another item automatically unchecks the previously checked one. MenuItemGroup can be configured as non-exclusive, which is particularly useful for showing, hiding, enabling and disabling items together as a group.
The most straight-forward way to use MenuItemGroup is to assign a list of items.
Menu { id: verticalMenu title: qsTr("Vertical") MenuItemGroup { id: verticalGroup items: verticalMenu.items } MenuItem { text: qsTr("Top"); checkable: true } MenuItem { text: qsTr("Center"); checked: true } MenuItem { text: qsTr("Bottom"); checkable: true } }
The same menu may sometimes contain items that should not be included in the same exclusive group. Such cases are best handled using the group property.
Menu { id: horizontalMenu title: qsTr("Horizontal") MenuItemGroup { id: horizontalGroup } MenuItem { checked: true text: qsTr("Left") group: horizontalGroup } MenuItem { checkable: true text: qsTr("Center") group: horizontalGroup } MenuItem { text: qsTr("Right") checkable: true group: horizontalGroup } MenuItem { separator: true } MenuItem { text: qsTr("Justify"); checkable: true } MenuItem { text: qsTr("Absolute"); checkable: true } }
More advanced use cases can be handled using the addItem() and removeItem() methods.
Note: Types in Qt.labs modules are not guaranteed to remain compatible in future versions.
See also MenuItem.
Property Documentation
checkedItem : MenuItem |
This property holds the currently checked item in the group, or null
if no item is checked.
This property holds whether the group is enabled. The default value is true
.
The enabled state of the group affects the enabled state of each item in the group, except that explicitly disabled items are not enabled even if the group is enabled.
This property holds whether the group is exclusive. The default value is true
.
In an exclusive menu item group, only one item can be checked at any time; checking another item automatically unchecks the previously checked one.
items : list<MenuItem> |
This property holds the list of items in the group.
This property holds whether the group is visible. The default value is true
.
The visibility of the group affects the visibility of each item in the group, except that explicitly hidden items are not visible even if the group is visible.
Signal Documentation
void hovered(MenuItem item) |
This signal is emitted when an item in the group is hovered by the user.
See also MenuItem::hovered().
void triggered(MenuItem item) |
This signal is emitted when an item in the group is triggered by the user.
See also MenuItem::triggered().
Method Documentation
void addItem(MenuItem item) |
Adds an item to the group.
void removeItem(MenuItem item) |
Removes an item from the group.


Now that we know how to work with spherical harmonic coefficient and grid classes, let's move on to the other major feature of pyshtools: localization windows and spectral analysis. pyshtools allows for localized spectral analyses using either spherical-cap localization windows or localization windows constructed from an arbitrary mask. As with our examples in the previous notebook, a single class, SHWindow
, bundles the relevant shtools functions. Here, we will demonstrate how to construct optimal localization windows, and how to obtain localized spectral estimates for arbitrary regions on the sphere.
In this example, we will make use of a pathological data set. In particular, we will construct a function on the sphere whose power spectrum is different in the northern and southern hemispheres. First, import the standard modules:
%matplotlib inline
from __future__ import print_function # only necessary if using Python 2.x
import matplotlib.pyplot as plt
import numpy as np
import pyshtools
Next, create two grids using random coefficients that have power spectra following power laws of -2 and -3, up to and including degree 300:
ldata = 300
degrees = np.arange(ldata+1, dtype=float)
degrees[0] = np.inf
power_north = degrees**(-2)
power_south = degrees**(-3)
clm_north = pyshtools.SHCoeffs.from_random(power_north)
grid_north = clm_north.expand()
clm_south = pyshtools.SHCoeffs.from_random(power_south)
grid_south = clm_south.expand()
Next, create a new grid that contains data from the northern hemisphere of one grid and the southern hemisphere of the other. To avoid modifying the original grids, we create a copy of the first grid and replace half the hemisphere with a copy of the other:
grid = pyshtools.SHGrid.from_array(grid_north.data.copy())
nlat = grid_north.nlat
grid.data[nlat//2:nlat+1,:] = grid_south.data[nlat//2:nlat+1,:].copy()
fig, ax = grid.plot_rawdata()
clm = grid.expand()
Here, we made use of the grid attribute nlat
, which is the number of rows of the gridded data, and we modified the raw gridded data for grid
that is stored in the data
class attribute.
Next, let's construct some spherical-cap localization windows. This is done using the constructor from_cap()
that is associated with the SHWindow
class. The other option, as we will demonstrate later, is from_mask()
and takes as input a user defined mask. For spherical-cap windows, we need to specify both the angular radius of the cap and its spherical harmonic bandwidth, and for this example we will use an angular radius of 30 degrees and a bandwidth of 29.
capwin = pyshtools.SHWindow.from_cap(theta=30., lwin=29)
This command calculates the spherical harmonic coefficients of the spherical cap windows along with their associated angular orders and concentration factors. If you ever need to access these directly, they are stored in the class attributes tapers
, orders
and eigenvalues.
By default, theta
should be provided in degrees, but this can be input in radians by specifying the optional parameter theta_degrees=False
. If you are curious to see what these windows look like, you can plot them using the built in method plot_windows()
. Let's plot the first 35:
fig, axes = capwin.plot_windows(35)
As is seen, the windows are centered at the north pole, the concentration factor is noted above the window, and almost all of these windows are very well localized. If you want to know how many windows have concentration factors larger than a specified value, you can use the method get_k()
:
capwin.get_k(0.99)
If you are really curious about the windows, you can return gridded maps of individual windows using the methods get_grid()
and return_grid()
, you can return the spherical harmonic coefficients of individual windows using get_coeffs()
and return_coeffs()
, and you can also return as a numpy array the power spectra of one or more windows using the method get_powerperdegree()
. If you want to plot the power spectra of the windows, this can be done using the built in method plot_powerspectra()
:
fig, axes = capwin.plot_powerspectra(15)
In general, we will not perform localized spectral analyses at the north pole, so let's rotate the windows so that they are centered at 45 degrees north and 90 degrees east. This is easily accomplished using the rotate()
method. To speed things up, we will rotate only the first 50 best localized windows, and not all 900 of them:
capwin.rotate(clat=45., clon=90., nwinrot=50)
fig, axes = capwin.plot_windows(15)
In rotating the windows, the spherical harmonic coefficients of the initial tapers
centered at the north pole are not modified, but a second set of rotated coefficients are created and stored in the attribute coeffs
. If you ever forget how you constructed your windows, you can always use the info()
method to print out all the metadata:
capwin.info()
Next, let's calculate the localized power spectrum at two different locations, one in the northern hemisphere and the other in the southern hemisphere. We will use all 34 windows that have concentration factors greater than 0.99:
k = capwin.get_k(0.99)
mtse_north, sd_north = capwin.get_multitaperpowerspectrum(clm, k)
mtse_south, sd_south = capwin.get_multitaperpowerspectrum(clm, k, clat=-55., clon=90.)
If you don't provide the central latitude and longitude of the analysis with the parameters clat
and clon
, the coefficients that were created previously using the rotate()
method will be employed. If these coefficients are not available, the analysis will be performed at the north pole.
get_multitaperpowerspectrum
returns a power spectrum whose maximum degree is ldata - lwin
. This is because localized degrees beyond this limit depend upon coefficients of the global data beyond ldata
, and these are not known. If the global function was truly zero beyond ldata
, you could simply construct the spherical harmonic coefficients of clm
to have zeros beyond that degree.
When a function is multiplied by a window, the power spectrum of the localized function is modified. For the case of stationary and random data, the expectation of this biasing effect can be estimated using two methods. First, we could calculate the "coupling matrix" using the method get_couplingmatrix()
. The expectation of the windowed power spectrum is then simply the multiplication of this matrix by the global spectrum. If you are interested, you can plot the coupling matrix using the built in method plot_couplingmatrix()
:
fig, ax = capwin.plot_couplingmatrix(ldata)
Here, however, we will estimate the expectation of the windowed spectrum using get_biasedpowerspectrum()
and the global power spectra used to create the data in the northern and southern hemispheres:
power_north_biased = capwin.get_biasedpowerspectrum(power_north, k)
power_south_biased = capwin.get_biasedpowerspectrum(power_south, k)
Note that this function returns a spectrum with a maximum degree ldata+lwin
. In calculating the expectation of the biased power spectrum from the global spectrum, it is assumed implicitly that the global power spectrum is exactly zero for all degrees greater than ldata
.
Finally, lets plot the global power spectra, the localized spectra, and the localized expectations. Assuming that the data are unknown above degree ldata
, we plot only the valid localized spectral estimates up to degree ldata - lwin
.
degrees2 = np.arange(ldata+capwin.lwin+1)
degrees3 = np.arange(ldata-capwin.lwin+1)
fig, ax = plt.subplots(1,1)
ax.plot(degrees, power_north, '-k',
degrees, power_south, '--k',
degrees2, power_north_biased, '-r',
degrees2, power_south_biased, '--r',
degrees3, mtse_north, '-b',
degrees3, mtse_south, '--b')
ax.set(yscale='log', xlabel='degree', ylabel='power', xlim=(0,200-capwin.lwin), ylim=(1.e-8, 1.))
As is seen, the expectation of the localized spectrum (red) is significantly biased at low degrees in comparison to the unwindowed global fields. This is not necessarily a problem, because this effect is quantifiable. The actual localized power spectrum (blue) is found to closely resemble the expected value, especially for degrees greater than the window bandwidth of 29.
In this example, we calculated only the localized power spectrum of a single function. If you were interested in the localized cross-power spectrum of two functions, this could be caluculated using the method get_multitapercrosspowerspectrum()
.
We next demonstrate how to perform a localized spectral analysis over an irregular region. For this example, we will first create a function whose power spectrum is different over the oceans and landmass of Earth, we will then calculate windows that localize these two regions, and finally we will perform a multitaper spectral analysis similar to what we did with the spherical cap localization windows above.
First, let's read in the spherical harmonic coefficients of Earth's topography (referenced to mean sea level):
topo_coeffs = pyshtools.SHCoeffs.from_file('../ExampleDataFiles/srtmp300.msl', 300)
topo = topo_coeffs.expand()
fig, ax = topo.plot_rawdata()
Next, create a boolean mask that is True
for elevations that are greater than zero:
land_mask = pyshtools.SHGrid.from_array(topo.data > 0)
ocean_mask = pyshtools.SHGrid.from_array(topo.data <= 0)
fig, ax = land_mask.plot_rawdata()
fig2, ax2 = ocean_mask.plot_rawdata()
Constructing localization windows from a boolean mask is simple using the from_mask()
constructor of the SHWindow
class. Here, we will use a spherical harmonic bandwidth of 30, and then plot maps and power spectra of the first 20 windows that are concentrated on land:
land_windows = pyshtools.SHWindow.from_mask(land_mask.data, 30)
ocean_windows = pyshtools.SHWindow.from_mask(ocean_mask.data, 30)
fig, axes = land_windows.plot_windows(20)
fig, axes = land_windows.plot_powerspectra(20)
To demonstrate that these windows actually concentrate their power over the land and oceans, we next plot the cumulative energy of all windows that have concentration factors greater than 0.99. In this case, because the surface area of the oceans is larger than that of the land, there are many more ocean windows than land windows.
k_land = land_windows.get_k(0.99)
k_ocean = ocean_windows.get_k(0.99)
print('k_land = {:d}'.format(k_land))
print('k_ocean = {:d}'.format(k_ocean))
land_energy = (land_windows.get_grid(0))**2
for i in range(1,k_land):
land_energy = land_energy + (land_windows.get_grid(i))**2
ocean_energy = (ocean_windows.get_grid(0))**2
for i in range(1,k_ocean):
ocean_energy = ocean_energy + (ocean_windows.get_grid(i))**2
fig, axes = plt.subplots(1, 2, figsize=(10, 5))
axes[0].imshow(land_energy)
axes[1].imshow(ocean_energy)
Next, let's construct a pathological function that has different power spectra over the oceans and land. In this example, we will make use of the same grids that we constructed for our demonstation using spherical cap localization windows. In particular, the land mass will use the grid constructed from random coefficients with a power spectrum that followed a power law of exponenent -2, and the oceans will use the grid constructed with a power law exponent of -3.
grid_earth = grid_north.copy()
grid_earth.data[topo.data<=0.] = grid_south.data[topo.data<=0.].copy()
clm_earth = grid_earth.expand()
fig, ax = grid_earth.plot_rawdata()
Finally, we calculate localized power spectra over the land and oceans, as well as the expection of the windowed spectra. For demonstration purposes, we will use the same number of localization windows for both regions.
mtse_land, sd_land = land_windows.get_multitaperpowerspectrum(clm_earth, k_land)
mtse_ocean, sd_ocean = ocean_windows.get_multitaperpowerspectrum(clm_earth, k_land)
power_land_biased = land_windows.get_biasedpowerspectrum(power_north, k_land)
power_ocean_biased = ocean_windows.get_biasedpowerspectrum(power_south, k_land)
degrees2 = np.arange(ldata+land_windows.lwin+1)
degrees3 = np.arange(ldata-land_windows.lwin+1)
fig, ax = plt.subplots(1,1)
ax.plot(degrees, power_north, '-k',
degrees, power_south, '--k',
degrees2, power_land_biased, '-r',
degrees2, power_ocean_biased, '--r',
degrees3, mtse_land, '-b',
degrees3, mtse_ocean, '--b')
ax.set(yscale='log', xlabel='degree', ylabel='power', xlim=(0,200-land_windows.lwin), ylim=(1.e-8, 1.))
As with our example using spherical cap localization windows, the localized power spectra (blue) over the oceans and land match closely their theoretical expectations (red). Both of these are significantly biased from the unwindowed global spectra (black) at low degrees.


I am half and half . I grew up in Jakarta and attended an International school since kindergarten, so I am no stranger to diversity.
After finishing my Bachelors at the Kelley School of Business, I decided to dive deeper into web development from online/in-person tutorials and going to meetup events to meet people in the industry.
Some of my hobbies include snowboarding, soccer,touch rugby, and volunteering with kids.
Boys on the Boat by Daniel James Brown
Freakonomics by Steven D. Levitt & Stephen J. Dubner
Shoedog by Phill Knight


oil on wood
location: unkown- sold at auction, Burlington Vermont 2009
oil on wood
location: unkown- circa 2012
chalk on untreated wood
oil on antique box top
mixed media on canvas
oil on canvas
oil on cork
oil on canvas
oil on small wood
chalk on texture pressed paper
oil on canvas
painting shown: oil on paper board
Location: Collection of Avery Hurst


MR MICHAEL WILLIAMS Avenue 15,rue 12 Lot 1225,Deux Plateau Abidjan-Coted'ivoire My Dear It's my pleasure to contact you for a business venture which I intend to establish in your country,Though I have not met with you before but I believe one has to risk, confiding in someone to succeed some times in life. There is this huge amount of money Ten million,Seven hundred thousand U.S dollars($10.7million usd) which my FATHER kept for ME in a security storage house in ABIDJAN before he was assasinated by unknown person. Now I have decided to invest this huge amount in your country or anywhere safe enough outside Africa for security purposes.I want you to assist me in transfering this fund to your account for investment purposes. So if you can be of an assistance to us we will be pleased to offer to you 20% Of the total fund. I anticipate your urgent response. Thanks and God bless. Sincerely MR MICHAEL WILLIAMS ______________________________________________________ Get Paid... With Your Free Email at http://www.zwallet.com/index.html?user=mich_williams02


Happy eight month-a-versary to Asher. Now where's the cake for that candle? http://picplz.com/zFc8W
12/22/2011, 9:47:52 PM
Favs: 0
Retweets: 0
link--- layout: tweet ---
Happy eight month-a-versary to Asher. Now where's the cake for that candle? http://picplz.com/zFc8W
12/22/2011, 9:47:52 PM
Favs: 0
Retweets: 0
link


Here's some stuff that I experiemented with but never published. Mainly D3 with some Leafet thrown in.


STRANGE DAYS A film review by Christopher Null Copyright 1995 Christopher Null
I've never really given much thought to what the turn of the millennium is going to bring. Will it be a new beginning for society and the world? Or will it bring on the apocalypse foretold by Revelations?
STRANGE DAYS continuously plays these two possibilities off of each other, and in L.A., on December 31, 1999, it seems either one is equally likely. Ralph Fiennes plays Lenny Nero, a bottom-feeder ex-cop who peddles "clips," full-sensory pieces of memory from real people's lives. These clips are played on "the wire," a device which delivers experiences directly into the brain. The very illegal wire is also the source of a whole slew of problems, including the murder of one Jeriko One, a very influential rap star, and the subsequent stalking of Faith (Juliette Lewis), Nero's ex-girlfriend, for whom he still pines.
As it turns out, this Jeriko has been heralded as the next Messiah, and the circumstances of his murder stand to cause riots of unprecedented horror. When a clip containing the identity of Jeriko's killers falls into Nero's hands, it's anybody's guess who he can trust.
The greatest part of STRANGE DAYS is easily the first-person photography that is used whenever a clip is played--so the audience gets to see everything as if they're part of the action. This is remarkably effective, and as it gets more and more gruesome later in the film, the technology's dangers are almost palpable.
Fiennes is terrific, as is Angela Bassett, who plays his best friend, Mace. Nero's insecurity is truly refreshing in this day and age of indestructible action heroes, and although his frequent confessions to Mace wear thin after two or three of them, he still does plenty with the role to make the character real: he is selling bits of people's lives but doesn't have one of his own.
Sadly, STRANGE DAYS is no bed of roses. Example: here's what I learned about the future. In 1999, playing really, really bad rap music is almost enough to earn you sainthood. In 1999, no one wears much in the way of clothes, especially female rock singers. In 1999, the music pretty much sucks, too.  A lot. And no one seems to mind.
While the film is intriguing all the way through, it never really gels together. Director Kathryn Bigelow does some admirable work, but the result is a BLADE RUNNER meets CLOCKWORK ORANGE meets Rodney King, and some strange hybrid results that makes STRANGE DAYS feel like two movies playing at once. It's a troubling problem that is fortunately balanced by the style of the feature, but the end result is an interesting little film that's just, well, "strange."
RATING: ***
\-------------------------------\ |* Unquestionably awful | |** Sub-par on many levels | |*** Average, hits and misses | |**** Good, memorable film | |***** Perfection | \-------------------------------\
-Christopher Null /<EMAIL_ADDRESS>-Contributing Editor, FEEDBACK / http://www.eden.com/~feedback -E-mail request to join the movie review mailing list
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


A small collection of Frequently Asked Questions about Aegisub - mostly stuff that didn't fit anywhere else.
Karaoke effects?
Can I create DVD subtitles with Aegisub?
Not directly, but there's a nifty program called MaestroSBT (Google for it) that can convert SSA to VOBSubs. It does have quite a bunch of restrictions on what tags and other things may be used, so reading its manual first is advised. Also note that it does not accept ASS - only SSA. You can use Aegisub's File -> Export... dialog to save real SSA files.
Does Aegisub allow saving to SRT?
Yes, but only if it means that no information will be lost. In other words, if you have any override tags that aren't \1c, \b, or \i, Aegisub won't allow saving directly to SRT. However, you can still export to SRT by using the File -> Export... dialog box. Just uncheck all the checkboxes (clean script info, VFR transform etc.).
What's this PRS stuff?
Pre-Rendered Subtitles. Basically a way to "encode" ASS (text) subtitles into pictures, which can then be encoded into the video using an Avisynth filter. There's also a DirectShow renderer, but it's in early development and not ready for public use yet. PRS has a few advantages over ASS (and a few disadvantages too). One advantage is that it doesn't require much CPU power to render onto the video - all the effort is spent when "encoding" to PRS. Another is that the subtitles will look exactly as the one who rendered them intended, which is not guaranteed with ASS (not even when rendering with VSFilter, as it has had, and still has, quite a few rendering bugs). The main disadvantage is that PRS takes more space than ASS and other text-based subtitle formats do.
I've found a bug!?
Report it on the bug tracker. Please include as many details as possible in your report!
Why doesn't Aegisub have <feature X>? <Program Y> has it!
Quite possibly because we didn't know you wanted it. Request it on the bug tracker and see what happens.
Where can I find more information and/or get help?
For Aegisub-related stuff, the forums and the IRC channel are good places to ask questions. The Aegisub wiki also contains some more obscure information not included in the manual for various reasons, and so does the forums.
For general video-related questions, Doom9.org and its forums is generally the place to go.
I click the "Play video" button, and the video and audio aren't synchronized at all!
That's not a question.
This is because of the way Aegisub displays video, it does not guarantee sync with the audio at all. Also, sometimes AviSynth can be quite slow at delivering frames, which would make real sync playback impossible. The "play video" feature is intended to display frames in rapid succession to check that some typesetting looks right, not as a replacement for a media player application. You can be sure that, if it sounds right when you click the "play line" button for the audio, and the subtitle looks like it's at the right frames, it is timed correctly to the audio and it is timed correctly to the video. If you don't believe this, just test it in a real media player (or hardsub it) and see for yourself.
If you absolutely must have this, feel free to implement it yourself.
Are there any VSFilter bugs I should know about?
In one word: yes.


1.2.4
Type: string
(string = {@linkkAnyTopic})
{@linkkAnyTopic}
((function | object))
(string = kBroadcastChannel)
kBroadcastChannel
Observable<any>
(any)
Does nothing if provided cb is not registered


Toggle navigation
Bootstrap3 Form Builder
Your Form
Drag & Drop components
By Adam Moore (
@minikomi
).
Bootstrap2 Source on (
Github
). Bootstrap3 Source on (
Github
).


kerberos::golden
/domain: domain.local domain name
/sid: S-1-5-21-130452501-2365100805-3685010670 domain SID
/rc4: 310b643c5316c8c3c70a10cfb17e2e31 NTLM hash of krbtgt
/user: Administrator username you wanna be
/id: 500 RID of username (500 is THE domain admin)
/groups: 513, 512, 520, 518, 519 Groups list of the user (be imaginative)
/ticket: Administrator.kirbi The ticket filename
Client name: Administrator
Service name: krbtgt/domain.local
Validity
Start time:
End time:
Authorization data Microsoft (PAC)
Username: Adminsitrator
Domain SID
User ID 500
Groups ID
512
519
...
Example time!
We want to have a long time access to a share limited to a user "utilisateur", disabled
kerberos::golden
/domain: domain.local
/sid: utilisateur's sid
/aes256: hash
/user: srvcharly$ <= real account always in good state
/id: 1001 <= RID of the real account
/groups: 513, 1106 <= 1107 is the RID of the "utilisateur" account...yep...in groups
/ticket: fake_utilisateur.kirbi
More examples
kerberos::golden
/domain: domain.local
/sid: Administrator's sid
/rc4: hash
/user: badguy
/id: 0xffffffff
/groups: 513, 512, 520, 518, 519
/ticket: badguy.kirbi
Yes, neither the User NOR the ID exist, so this TGT will only work for 20 minutes (TGS watchdog)
It works if an ACL is defined with groups (this example spoofs a user in domain admins group; 512)
But all TGS obtained in this 20 minutes will be valid for 10h!
AND you can make multiple TGTs...


New request from {{organisation}}
Hi Jürgen
{{name}} {{surname}} has send you a request to join Race for the Cure with his organisation: {{organisation}}.
Get in touch with this organisation via:
tel: {{phone}}. -
{{sender}}
Click on the link to see the full request.


{% extends "base.html" %} {% block head %}
Data and web engineering:
Patrick Brockmann
Data scientist at LSCE/DRF/CEA, member of the "CalculS" group of LSCE.
Research interests: Data analysis and visualization, geo-spatial web applications, geo-services architectures and data processing in high performance computing environments.


About Us
This is the place to breif about your company for the visitors to understand the nature and abilities of your company and what your company is about
Our Strengths
1) Sample description 1
2) Sample description 2
3) Sample description 3
4) Sample description 3
Address
1234 Street Name
Village , City name,
Country 623123
Contacts
Email<EMAIL_ADDRESS>Phone: +1 (0) 000 0000 001
Fax: +1 (0) 000 0000 002


git reauthor
Change details about an author identity. Since this command rewrites the Git history, `--force` will be needed when pushing next time.
Part of `git-extras`.
More information: home page
- Change an author's email and name across the whole Git repository:
git reauthor --old-email<EMAIL_ADDRESS>--correct-email<EMAIL_ADDRESS>--correct-name "name"
- Change the email and name to the ones defined in the Git config:
git reauthor --old-email<EMAIL_ADDRESS>--use-config
- Change the email and name of all commits, regardless of their original author:
git reauthor --all --correct-email<EMAIL_ADDRESS>--correct-name name


Class: RSpec::Mocks::Configuration
- Inherits:
-
Object
- Object
- RSpec::Mocks::Configuration
- Defined in:
- lib/rspec/mocks/configuration.rb
Overview
Provides configuration options for rspec-mocks.
Instance Method Summary (collapse)
-
- (Object) add_stub_and_should_receive_to(*modules)
Adds
stub
andshould_receive
to the given modules or classes. -
- (Configuration) initialize
constructor
A new instance of Configuration.
- - (Boolean) marshal_patched?
- - (Object) patch_marshal_to_support_partial_doubles=(val)
- - (Boolean) should_warn_about_any_instance_blocks?

Constructor Details
- (Configuration) initialize
A new instance of Configuration
6 7 8 9 10 |
# File 'lib/rspec/mocks/configuration.rb', line 6 def initialize @yield_receiver_to_any_instance_implementation_blocks = false @should_warn_about_any_instance_blocks = true @marshal_patched = false end |
Instance Method Details
- (Object) add_stub_and_should_receive_to(*modules)
Adds stub
and should_receive
to the given
modules or classes. This is usually only necessary
if you application uses some proxy classes that
"strip themselves down" to a bare minimum set of
methods and remove stub
and should_receive
in
the process.
40 41 42 43 44 |
# File 'lib/rspec/mocks/configuration.rb', line 40 def add_stub_and_should_receive_to(*modules) modules.each do |mod| Syntax.enable_should(mod) end end |
- (Boolean) marshal_patched?
71 72 73 |
# File 'lib/rspec/mocks/configuration.rb', line 71 def marshal_patched? @marshal_patched end |
- (Object) patch_marshal_to_support_partial_doubles=(val)
67 68 69 |
# File 'lib/rspec/mocks/configuration.rb', line 67 def patch_marshal_to_support_partial_doubles=(val) @marshal_patched = val end |
- (Boolean) should_warn_about_any_instance_blocks?
21 22 23 |
# File 'lib/rspec/mocks/configuration.rb', line 21 def should_warn_about_any_instance_blocks? @should_warn_about_any_instance_blocks end |
- (Object) syntax
60 61 62 63 64 65 |
# File 'lib/rspec/mocks/configuration.rb', line 60 def syntax syntaxes = [] syntaxes << :should if Syntax.should_enabled? syntaxes << :expect if Syntax.expect_enabled? syntaxes end |
- (Object) syntax=(values)
46 47 48 49 50 51 52 53 54 55 56 57 58 |
# File 'lib/rspec/mocks/configuration.rb', line 46 def syntax=(values) if Array(values).include?(:expect) Syntax.enable_expect else Syntax.disable_expect end if Array(values).include?(:should) Syntax.enable_should else Syntax.disable_should end end |
- (Object) yield_receiver_to_any_instance_implementation_blocks=(arg)
16 17 18 19 |
# File 'lib/rspec/mocks/configuration.rb', line 16 def yield_receiver_to_any_instance_implementation_blocks=(arg) @should_warn_about_any_instance_blocks = false @yield_receiver_to_any_instance_implementation_blocks = arg end |
- (Boolean) yield_receiver_to_any_instance_implementation_blocks?
12 13 14 |
# File 'lib/rspec/mocks/configuration.rb', line 12 def yield_receiver_to_any_instance_implementation_blocks? @yield_receiver_to_any_instance_implementation_blocks end |


Menu
User-Level
Cohort-Level
Toggle navigation
Cohort-Level Analysis
Participant Correlation Graph A
Participant Correlation Graph B
Participant Sankey Diagram A
Participant Sankey Diagram B
Location EMA Analysis
Smoking Cues EMA Analysis
Stress EMA Analysis
HRV Correlation
Choose the time interval preceding the self-report.
5-minute Interval
10-minute Interval
15-minute Interval
Stress vs. HRV
Urge vs. HRV
Activity & HRV Zscore vs. Smoking Lapses
At a Glance View
Fine Granular - Detailed View


Stanford ALPS Lab
In this experiment, you will read 18 snippets of stories word-by-word and for each sentence, answer a short question. Please pay attention, thanks! The study should take approximately 5 minutes, and you will be paid $1.25 for your participation. Thank you for agreeing to participate!
LEGAL INFORMATION:
We invite you to participate in a research study on language interpretation and social concepts. You will be reading 18 snippets of stories.
You will be paid for your participation at the posted rate. There are no risks or benefits of any kind involved in this study.
If you have read this form and have decided to participate in this experiment, please understand your participation is voluntary and you have the right to withdraw your consent or discontinue participation at any time without penalty or loss of benefits to which you are otherwise entitled. The alternative is not to participate. You have the right to refuse to answer particular questions. The results of this research study may be presented at scientific or professional meetings or published in scientific journals. Your individual privacy will be maintained in all published and written data resulting from the study.
CONTACT INFORMATION:
If you have any questions, concerns or complaints about this research, its procedures, risks and benefits, contact the Protocol Director, Meghan Sumner, at<PHONE_NUMBER>.
If you are not satisfied with how this study is being conducted, or if you have any concerns, complaints, or general questions about the research or your rights as a participant, please contact the Stanford Institutional Review Board (IRB) to speak to someone independent of the research team at<PHONE_NUMBER> or toll free at 1-866-680-2906, or email at<EMAIL_ADDRESS>You can also write to the Stanford IRB, Stanford University, 1705 El Camino Real, Palo Alto, CA 94306 USA.
If you agree to participate, please proceed to the study tasks.
On the following pages, you will always read two-sentence stories. The first sentence will be fully displayed so you can read it. The second sentence will be masked with dashes (-). To read it, press the space bar, which will reveal the next word. Once you've read the story, please answer the yes/no question that will appear on the screen.
Important: Please try to complete the experiment in one session without any interruptions. It should take (at most) 10 minutes. Also, make sure this window takes up the whole screen to ensure that all of the words in the sentence fit on the page. If you cannot see a word, zoom out on your browser window.
We'll start with some practice examples! After you've read the first sentence, please read the second one by pressing the space bar to reveal each word.
Remember, after you've read the first sentence, please read the second one by pressing the space bar to reveal each word. Then answer the question based on the sentences.
Great! Now we can start the real experiment.
Answering these questions is optional, but will help us understand your answers.
Native Language:
Did you read the instructions and do you think you did the study correctly?
Were there any problems or bugs in the experiment?
What do you think is a fair price for the work you did?
Gender:
Age:
What is your Race/Ethnicity? Select all that apply:
Level Of Education:
Which of the following options do you feel your political beliefs most closely align with?
Did you enjoy the study?
We would be interested in any comments you have about this experiment. Please type them here:
Thank you for completing this study! There are no more questions left to answer — feel free to click SPACE to advance to your completion code at any point.
To provide some context about the study you just participated in: we are studying the effects of racialized stereotypes on language processing, and how the societal presence of a racial stereotype can affect how we understand language.
This study focused specifically on the commonly-held racial bias that Black men are more likely to be associated with crime and criminality.[1, 2] It has been shown that these harmful stereotypes shape the way we perceive the world;3 this study applies the same ideas to how we process language.
1 Hurwitz, J., & Peffley, M. (1997). Public perceptions of race and crime: The role of racial stereotypes. American journal of political science, 375-401. Link to paper.
2 MacLin, M. K., & Herrera, V. (2006). The criminal stereotype. North American Journal of Psychology, 8(2), 197-208. Link to paper.
3 Eberhardt, J. L., Goff, P. A., Purdie, V. J., & Davies, P. G. (2004). Seeing black: race, crime, and visual processing. Journal of personality and social psychology, 87(6), 876. Link to paper.
Thanks for your time!


 He didn't get arrays.
Site Link
CSjokesarefunny.com


Evernote Reminder
{% if current_user %}
{{ current_user.email }}
|
Sign out
{% else %}
Sign in
{% endif %}
Todo list filter:
Remind cache in minutes:
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|
Yorick I/O ReferenceOpening Non-PDB FilesYorick expects binary files to be in PDB format, but it can be trained to recognize any file whose format can be described using its Contents Log file description language. The basic idea is that if you can figure out how to compute the names, data types, dimensions, and disk addresses of the data in the file, you can train Yorick to open the file; once open, all of Yorick's machinery to manipulate the data will grind away as usual. The following functions can be used to teach Yorick about a non-PDB file; use help to get complete details:
To write a plain text description of any binary file, use: dump_clog, f, clogname write Contents Log for f |


With this repo you will get access to a restricted group of tweaks in beta-testing :)
ITIS Galileo Galilei student,on 15th of may he decided to create a repo-website. Well,that's all.


Once Zapata A Time
My friend Veronica bust into my room and asked me if I had applied to volunteer for New Student Orientation(NSO) at Stanford yet. I told her I was planning to, but hadn't done so yet. She said I should apply for the Community Orientation Volunteer position for the Chicano/Latino community instead of just a regular volunteer position because she was the leader for that team.
I was unsure about joining her team because I didn't speak Spanish and didn't know anything about this community. However, she reassured me that none of that mattered and this would be a cool experience for me. I gave in and decided I would join her team. I met my team and the community leaders soon after and became very close with all of them. The faculty members for the Chicano/Latino community were very caring and welcoming and immediately accepted me into their community family with no hesitation.
Even though I couldn't speak and understand Spanish, my group members would translate for me during talks so that I could follow along as well. Overall, I felt at home in this community and was glad that I got to experience a different side of Stanford for a week.


Dynamoose
Dynamoose
A modelling tool for Amazon's DynamoDB.
Inspired by Mongoose.
npm install dynamoose --save
Let's get up to speed
Here's how it works:
Set AWS configurations in environment variables:
export AWS_ACCESS_KEY_ID = "Your AWS Access Key ID"
export AWS_SECRET_ACCESS_KEY = "Your AWS Secret Access Key"
export AWS_REGION = "us-east-1"
Let's see it in action!
var dynamoose = require('dynamoose');
// Create cat model with default options
var Cat = dynamoose.model('Cat', { id: Number, name: String });
// Create a new cat object
var garfield = new Cat({id: 666, name: 'Garfield'});
// Save to DynamoDB
garfield.save();
// Lookup in DynamoDB
Cat.get(666).then(function (badCat) {
console.log('Never trust a smiling cat. - ' + badCat.name);
});


TENDER MERCIES A film review by Walter Frith Copyright 1997 Walter Frith
There have been many redemption stories put through a camera lens in film history. The 1980's had some obvious and often talked about winners such as 'The Verdict' (1982) in which most film gossipers felt Paul Newman was robbed by not winning the Best Actor Oscar as an alcoholic lawyer struggling with the biggest case of his life. The Oscar most deservingly went to Ben Kingsley that year for 'Gandhi', respectively. 'Amadeus', which in part was about a man (F. Murray Abraham in an Oscar winning role) observing the realization of what his fate in eternity might be by absolving himself in confession of his sins to a priest and then on a lighter note there was 'Tootsie' (1982) which most people don't think about as a story of redemption but it is since its leading star (Dustin Hoffman) finds out through a gender exchange done with make-up and women's clothes that he was a better person as a woman in the short time he faked it than he ever was as a man.
1983 saw a small, little seen film entitled 'Tender Mercies' receive exceptional notices from the critic's circle and from the Academy of Motion Picture Arts and Sciences as it was nominated for 5 Academy Awards; Best Picture, Best Actor (Robert Duvall), Best Director (Bruce Beresford), Best Screenplay Written Directly For the Screen (Horton Foote who was a previous winner for 1962's 'To Kill a Mockingbird') and Best Original Song ('Over You' written by Austin Roberts and Bobby Hart). Both Duvall and Foote came out winners that year for their efforts. As an actor it was Duvall's fourth nomination after 'The Godfather' (1972 nominee for Best Supporting Actor), 'Apocalypse Now' (1979 nominee for Best Supporting Actor) and 'The Great Santini' (1980 nominee as Best Actor). If any American actor can hold his own and can stir up conversation among film historians for all time it is Robert Duvall.
In 'Tender Mercies' Duvall emerged with a stunning characterization by portraying a country and western singer well past the middle age of life struggling with alcoholism and the demons of misery concerning an ex-wife who won custody of their only child, a daughter, whom Duvall hasn't seen in many years. In the opening scene of the film we glance upon a country road motel room window at night in which two figures in silhouette fashion can be seen and rumblings are heard from the room with the repetitive chant of 'Give me the bottle!' ringing out. The motel's young and widowed owner, (Tess Harper) and her young son step out on to the porch of the office and listen while trying to watch the scene play out through the window The scene abruptly shifts to the room itself as Duvall is shoved to the floor by the other man in a pathetic struggle over a bottle of alcohol. The man with Duvall is never seen on camera making this scene one of clever duplicity. The next morning Duvall awakes from his drunken cloudiness and the film's credits begin to appear and the picture's tone and protagonist are established.
As the film progresses Duvall works off what he owes for the motel since he is flat broke and asks to stay on and work as he is attracted to Harper and sees a chance for redemption with his new surroundings.  Duvall is naturally publicity shy and the journalist informs him that his ex-wife (Betty Buckley) who is a world famous c+w singing sensation is having a concert nearby. Duvall then takes an interest as it will give him an opportunity to see his only daughter. Upon seeing his ex-wife they immediately go for each other's throats verbally and the spat is broken up by Buckley's manager (Wilford Brimley).
A short time later Duvall is paid a visit by his now adult daughter (Ellen Barkin) and the two of them are glad to see each other although sentimental feelings never surface giving the film a dimension of stability by avoiding any pretentious qualities. Also in the course of the film, Harper and Duvall get married and Duvall treats his new wife and stepson with dignity and respect and they are paid constant visits by a group of young musicians who idolize Duvall and they help him back on the road to success. He makes a recording that seems to do well but then an event occurs in his life which reminds him of one of life's most staggering tragedies and he explains to his wife in a heartfelt moment the he never did trust happiness. It was that key scene which won Duvall the Oscar more than any other point in the film. Duvall also wrote and sang his own songs in the film. In fact, the entire cast shines and Tess Harper's performance was overlooked that year by the Academy and she would go on to be a nominee in 1986 as Best Supporting Actress for 'Crimes of the Heart' which was good work but significantly less than her work in 'Tender Mercies'.
'Tender Mercies' is a series of short scenes that make a short film with a running length of only 89 minutes but the enormous power that shines gracefully on the audience comes from the film's monumental simplicity started by Horton Foote's script and carried out by director Bruce Beresford and is a testament to Beresford's talent as a director. In 1989, his film 'Driving Miss Daisy' would go on to win the Best Picture Academy Award but Beresford would find himself not receiving a Best Director nomination that year. 'Tender Mercies' is a solid film classic that is free from the trappings of Hollywood's often too obvious visual style of fake emotion and is proof that smaller films can sometimes be the backbone that keeps the entire motion picture industry alive.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Not sure how to navigate the extremely detailed cryptocurrency sites of the world? Just looking up the price of a coin? Need some resources to learn more? DeFi 101 is here to streamline and simplify your cryptocurrency needs!
Enter the coin you are interested in seeing a factsheet about below. In the adjacent input box, enter the currency you wish to see the coin data in. If you do not select a currency, 'USD' will be selected for you.


PEGSH - A Free Online PEG Syntax Highlighter
docs
code
PEG
(the
parsing expression grammar
)
paragraph = sentence+ sentence = (word sp)+ word punctuation sp? word = [a-zA-Z]+ sp = ' ' punctuation = [.!]
CSS
(each peg rule is a css class)
#output { background:#eee } .paragraph { display:block; padding:3px; border:1px solid blue } .sentence { border:1px solid rgba(0,180,0,0.5) } .word { color:red } .punctuation { color:blue } .sp { background:rgba(255,255,0,0.5) }
Raw Input
(the stuff to parse)
Hello cats. Goodbye dogs!
Syntax-Highlighted Result
(or maybe error messages)


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Wolves fans will love what Jose Mourinho had to say during Aston Villa derby
The former Manchester United boss has been speaking about Wolves vs Aston Villa
by Aidan McCartney, https://www.birminghammail.co.uk/authors/aidan-mccartney/Former Manchester United boss Jose Mourinho believes that Wolves were showing their true class against Aston Villa.
Wolves led 1-0 at half-time thanks to Ruben Neves' 41st minute strike during a half they dominated at Molineux.
Villa were overrun at times by the rampant home side who were in control in the Midlands derby.
Mourinho, who has been out of work since being sacked by Man United in December, revealed that he was concerned for Villa.
“I wouldn’t say I fear for Aston Villa, I’d say Wolves are the better team with the better players, with a tactical approach that some teams try to have it but not many are ready for it,” he told Sky Sports.
“Wolves are ready for it because they have played like this for the last three years.
"They have big routines in these models of play, they are very physical and intense, they are in control and for a team like Villa, it’s always going to be hard for Villa.”
Fellow Sky Sports pundit Graeme Souness criticised Villa's first half performance, adding: “Do you need 11 people back? Wolves haven’t committed everyone. It’s just bad organisation, there isn’t any way to dress it up.
“Wolves were first to the ball, very aggressive. Villa have got some good players but you need the ball. Wolves were way too fast, way too aggressive and Villa need to shape themselves up.
“You talk about tactics but if you haven’t got the ball, you can’t play football. I’d be telling the Villa players to get to the ball first and to see where that takes them.”


#include <GrModelNode.h>
Public Types | |
| typedef UFastArray< GrMeshInst * > | MeshInstArray |
Public Member Functions | |
| GrModelNode (GrModel *owner, GrModelNode *parent, const MMat4x4 &local, GrMeshInst *meshInst=0) | |
| class header. | |
| GrModelNode (GrModel *owner, GrPolygonNode *fromTree) | |
| GrModelNode (GrModel *owner, UReader &reader, const UFastArray< URef< GrMesh > > &meshes, unsigned short majorVer, unsigned short minorVer) | |
| ~GrModelNode () | |
| const tstring & | GetName () const |
| GrModel * | GetOwner () const |
| GrModelNode * | Clone (GrModel *newOwner, bool deep=false, GrModelNode *parent=0) |
| clones a node hierarchy. | |
| void | SetLocal (const MMat4x4 &local) |
| transform management. | |
| const MMat4x4 & | GetLocal () const |
| unsigned int | GetChildCount () |
| child management. | |
| GrModelNode * | GetChild (unsigned int idx) |
| GrModelNode * | FindNode (const char *name, bool ignoreCase) |
| GrModelNode * | GetParent () const |
| unsigned int | GetMeshInstCount () const |
| mesh instance management. | |
| GrMeshInst * | GetMeshInst (unsigned int idx) const |
| void | Update (const MMat4x4 &parentMatrix) |
| updates the transform. | |
| void | CalcBounds (MAABox &bounds) |
| calculates an AABB from geometry that includes the origin. | |
| bool | CalcBoundsExact (MAABox &bounds, bool boundsInit=false) |
| calculates the optimal AABB from geometry. | |
| const MMat4x4 & | GetWorld () const |
| void | SetWorld (const MMat4x4 &transform) |
| void | BuildMeshList (UFastArray< URef< GrMesh > > &meshes) |
| builds a list of all unique meshes in the hierarchy. | |
| void | Optimize () |
| optimize meshes on this node. | |
| void | Cache () |
| caches or evicts child nodes. | |
| void | Evict () |
| void | Save (UWriter &writer) const |
| load and save the node tree. | |
| void | GetRenderableObjects (GrRenderList &lightReceivers, GrRenderList *shadowCasters) const |
| send to the renderer. |
Definition at line 35 of file GrModelNode.h.
| typedef UFastArray< GrMeshInst* > GrModelNode::MeshInstArray |
Definition at line 38 of file GrModelNode.h.
| GrModelNode::GrModelNode | ( | GrModel * | owner, | |
| GrModelNode * | parent, | |||
| const MMat4x4 & | local, | |||
| GrMeshInst * | meshInst = 0 | |||
| ) |
class header.
note that if a mesh instance is passed in, the model node will take ownership of it.
File: GrModelNode.cpp Author: Kevin Bray Created: 04-02-06 Copyright © 2004 Bootstrap Studios. All rights reserved. project includes. class GrModelNode ctor & dtor
Definition at line 36 of file GrModelNode.cpp.
| GrModelNode::GrModelNode | ( | GrModel * | owner, | |
| GrPolygonNode * | fromTree | |||
| ) |
generate a list of meshes.
build database mapping poly meshes to renderable meshes.
get the poly mesh we need to generate renderable meshes from.
skip if the mesh was already added to our database.
add an entry to our database.
now build the node tree.
free up our meshes.
Definition at line 45 of file GrModelNode.cpp.
| GrModelNode::GrModelNode | ( | GrModel * | owner, | |
| UReader & | reader, | |||
| const UFastArray< URef< GrMesh > > & | meshes, | |||
| unsigned short | majorVer, | |||
| unsigned short | minorVer | |||
| ) |
Definition at line 92 of file GrModelNode.cpp.
| GrModelNode::~GrModelNode | ( | ) |
Definition at line 101 of file GrModelNode.cpp.
| void GrModelNode::BuildMeshList | ( | UFastArray< URef< GrMesh > > & | meshes | ) |
builds a list of all unique meshes in the hierarchy.
add any meshes to the mesh list that have not already been added.
recurse.
Definition at line 295 of file GrModelNode.cpp.
| void GrModelNode::Cache | ( | ) |
| void GrModelNode::CalcBounds | ( | MAABox & | bounds | ) |
calculates an AABB from geometry that includes the origin.
recurse to children.
evaluate mesh bounds.
Definition at line 208 of file GrModelNode.cpp.
| bool GrModelNode::CalcBoundsExact | ( | MAABox & | bounds, | |
| bool | boundsInit = false | |||
| ) |
calculates the optimal AABB from geometry.
recurse to children.
evaluate mesh bounds.
Definition at line 223 of file GrModelNode.cpp.
| GrModelNode * GrModelNode::Clone | ( | GrModel * | newOwner, | |
| bool | deep = false , |
|||
| GrModelNode * | parent = 0 | |||
| ) |
clones a node hierarchy.
public methods
create a new model node.
clone mesh instances.
recurse for children.
return the newly created node.
Definition at line 119 of file GrModelNode.cpp.
| void GrModelNode::Evict | ( | ) |
Definition at line 338 of file GrModelNode.cpp.
| GrModelNode * GrModelNode::FindNode | ( | const char * | name, | |
| bool | ignoreCase | |||
| ) |
| GrModelNode * GrModelNode::GetChild | ( | unsigned int | idx | ) |
Definition at line 148 of file GrModelNode.cpp.
| unsigned int GrModelNode::GetChildCount | ( | ) | [inline] |
| const MMat4x4& GrModelNode::GetLocal | ( | ) | const [inline] |
Definition at line 57 of file GrModelNode.h.
| GrMeshInst * GrModelNode::GetMeshInst | ( | unsigned int | idx | ) | const |
Definition at line 183 of file GrModelNode.cpp.
| unsigned int GrModelNode::GetMeshInstCount | ( | ) | const [inline] |
| const tstring& GrModelNode::GetName | ( | ) | const [inline] |
Definition at line 48 of file GrModelNode.h.
| GrModel* GrModelNode::GetOwner | ( | ) | const [inline] |
Definition at line 50 of file GrModelNode.h.
| GrModelNode* GrModelNode::GetParent | ( | ) | const [inline] |
Definition at line 63 of file GrModelNode.h.
| void GrModelNode::GetRenderableObjects | ( | GrRenderList & | lightReceivers, | |
| GrRenderList * | shadowCasters | |||
| ) | const |
| const MMat4x4 & GrModelNode::GetWorld | ( | ) | const |
note: try to avoid these if possible. They aren't horribly slow, but they aren't free.
Definition at line 258 of file GrModelNode.cpp.
| void GrModelNode::Optimize | ( | ) |
| void GrModelNode::Save | ( | UWriter & | writer | ) | const |
load and save the node tree.
save the name.
save the local transform.
save the light link.
save mesh links.
save children.
Definition at line 349 of file GrModelNode.cpp.
| void GrModelNode::SetLocal | ( | const MMat4x4 & | local | ) |
| void GrModelNode::SetWorld | ( | const MMat4x4 & | transform | ) |
ensure that our owner has updated us.
grab our parent's worldspace transform.
invert it.
transform the incoming matrix into localspace and store our new transforms.
mark the owner as dirty.
Definition at line 265 of file GrModelNode.cpp.
| void GrModelNode::Update | ( | const MMat4x4 & | parentMatrix | ) |
updates the transform.
calculate our new world matrix.
propagate the transform to the mesh instances if necessary.
update children.
Definition at line 191 of file GrModelNode.cpp.


Table of records written for any element file output request
Find the record key, the output variable identifier and the function associated with each of the possible element result types, sorted in alphabetical order. The following 46 different element result types can be used with Abaqus2Matlab toolbox.
| ELEMENT RECORD TYPE | RECORD KEY | OUTPUT VARIABLE IDENTIFIER | FUNCTION |
| Average Shell Section Stress | 83 | SSAVG | Rec83.m |
| Concrete Failure | 31 | CONF | Rec31.m |
| Coordinates | 8 | COORD | Rec8.m |
| Creep Strain (Including Swelling) | 23 | CE | Rec23.m |
| Element Status | 61 | STATUS | Rec61.m |
| Energy (Summed over Element) | 19 | ELEN | Rec19.m |
| Energy Density | 14 | ENER | Rec14.m |
| Equivalent plastic strain components | 45 | PEQC | Rec45.m |
| Film | 33 | FILM | Rec33.m |
| Gel (Pore Pressure Analysis) | 40 | GELVR | Rec40.m |
| Heat Flux Vector | 28 | HFL | Rec28.m |
| J-integral | 1991 | SP | Rec1991.m |
| Logarithmic Strain | 89 | LE | Rec89.m |
| Mass Concentration (Mass Diffusion Analysis) | 38 | CONC | Rec38.m |
| Mechanical Strain Rate | 91 | ER | Rec91.m |
| Nodal Flux Caused by Heat | 10 | NFLUX | Rec10.m |
| Nominal Strain | 90 | NE | Rec90.m |
| Plastic Strain | 22 | PE | Rec22.m |
| Pore Fluid Effective Velocity Vector | 97 | FLVEL | Rec97.m |
| Pore or Acoustic Pressure | 18 | POR | Rec18.m |
| Principal elastic strains | 408 | EEP | Rec408.m |
| Principal inelastic strains | 409 | IEP | Rec409.m |
| Principal logarithmic strains | 405 | LEP | Rec405.m |
| Principal mechanical strain rates | 406 | ERP | Rec406.m |
| Principal nominal strains | 404 | NEP | Rec404.m |
| Principal plastic strains | 411 | PEP | Rec411.m |
| Principal strains | 403 | EP | Rec403.m |
| Principal stresses | 401 | SP | Rec401.m |
| Principal thermal strains | 410 | THEP | Rec410.m |
| Principal values of backstress tensor for kinematic hardening plasticity | 402 | ALPHAP | Rec402.m |
| Principal values of deformation gradient | 407 | DGP | Rec407.m |
| Radiation | 34 | RAD | Rec34.m |
| Saturation (Pore Pressure Analysis) | 35 | SAT | Rec35.m |
| Section Force and Moment | 13 | SF | Rec13.m |
| Section Strain and Curvature | 29 | SE | Rec29.m |
| Section Thickness | 27 | STH | Rec27.m |
| Strain Jump at Nodes | 32 | SJP | Rec32.m |
| Stress | 11 | S | Rec11.m |
| Stress Invariant | 12 | SINV | Rec12.m |
| Thermal Strain | 88 | THE | Rec88.m |
| Total Elastic Strain | 25 | EE | Rec25.m |
| Total Fluid Volume Ratio | 43 | FLUVR | Rec43.m |
| Total Inelastic Strain | 24 | IE | Rec24.m |
| Total Strain | 21 | E | Rec21.m |
| Unit Normal to Crack in Concrete | 26 | CRACK | Rec26.m |
| Whole Element Volume | 78 | EVOL | Rec78.m |
________________________________________________________________________
Abaqus2Matlab - www.abaqus2matlab.com Copyright (c) 2016 by George Papazafeiropoulos
If using this toolbox for research or industrial purposes, please cite: G. Papazafeiropoulos, M. Muniz-Calvente, E. Martinez-Paneda. Abaqus2Matlab: a suitable tool for finite element post-processing (submitted)


Evolve the fields by leapfrog method in Minkowski spacetime.
More...
#include <evolution.hpp>
|
|
| LeapFrog (std::shared_ptr< Model > model) |
| |
|
void | evolution (double **f, double **df, double t=0) |
| |
|
| Evolution (std::shared_ptr< Model > model) |
| |
|
| double | laplacian (const double *f, int i, int j=0, int k=0) const |
| | The function to calculate the laplacian by fourth-order centeral differencial scheme. More...
|
| |
|
void | evol_fields (double **f, double **df, const double h) |
| |
|
std::shared_ptr< Model > | _model |
| |
Evolve the fields by leapfrog method in Minkowski spacetime.
◆ evol_field_derivs()
| void LeapFrog::evol_field_derivs |
( |
double ** |
f, |
|
|
double ** |
df, |
|
|
const double |
h |
|
) |
| |
|
private |
Evolve the conjugates of the fields df.
- Parameters
-
| [in] | h | A constant depending on the time evolution precision. |
The documentation for this class was generated from the following files:


{% extends "layout.html" %} {% block page_title %} GOV.UK prototype kit {% endblock %} {% block content %} BETA This is a new service – your feedback will help us to improve it. Andrea Authoriser Casterbridge College UKPRN:12345678 Home Sign out No subcontractors Please check box before submitting You must make a subcontractor declaration, otherwise your payments will be stopped I confirm we do not use subcontractors. Submit {% endblock %}
BETA This is a new service – your feedback will help us to improve it.
You must make a subcontractor declaration, otherwise your payments will be stopped


Pseudolines#
This module gathers everything that has to do with pseudolines, and for a start
a PseudolineArrangement
class that can be used to describe an
arrangement of pseudolines in several different ways, and to translate one
description into another, as well as to display Wiring diagrams via the
show
method.
In the following, we try to stick to the terminology given in [Fe1997], which can be checked in case of doubt. And please fix this module’s documentation afterwards :-)
Definition
A pseudoline can not be defined by itself, though it can be thought of as a \(x\)-monotone curve in the plane. A set of pseudolines, however, represents a set of such curves that pairwise intersect exactly once (and hence mimic the behaviour of straight lines in general position). We also assume that those pseudolines are in general position, that is that no three of them cross at the same point.
The present class is made to deal with a combinatorial encoding of a pseudolines arrangement, that is the ordering in which a pseudoline \(l_i\) of an arrangement \(l_0, ..., l_{n-1}\) crosses the \(n-1\) other lines.
Warning
It is assumed through all the methods that the given lines are numbered
according to their \(y\)-coordinate on the vertical line \(x=-\infty\).
For instance, it is not possible that the first transposition be (0,2)
(or equivalently that the first line \(l_0\) crosses is \(l_2\) and conversely),
because one of them would have to cross \(l_1\) first.
Encodings#
Permutations
An arrangement of pseudolines can be described by a sequence of \(n\) lists of length \(n-1\), where the \(i\) list is a permutation of \(\{0, ..., n-1\} \backslash i\) representing the ordering in which the \(i\) th pseudoline meets the other ones.
sage: from sage.geometry.pseudolines import PseudolineArrangement
sage: permutations = [[3, 2, 1], [3, 2, 0], [3, 1, 0], [2, 1, 0]]
sage: p = PseudolineArrangement(permutations)
sage: p
Arrangement of pseudolines of size 4
sage: p.show() # needs sage.plot
Sequence of transpositions
An arrangement of pseudolines can also be described as a sequence of \(\binom n
2\) transpositions (permutations of two elements). In this sequence, the
transposition \((2,3)\) appears before \((8, 2)\) iif \(l_2\) crosses \(l_3\) before it
crosses \(l_8\). This encoding is easy to obtain by reading the wiring diagram
from left to right (see the show
method).
sage: from sage.geometry.pseudolines import PseudolineArrangement
sage: transpositions = [(3, 2), (3, 1), (0, 3), (2, 1), (0, 2), (0, 1)]
sage: p = PseudolineArrangement(transpositions)
sage: p
Arrangement of pseudolines of size 4
sage: p.show() # needs sage.plot
Note that this ordering is not necessarily unique.
Felsner’s Matrix
Felser gave an encoding of an arrangement of pseudolines that takes \(n^2\) bits instead of the \(n^2\log(n)\) bits required by the two previous encodings.
Instead of storing the permutation [3, 2, 1]
to remember that line \(l_0\)
crosses \(l_3\) then \(l_2\) then \(l_1\), it is sufficient to remember the positions
for which each line \(l_i\) meets a line \(l_j\) with \(j < i\). As \(l_0\) – the first
of the lines – can only meet pseudolines with higher index, we can store [0,
0, 0]
instead of [3, 2, 1]
stored previously. For \(l_1\)’s permutation
[3, 2, 0]
we only need to remember that \(l_1\) first crosses 2 pseudolines of
higher index, and then a pseudoline with smaller index, which yields the bit
vector [0, 0, 1]
. Hence we can transform the list of permutations above into
a list of \(n\) bit vectors of length \(n-1\), that is
In order to go back from Felsner’s matrix to an encoding by a sequence of transpositions, it is sufficient to look for occurrences of \(\begin{array}{c}0\\1\end{array}\) in the first column of the matrix, as it corresponds in the wiring diagram to a line going up while the line immediately above it goes down – those two lines cross. Each time such a pattern is found it yields a new transposition, and the matrix can be updated so that this pattern disappears. A more detailed description of this algorithm is given in [Fe1997].
sage: from sage.geometry.pseudolines import PseudolineArrangement
sage: felsner_matrix = [[0, 0, 0], [0, 0, 1], [0, 1, 1], [1, 1, 1]]
sage: p = PseudolineArrangement(felsner_matrix)
sage: p
Arrangement of pseudolines of size 4
Example#
Let us define in the plane several lines \(l_i\) of equation \(y = a x+b\) by picking a coefficient \(a\) and \(b\) for each of them. We make sure that no two of them are parallel by making sure all of the \(a\) chosen are different, and we avoid a common crossing of three lines by adding a random noise to \(b\):
sage: n = 20
sage: l = sorted(zip(Subsets(20*n, n).random_element(),
....: [randint(0, 20*n) + random() for i in range(n)]))
sage: print(l[:5]) # not tested # needs sage.combinat
[(96,<PHONE_NUMBER>051349), (74,<PHONE_NUMBER>2478714), (13,<PHONE_NUMBER>1249867),
(209, 34.753946221755307), (147,<PHONE_NUMBER>7741441)]
We can now compute for each \(i\) the order in which line \(i\) meets the other lines:
sage: permutations = [[0..i-1] + [i+1..n-1] for i in range(n)]
sage: def a(x): return l[x][0]
sage: def b(x): return l[x][1]
sage: for i, perm in enumerate(permutations):
....: perm.sort(key=lambda j: (b(j)-b(i))/(a(i)-a(j)))
And finally build the line arrangement:
sage: from sage.geometry.pseudolines import PseudolineArrangement
sage: p = PseudolineArrangement(permutations)
sage: print(p)
Arrangement of pseudolines of size 20
sage: p.show(figsize=[20,8]) # needs sage.combinat sage.plot
Methods#
- class sage.geometry.pseudolines.PseudolineArrangement(seq, encoding='auto')#
Bases:
object
Creates an arrangement of pseudolines.
INPUT:
seq
(a sequence describing the line arrangement). It can be:A list of \(n\) permutations of size \(n-1\).
A list of \(\binom n 2\) transpositions
A Felsner matrix, given as a sequence of \(n\) binary vectors of length \(n-1\).
encoding
(information on how the data should be interpreted), and can assume any value among ‘transpositions’, ‘permutations’, ‘Felsner’ or ‘auto’. In the latter case, the type will be guessed (default behaviour).
Note
The pseudolines are assumed to be integers \(0,\dots,n-1\).
For more information on the different encodings, see the
pseudolines module
’s documentation.
- felsner_matrix()#
Return a Felsner matrix describing the arrangement.
See the
pseudolines module
’s documentation for more information on this encoding.EXAMPLES:
sage: from sage.geometry.pseudolines import PseudolineArrangement sage: permutations = [[3, 2, 1], [3, 2, 0], [3, 1, 0], [2, 1, 0]] sage: p = PseudolineArrangement(permutations) sage: p.felsner_matrix() [[0, 0, 0], [0, 0, 1], [0, 1, 1], [1, 1, 1]]
- permutations()#
Return the arrangements as \(n\) permutations of size \(n-1\).
See the
pseudolines module
’s documentation for more information on this encoding.EXAMPLES:
sage: from sage.geometry.pseudolines import PseudolineArrangement sage: permutations = [[3, 2, 1], [3, 2, 0], [3, 1, 0], [2, 1, 0]] sage: p = PseudolineArrangement(permutations) sage: p.permutations() [[3, 2, 1], [3, 2, 0], [3, 1, 0], [2, 1, 0]]
- show(**args)#
Displays the pseudoline arrangement as a wiring diagram.
INPUT:
**args
– any arguments to be forwarded to theshow
method. In particular, to tune the dimensions, use thefigsize
argument (example below).
EXAMPLES:
sage: from sage.geometry.pseudolines import PseudolineArrangement sage: permutations = [[3, 2, 1], [3, 2, 0], [3, 1, 0], [2, 1, 0]] sage: p = PseudolineArrangement(permutations) sage: p.show(figsize=[7,5]) # needs sage.plot
- transpositions()#
Return the arrangement as \(\binom n 2\) transpositions.
See the
pseudolines module
’s documentation for more information on this encoding.EXAMPLES:
sage: from sage.geometry.pseudolines import PseudolineArrangement sage: permutations = [[3, 2, 1], [3, 2, 0], [3, 1, 0], [2, 1, 0]] sage: p1 = PseudolineArrangement(permutations) sage: transpositions = [(3, 2), (3, 1), (0, 3), (2, 1), (0, 2), (0, 1)] sage: p2 = PseudolineArrangement(transpositions) sage: p1 == p2 True sage: p1.transpositions() [(3, 2), (3, 1), (0, 3), (2, 1), (0, 2), (0, 1)] sage: p2.transpositions() [(3, 2), (3, 1), (0, 3), (2, 1), (0, 2), (0, 1)]


A set off simple examples to get you started using Turbo.
Turbo needs LuaJIT to run, because it uses the LuaJIT FFI library it will not run on ‘official/normal/vanilla’ Lua. You can get the latest stable and installation instructions at http://luajit.org/download
There’s no official stable releases of Turbo yet, but you can obtain a pretty-stable copy from the git repository.
$ git clone https://github.com/kernelsauce/turbo.git
$ make -C ./turbo install
You can also install Turbo to a different directory than /usr/local by setting the PREFIX variable when doing make install.
$ make -C ./turbo install PREFIX=/path/to/my/dir
Or, if you want a self-contained directory with luajit and turbo, you can use the turbo-virtual-env tool from https://github.com/enotodden/turbo-virtual-env
$ cd /some/dir
$ curl https://raw.github.com/enotodden/turbo-virtual-env/master/turbo-virtual-env | bash -s - --create ./env
To start using the newly installed LuaJIT and Turbo, just source the ‘activate’ script located in /some/dir/env/bin/activate
$ . env/bin/activate
The traditional and mandatory ‘Hello World’
-- Import turbo,
local turbo = require("turbo")
-- Create a new requesthandler with a method get() for HTTP GET.
local HelloWorldHandler = class("HelloWorldHandler", turbo.web.RequestHandler)
function HelloWorldHandler:get()
self:write("Hello World!")
end
-- Create an Application object and bind our HelloWorldHandler to the route '/hello'.
local app = turbo.web.Application:new({
{"/hello", HelloWorldHandler}
})
-- Set the server to listen on port 8888 and start the ioloop.
app:listen(8888)
turbo.ioloop.instance():start()
A slightly more advanced example, a server echoing the request parameter ‘name’.
local turbo = require("turbo")
local HelloNameHandler = class("HelloNameHandler", turbo.web.RequestHandler)
function HelloNameHandler:get()
-- Get the 'name' argument, or use 'Santa Claus' if it does not exist
local name = self:get_argument("name", "Santa Claus")
self:write("Hello " .. name .. "!")
end
function HelloNameHandler:post()
-- Get the 'name' argument, or use 'Easter Bunny' if it does not exist
local name = self:get_argument("name", "Easter Bunny")
self:write("Hello " .. name .. "!")
end
local app = turbo.web.Application:new({
{"/hello", HelloNameHandler}
})
app:listen(8888)
turbo.ioloop.instance():start()
Turbo has a nice routing feature using Lua pattern matching. You can assign handler classes to routes in the turbo.web.Application constructor.
local turbo = require("turbo")
-- Handler that takes no argument, just like in the hello world example
local IndexHandler = class("IndexHandler", turbo.web.RequestHandler)
function IndexHandler:get()
self:write("Index..")
end
-- Handler that takes a single argument 'username'
local UserHandler = class("UserHandler", turbo.web.RequestHandler)
function UserHandler:get(username)
self:write("Username is " .. username)
end
-- Handler that takes two integers as arguments and adds them..
local AddHandler = class("AddHandler", turbo.web.RequestHandler)
function AddHandler:get(a1, a2)
self:write("Result is: " .. tostring(a1+a2))
end
local app = turbo.web.Application:new({
-- No arguments, will work for 'localhost:8888' and 'localhost:8888/'
{"/$", IndexHandler},
-- Use the part of the url after /user/ as the first argument to
-- UserHandler:get
{"/user/(.*)$", UserHandler},
-- Find two int's separated by a '/' after /add in the url
-- and pass them as arguments to AddHandler:get
{"/add/(%d+)/(%d+)$", AddHandler}
})
app:listen(8888)
turbo.ioloop.instance():start()
It’s often useful to be able to serve static assets, at least for development purposes. Turbo makes this really easy with the built in turbo.web.StaticFileHandler, just specify a directory, and it will do the heavy lifting, as well as cache your files for optimal performance.
local turbo = require("turbo")
app = turbo.web.Application:new({
-- Serve static files from /var/www using the route "/static/(path-to-file)"
{"/static/(.*)$", turbo.web.StaticFileHandler, "/var/www/"}
})
app:listen(8888)
turbo.ioloop.instance():start()
Turbo has implicit JSON coversion. This means that you can pass a JSON-serializable table to self:write and Turbo will set the ‘Content-Type’ header to ‘application/json’ and serialize the table for you.
local turbo = require("turbo")
-- Handler that responds with '{"hello":"json"}' and a Content-Type of application/json
local HelloJSONHandler = class("HelloJSONHandler", turbo.web.RequestHandler)
function HelloJSONHandler:get()
self:write({hello="json"})
end
local application = turbo.web.Application:new({
{"/hello", HelloJSONHandler}
})
application:listen(8888)
turbo.ioloop.instance():start()


Index
Project 1
Project 2
Project 3
Project 4
ARTS 486
Web Journal
Project 1
"Running Out of Time"
Project 2
Exquisite Corpse"
Project 3
"House Full of Memories and Stories"
Project 4


Discover the cosmos! Each day a different image or photograph of our fascinating universe is featured, along with a brief explanation written by a professional astronomer.
Explanation: Some spiral galaxies are seen nearly sideways. Most bright stars in spiral galaxies swirl around the center in a disk, and seen from the side, this disk can be appear quite thin. Some spiral galaxies appear even thinner than NGC 3717, which is actually seen tilted just a bit. Spiral galaxies form disks because the original gas collided with itself and cooled as it fell inward. Planets may orbit in disks for similar reasons. The featured image by the Hubble Space Telescope shows a light-colored central bulge composed of older stars beyond filaments of orbiting dark brown dust. NGC 3717 spans about 100,000 light years and lies about 60 million light years away toward the constellation of the Water Snake (Hydra).
Authors & editors:
Robert Nemiroff
(MTU) &
Jerry Bonnell (UMCP)
NASA Official: Phillip Newman
Specific rights apply.
NASA Web
Privacy Policy and Important Notices
A service of:
ASD at
NASA /
GSFC
& Michigan Tech. U.


Aldi Kevin the Carrot: How to get your cuddly toy in time for Christmas
Kevin the Carrot, which is available at Aldi, is selling out quickly at the moment, leaving thousands of shoppers disappointed after they queued for several hours
by Bradley Jolly, https://www.mirror.co.uk/authors/bradley-jolly/Aldi shoppers can purchase a furry toy called Kevin the Carrot at its supermarkets ahead of Christmas.
But the cute mascots are selling out so quickly that many shoppers have been left disappointed already.
Some woke up early to pre-order the toys but they were all gone after just a few hours.
Aldi has, though, limited purchases to two per customer.
Normal-sized toys are priced at £3.99. You can buy an absurdly giant one for £19.99, which stands at one metre tall, and one of Kevin’s arch-nemesis, the evil Pascal the Parsnip.
But frustrated punters expressed their anger today.
Did the toys sell out while you were in the queue? Email<EMAIL_ADDRESS>
And an irate gran said: "I was in the queue With 33,000 in front of me.
"There must be a better way of doing this. We don't stand a chance of getting the Aldi Kevin family now, disappointed grandchildren."
Another lady wrote: "I was on the night shift at work. I tried to get on the Aldi site from midnight. It took me three hours to get to the page where I could see I was in a queue, by 4 am everything was sold out. These toys are for sale on eBay already."
Shoppers can also snap up Kevin's wife Katie and three children.
The mascot debut in Aldi Christmas TV adverts in 2016 and this year's inspiration came from Peaky Blinders.
A spokesman for Aldi told Mirror Online: “We’re sorry that some shoppers were unable to get their hands on these toys online this morning, however, demand has been extremely high.
"As with all of our Specialbuy products, these will also only be available while stocks last."


*italic* **bold**
_italic_ __bold__
Inline:
An [example](http://url.com/ "Title")
Reference-style labels (titles are optional):
An [example][id]. Then, anywhere
else in the doc, define the link:
[id]: http://example.com/ "Title"
Inline (titles are optional):
![alt text](/path/img.jpg "Title")
Reference-style:
![alt text][id]
[id]: /url/to/img.jpg "Title"
Setext-style:
Header 1
========
Header 2
--------
atx-style (closing #'s are optional):
# Header 1 #
## Header 2 ##
###### Header 6
> Email-style angle brackets
> are used for blockquotes.
> > And, they can be nested.
> #### Headers in blockquotes
>
> * You can quote a list.
> * Etc.
Ordered, without paragraphs:
1. Foo
2. Bar
Unordered, with paragraphs:
* A list item.
With multiple paragraphs.
* Bar
You can nest them:
* Abacus
* answer
* Bubbles
1. bunk
2. bupkis
* BELITTLER
3. burper
* Cunning
`<code>` spans are delimited
by backticks.
You can include literal backticks
like `` `this` ``.
Indent every line of a code block by at least 4 spaces or 1 tab.
This is a normal paragraph.
This is a preformatted
code block.
Three or more dashes or asterisks:
---
* * *
- - - -
End a line with two or more spaces:
Roses are red,
Violets are blue.


{% extends 'base.html' %} {% block content %}
Programming Contest Sample Problems
This example problem is adapted from AoPS's Greed Control forum game.
Greed control is an $n$-player game, played in $10$ rounds.
In each round, you choose an integer between $0$ and $10$.
You gain points equal to the number you chose divided by the number of people who chose the same number as you.
To aid in your decision making, you also get the results of the previous round, so you can see what numbers people chose before.
You will need to write a Python function, which takes a state as input, and returns an integer from $0$ to $10$.
The state is a list of the $n-1$ numbers that other players picked in the previous round. If this is the first round, the list will be empty. The order of your opponents within the array will remain consistent.
Return a single integer between $0$ and $10$.
If you make an invalid return or time out, we will treat it as if you chose the number $0$.
On any given round, if you pick the integer $k$, then your score is $$\frac{k}{\text{total number of people who picked }k}$$ Your final score is the sum of your scores over the 10 rounds.
At the end of the game, you can see all total scores, and the choices that each player made for each round.
Given an integer $K$, output a positive integer $N$ such that the sum of the (decimal) digits of $N \cdot K$ is minimized.
The first line of each test-file contains a single integer $T$ denoting the number of test-cases.
$T$ lines of input follow, each containing one integer $K$
Output $T$ lines, each containing a single integer $1 \le N < 10^{10^5}$
Your score will be calculated as $$S(N_1 \cdot K_1) + S(N_2 \cdot K_2) + \cdots + S(N_T \cdot K_T),$$ where $S(x)$ is the sum of the decimal digits of $x$. The goal is to minimize this value.
Task 1: $T = 100$, $1 \le K \le 100$.
Task 2: $T = 10$, $10^4 < K < 10^6$.
Task 3: $T = 10$, $10^6 < K < 10^8$.
Task 4: $T = 10$, $10^{17} < K < 10^{18}$.
{% endblock %}


< root
TSLR - Components Guide
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continue


Small Time Crooks A film review by Marty Mapes Copyright 2000 Marty Mapes
*** (out of 4) After thoroughly enjoying Woody Allen's latest lightweight comedy, a friend said something that makes it harder for me to recommend it. He pointed out, correctly, that the movie has no third act. It just ends. The structure is sloppy and incomplete.
That doesn't mean I suddenly enjoyed the movie less.
 He'll set up a front operation, which his wife Frenchie (Tracy Ullman) will operate, and he'll tunnel his way to the bank. The scheme goes horribly wrong, but Frenchie's front operation takes off, and soon the small band of crooks is making it big in legitimate business.
The plot is as sparse and as simple as that, which ordinarily would leave a lot to be desired. However, in this case, a wisp of plot is all that's needed, a simple setting against which Allen's cast of colorful characters can react and play.
Dumb in Their Own Ways
Each of the funny figures in this movie is dumb in his or her own, unique way.
For example, Allen's character is blue-collar dumb. He has made a career as a dishwasher. When he was in jail for a crime he botched, the other prisoners sarcastically called him "The Brain," which he took as a compliment.
Frenchie is low-brow dumb. She wants to be cultured and refined, but her inborn taste is against her. Even with one-on-one lessons in class from Hugh Grant, she can't seem to master the art of subtlety.
My husband Otto was dyslexic. The only thing he could spell correctly was his name.-- Elaine May, as May
Frenchie's cousin May (played by writer/director Elaine May) is low-IQ dumb. She takes everything at face value. White lies, subterfuge, and personal secrets are all beyond her mental capacity. May delivers some of the funniest lines in the movie with a perfect deadpan.
Just to round things out, Michael Rapaport, in a small role, is "dumb-blond" dumb. He looks up to Ray "The Brain" and is eager to help in Ray's latest greatest caper. While digging a tunnel he wears his miners' helmet (complete with lamp) backwards because it looks cool that way.
Verbal Comedy
Allen's humor in SMALL TIME CROOKS is largely verbal. It's a style of comedy that not many modern filmmakers do well. The Marx Brothers were experts (except for Harpo, of course). But since then it's been a long, dry spell. Only Woody Allen makes good, solid comedies where most of the jokes are in the dialogue, and this is one of them.
Connoisseurs of well-made film should lower their expectations before going to SMALL TIME CROOKS; my friend was right about its structure. But I'd still recommend this film to just about anyone, connoisseur or not. -- ___________ Marty Mapes<EMAIL_ADDRESS>Movie Habit http://www.moviehabit.com
"I'm just up here at Oxford brushing up on a little Danish" -- Pierce Brosnan, Tomorrow Never Dies
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