Note
Click here to download the full example code
Simple Cary UV-Vis loading¶
A simple demo of loading Cary UV-Vis data. This example just loads a file and plots all the spectra in a file, without embellishment
Here we have a file called Pure_T177R1a_pR_210615.BSW on our computer. There are three requirements for where this file must be stored:
It must be stored in a folder called “proteorhodopsin” that’s itself inside a folder called “UV_Vis” (as indicated by the
exp_type
argument). Typically, this will be achieved by just cloning/syncing the entire “UV_Vis” directory of data shared by your lab on google drive, etc, etc.Our pyspecdata config file (
~/.pyspecdata
on Linux/Mac or~/_pyspecdata
on Windows) must know about this “UV_Vis” directory. If not, you can use thepyspecdata_register_dir
command on the command line (seeregister_directory()
).The name of the file itself must contain the string “T177R1a_pR_210615” → note that you don’t need to specify the whole file name, just enough for it to be unique.
Out:
the experiments present in this file are: dict_keys(['1:30 Dilution'])
the experiments present in this file are: dict_keys(['1:30 Dilution'])
the experiments present in this file are: dict_keys(['1:30 Dilution'])
the experiments present in this file are: dict_keys(['1:30 Dilution'])
from pylab import *
from pyspecdata import *
with figlist_var() as fl:
for this_filename in ['A174', 'Q183', 'V202', 'T177']:
data = find_file(this_filename,
exp_type='proteorhodopsin/NP_220209')
print("the experiments present in this file are:",data.keys())
for j in data.keys():
fl.next("raw UV data")
fl.plot(data[j], label=this_filename+' '+j, alpha=0.5)
fl.next('normalized by $A_{280}$')
normalization = data[j][r'$\lambda$':(250,300)].max()
fl.plot(data[j]/normalization, label=this_filename+' '+j, alpha=0.5)
Total running time of the script: ( 0 minutes 0.493 seconds)


Description
The camera calibration tool lets you calibrate any video camera very accurately
and in few seconds.
The user presents a flat checkerboard pattern in front of the camera,
and the program automatically acquires a number of images and uses them
to compute the intrinsic camera parameters (focal length, principal point,
distortion coefficients) as well as the extrinsic parameters (3D position
of the pattern for each image).
Since the corners of the pattern are located automatically on each image,
the entire procedure is fully automatic. Once calibration is done, the
program lets you undistort the video images in real time (at frame rate).
The lens distortion model consists of two terms: a radial distortion term
(up to the fourth order) and a tangential distortion term (two scalars
for encoding the angular orientation of the focal plane with respect to
the sensor plane). Consequently, the lens distortion model is parameterized
using four scalar coefficients.
A complete tutorial of the algorithm with matlab code is provided, see
Tutorial Section below.
DirectShow Filter Application
Note that this filter requires that you have DirectShow 6.0 or greater installed
with graphedt.exe (DirectShow 6.0 for NT4.0, DirectShow 7.0 for
Win 98 or Win2000)
(http://www.microsoft.com/downloads/release.asp?ReleaseID=16927 ~128MB[!]).
You will also need a video camera source filter which should
be supplied by your USB camera vendor.
Microsoft* Windows* 2000 may be the most suitable operating system
for development since many vendors do not supply filters for
Windows NT 4.0. However, Windows 98 will be adequate for just
running the filter graph
An example filter graph is shown below. It is running our own
calibration filter that processes a video source from a Matrox
Meteor II card and then passes the output to a video renderer.
Right clicking on the CalibFilter brings up its property control page
as follows:
Controls
[1] Enter the
number of columns (Squares per row)in your calibration checkerboard.
Click "Apply" [12] to enter.
[2] Enter the
number of rows (Squares per column)in your calibration checkerboard.
Click "Apply" [12] to enter.
[3] Actual
size of squares in your calibration checkerboard (in whatever units --
say cm). Click "Apply" [12] to enter.
[4] Start automatic
collection of calibration frames.
[5] Save current
set of calibration parameters to disk.
[6] Load previously
saved calibration parameters.
[7] If you've
just calibrated the camera, or have loaded [6] previous calibration parameters,
checking this box causes the computation of the undistorted image in real
time. If this box is not checked, the raw video frames are displayed.
You must click "Apply" [12] to register the check.
[8] Checking
this box causes an OpenGL display to show the tracking of the calibration
checkerboard. You must click "Apply" [12] to register the check.
[9] Set how
many frames of the calibration checkerboard you want to collect before
performing calibration (between 10 and 20 is usually enough, use more only
if high accuracy is desired). Click "Apply" [12] to enter.
[10] Set how
number of miliseconds of delay between collecting frames of the calibration
checkerboard when you start [4] calibration. This allows you as much
time as desired to move the calibration checkerboard around the video scene
before the next frame is taken during calibration. Click "Apply"
[12] to enter.
[11] The current
calibration parameters are displayed in this box.
[12] You must
click "Apply" after setting any or all of [1], [2], [3], [9] and/or [10].
How To...
Calibrate a camera
(a) Get or make a black and white checkerboard calibration object
as shown in the images above or animated gif's below.
(b) Enter the number of columns ("squares per row") in [1] and
number of rows (squares per column) in [2]; Enter the size of a square
in whatever units in [3] (optional) ; Enter the number of frames that you
want to collect in [9] (10-20 usually suffices); Enter the minimum time
between capturing frames to allow you time to move the calibration object.
(c) Click "Apply" [12].
(d) Click "Start" [4].
(e) Move the checkerboard around. The number of frames
collected will display in [11]. When all frames are collected it will solve
for the calibration parameters and display them in [11].
(f) Checking [7] followed by clicking "Apply" [12] causes the
rectified video image to be displayed as shown in the second example below.
Notes: When calibrating, the video image flashes when a frame is captured.
It won't capture unless the colored lines are drawn on the checkerboard
as shown in the examples below. You must move the calibration object
around -- if your views are too much alike, you will get an ill-conditioned
matrix with resultant divide by zero when the filter solves for the camera
calibration parameters.
Save calibration parameters to a file:
(a) Click "Save" [5] and a dialog box will prompt you for
saving the calibration parameters under a text file. Click this
link for information on the camera model, and the content of the text file.
Load previously stored calibration parameters:
(a) Click "Load" [6] and a dialog box will allow you to select
a calibration parameter file.
(b) Calibration parameters will appear in [11].
Turn image rectification on and off:
(a) On: Check the "Undistortion" box [7]. Click "Apply" [12].
(b) Off: Un-check the "Undistortion" box [7]. Click "Apply"
[12].
Turn the 3D OpenGL window on and off:
(a) On: Check the "Show 3D window" box [8]. Click "Apply" [12].
(b) Off: Un-check the "Show 3D window" box [8]. Click
"Apply" [12].
Examples
The following movie shows the 3D pose of the calibration object being computed
in real time after the camera has been calibrated.
The next picture shows image undistortion performed by the filter.
Tutorial and calibration toolbox
In addition to the
OpenCV implementation of the calibration functions and tool, we provide a complete
tutorial and calibration toolbox for MATLAB. It can be downloaded from
OpenCV page at Source Forge


| Xmega Application Note | |||||
STK600 with the RC100X routing card board header file. More...
#include "compiler.h"
Go to the source code of this file.
Defines | |
| #define | LED_COUNT 8 |
| Number of LEDs. | |
SPI Connections of the AT45DBX Data Flash Memory. To use these defines, | |
| #define | AT45DBX_CS IOPORT_CREATE_PIN(PORTC,4) |
| #define | AT45DBX_MASTER_MISO IOPORT_CREATE_PIN(PORTC,6) |
| #define | AT45DBX_MASTER_MOSI IOPORT_CREATE_PIN(PORTC,5) |
| #define | AT45DBX_MASTER_SCK IOPORT_CREATE_PIN(PORTC,7) |
| #define | AT45DBX_MASTER_SS IOPORT_CREATE_PIN(PORTC,4) |
| #define | AT45DBX_SPI &SPIC |
| #define | AT45DBX_SPI_CLK_MASK SYSCLK_PORT_C |
External oscillator | |
| #define | BOARD_XOSC_HZ 8000000 |
| #define | BOARD_XOSC_STARTUP_US 500000 |
| #define | BOARD_XOSC_TYPE XOSC_TYPE_EXTERNAL |
Oscillator Definitions | |
| #define | FOSC 8000000 |
GPIO Connections of Push Buttons. To use these defines, connect the | |
| #define | GPIO_PUSH_BUTTON_0 IOPORT_CREATE_PIN(PORTF,0) |
| #define | GPIO_PUSH_BUTTON_1 IOPORT_CREATE_PIN(PORTF,1) |
| #define | GPIO_PUSH_BUTTON_2 IOPORT_CREATE_PIN(PORTF,2) |
| #define | GPIO_PUSH_BUTTON_3 IOPORT_CREATE_PIN(PORTF,3) |
| #define | GPIO_PUSH_BUTTON_4 IOPORT_CREATE_PIN(PORTF,4) |
| #define | GPIO_PUSH_BUTTON_5 IOPORT_CREATE_PIN(PORTF,5) |
| #define | GPIO_PUSH_BUTTON_6 IOPORT_CREATE_PIN(PORTF,6) |
| #define | GPIO_PUSH_BUTTON_7 IOPORT_CREATE_PIN(PORTF,7) |
GPIO Connections of LEDs. To use these defines, connect the STK600 | |
| #define | LED0_GPIO IOPORT_CREATE_PIN(PORTE,0) |
| #define | LED1_GPIO IOPORT_CREATE_PIN(PORTE,1) |
| #define | LED2_GPIO IOPORT_CREATE_PIN(PORTE,2) |
| #define | LED3_GPIO IOPORT_CREATE_PIN(PORTE,3) |
| #define | LED4_GPIO IOPORT_CREATE_PIN(PORTE,4) |
| #define | LED5_GPIO IOPORT_CREATE_PIN(PORTE,5) |
| #define | LED6_GPIO IOPORT_CREATE_PIN(PORTE,6) |
| #define | LED7_GPIO IOPORT_CREATE_PIN(PORTE,7) |
STK600 with the RC100X routing card board header file.
This file contains definitions and services related to the features of the STK600 board with the routing card for 100-pin TQFP AVR XMEGA devices.
To use this board, define BOARD=STK600_RC100X.
Copyright (C) 2010 Atmel Corporation. All rights reserved.
Definition in file stk600_rc100x.h.
| #define AT45DBX_CS IOPORT_CREATE_PIN(PORTC,4) |
Definition at line 104 of file stk600_rc100x.h.
| #define AT45DBX_MASTER_MISO IOPORT_CREATE_PIN(PORTC,6) |
Definition at line 108 of file stk600_rc100x.h.
| #define AT45DBX_MASTER_MOSI IOPORT_CREATE_PIN(PORTC,5) |
Definition at line 107 of file stk600_rc100x.h.
| #define AT45DBX_MASTER_SCK IOPORT_CREATE_PIN(PORTC,7) |
Definition at line 106 of file stk600_rc100x.h.
| #define AT45DBX_MASTER_SS IOPORT_CREATE_PIN(PORTC,4) |
Definition at line 105 of file stk600_rc100x.h.
| #define AT45DBX_SPI &SPIC |
Definition at line 103 of file stk600_rc100x.h.
| #define AT45DBX_SPI_CLK_MASK SYSCLK_PORT_C |
Definition at line 109 of file stk600_rc100x.h.
| #define BOARD_XOSC_HZ 8000000 |
Definition at line 116 of file stk600_rc100x.h.
| #define BOARD_XOSC_STARTUP_US 500000 |
Definition at line 118 of file stk600_rc100x.h.
| #define BOARD_XOSC_TYPE XOSC_TYPE_EXTERNAL |
Definition at line 117 of file stk600_rc100x.h.
| #define FOSC 8000000 |
XTAL frequency: Hz.
Definition at line 54 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_0 IOPORT_CREATE_PIN(PORTF,0) |
Definition at line 85 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_1 IOPORT_CREATE_PIN(PORTF,1) |
Definition at line 86 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_2 IOPORT_CREATE_PIN(PORTF,2) |
Definition at line 87 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_3 IOPORT_CREATE_PIN(PORTF,3) |
Definition at line 88 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_4 IOPORT_CREATE_PIN(PORTF,4) |
Definition at line 89 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_5 IOPORT_CREATE_PIN(PORTF,5) |
Definition at line 90 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_6 IOPORT_CREATE_PIN(PORTF,6) |
Definition at line 91 of file stk600_rc100x.h.
| #define GPIO_PUSH_BUTTON_7 IOPORT_CREATE_PIN(PORTF,7) |
Definition at line 92 of file stk600_rc100x.h.
| #define LED0_GPIO IOPORT_CREATE_PIN(PORTE,0) |
Definition at line 70 of file stk600_rc100x.h.
| #define LED1_GPIO IOPORT_CREATE_PIN(PORTE,1) |
Definition at line 71 of file stk600_rc100x.h.
| #define LED2_GPIO IOPORT_CREATE_PIN(PORTE,2) |
Definition at line 72 of file stk600_rc100x.h.
| #define LED3_GPIO IOPORT_CREATE_PIN(PORTE,3) |
Definition at line 73 of file stk600_rc100x.h.
| #define LED4_GPIO IOPORT_CREATE_PIN(PORTE,4) |
Definition at line 74 of file stk600_rc100x.h.
| #define LED5_GPIO IOPORT_CREATE_PIN(PORTE,5) |
Definition at line 75 of file stk600_rc100x.h.
| #define LED6_GPIO IOPORT_CREATE_PIN(PORTE,6) |
Definition at line 76 of file stk600_rc100x.h.
| #define LED7_GPIO IOPORT_CREATE_PIN(PORTE,7) |
Definition at line 77 of file stk600_rc100x.h.
| #define LED_COUNT 8 |
Number of LEDs.
Definition at line 64 of file stk600_rc100x.h.
| Generated on Fri Oct 22 12:15:25 2010 for AVR1300 Using the Xmega ADC by 1.6.3 |


THE FACULTY A film review by Matt Williams
RATING: * * out of * * * *
And another film rolls out of the teen-horror factory. But, The Faculty shows promise: it has some decent talent attached, and seems to be a change of pace from your run-of-the-mill serial killer stalking teenagers film. Is it any good? Well, it's better than your standard slasher fare, but hardly enjoyable enough to be called a "good" movie.
There's something odd about the faculty at Herrington High School.  Could it be that alien body snatchers are at work? Several students think so.
An unlikely band of students team up to try and stop the invasion. It starts out with trendy cheerleader/newspaper editor Delilah (Jordana Brewster) and the hopelessly nerdy photographer Casey (Elijah Wood). But soon they've roped in Delilah's ex-boyfriend, the ex-quarterback Stan (Shawn Wayne Hatosy), and the sci-fi obsessed gothic wannabe lesbian Stokely (Clea DuVall).
Armed only with their knowledge of body-snatcher cliches, these teens must face down such fearsome foes as Coach Willis (Robert Patrick), Nurse Harper (Salma Hayek), Miss Burke (Famke Janssen), Miss Olsen (Piper Laurie), and the sinister Principal Drake (Bebe Neuwirth).
The script for The Faculty was written by the vastly overrated Kevin Williamson, of Scream and I Know What You Did Last Summer fame. Once again, he is good at pointing out cliches, but displays little or no originality of his own. Williamson does give the characters knowledge of those cliches (which raises him one rung above the average horror film writer), but doesn't use that knowledge to go anywhere. As a result, the film simply revisits the same territory as Invasion of the Body Snatchers, or The Thing, without any real surprises.
The characters, while all shallow archetypes, are at least well played. Those in, or recently out of, high school will recognize at least a few of the various types among the oversimplifications here. On a purely escapist revenge-seeking level, the film does work in a way. The every-teens here are able to wreak revenge upon the every-teachers who have tormented them.
The special effects of the film include some potentially interesting concepts, but they're hamstrung by flawed execution. Many of the effects, which are intended to look creepy, are goofy instead. Even the film's ultimate CGI creature looks rather unremarkable... The novelty of computer-generated monsters has worn off, and special effects artists need to return to creating innovative designs.
Director Robert Rodriguez, who has successfully created tense and suspenseful scenes in the past, has lost his touch here. A few of the scenes hint at his prior potential, but they're all hobbled in one way or another. There's rarely an feeling of true danger, and when there is...you simply don't care.
Still, compared with the string of recent horror films, The Faculty is one of the better entries in this struggling genre. In may even be worth a look when it arrives at your local rental store. But, particularly at this time of year, you can do much better than The Faculty when at your local theater.
Copyright 1999 Matt Williams
- Matt Williams<EMAIL_ADDRESS>Reviewer for Cinematter: http://www.cinematter.com Home of nearly 700 reviews, and information on over 750 upcoming releases
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


12 MONKEYS A film review by Bryant Frazer Copyright 1996 Bryant Frazer
Directed by Terry Gilliam Written by David Peoples and Janet Peoples Starring Bruce Willis, Madeleine Stowe, and Brad Pitt USA, 1995
I've just about herniated my brain in the days since I saw TWELVE MONKEYS. Like most other stories that dabble in time travel, it presents a cracking conundrum having to do with the relationship of history to the future and the feasibility of someone traveling back to the past in an attempt to influence the formation of their own present. But unlike those other stories, TWELVE MONKEYS is the creation of auteur Terry Gilliam, the irrepressible fantasist in charge of the similarly temporal shenanigans of TIME BANDITS, the urban pain and redemption of THE FISHER KING, and the lobotomized despair of his great suffocating masterpiece, BRAZIL.
That means that the machinations of an uncommonly intelligent script, sharply convoluted by the husband-and-wife screenwriting team of David and Janet Peoples, are only part of the sheer expressive power of this very unconventional production. While the story is more carefully constructed than anything Gilliam has previously attempted, the film bears the undeniable hallmarks of one of his peculiar creations, and TWELVE MONKEYS is unique in its capacity to bring the audience into the same frame of mind as its desperate protagonist. What I've realized is that I simply have to see the film again, armed with a knowledge of what's going to transpire that can help me interpret the events on screen. But time spent deciphering the twists and turns of the plotline, pleasurable though it may be, is strictly secondary to the film's tremendous emotional resonance.
Here's what I'm sure of: In the year 1997, some five billion people are wiped out by a deadly virus that renders the surface of the planet uninhabitable, driving the few survivors underground. Some 30 years hence, researchers living underneath Philadelphia have concluded that the virus may have been deliberately introduced by an underground organization calling itself the Army of the 12 Monkeys. Serving a life sentence, convict James Cole (Bruce Willis) is chosen to travel back in time to gather information about that organization in an attempt to pinpoint the origin of the virus, which remains incurable. Cole is forced to "volunteer" for this disorienting assignment mainly because he has an extraordinary memory. That memory has also wrapped itself around a traumatic vision from Cole's childhood -- of a man being gunned down at an airport -- that manifests itself as a recurring dream.
Advised that he can spy on the past, but can't tamper with fate, Cole is first zapped back to Baltimore circa 1990, where his mission is abruptly complicated by his immediate incarceration in an insane asylum. Bruised, bloody, and nearly incoherent, he fits the part of a raving madman. But while his arrival seems random (he was supposed to land in 1996), the contacts he makes are significant. He meets up with fellow inmate Jeffrey Goines (Brad Pitt), a charismatic nut case who will later be seen to play a pivotal role as the leader of a group of animal rights activists. He also attracts the attention of psychiatrist Kathryn Railly (Madeleine Stowe), who could swear that she's seen Cole somewhere before. (She's right, but we won't figure out where until later.)
It's the interaction of all these characters, as well as the subtle ways that Cole's dream changes over the course of the movie, that fuel the film's prevalent uncertainty about cause and effect. At one point Cole is convinced that he himself is responsible for unleashing the virus by suggesting that it might be a keen idea for Goines to hijack a plague from his virologist father. At another, we're deliberately left unsure whether Cole is responsible for a grisly killing as a key scene unfolds at length. And just when Dr. Railly starts to believe that Cole really is telling the truth about his mission, Cole goes rational on her, insisting -- just as she had tried to convince him previously -- that his visions of the future are delusionary, and that he really is just a madman in need of her help and guidance.
LA JETEE, the French film on which TWELVE MONKEYS is based, is a science fiction story, the most famous work (and the only fiction film) by famed documentarian Chris Marker. The story is told through a succession of still frames with voiceover narration, and in only one brief shot does this motion picture actually move. Gilliam claims in interviews that he has never seen LA JETEE, but there seems to be a direct reference to its unusual style in a scene where Dr. Railly narrates a slide show about a delusional soldier in World War I. And when Railly and Cole take refuge in a movie theater that happens to be showing Alfred Hitchcock's VERTIGO (an important influence on Marker and LA JETEE), we're forced to consider suddenly, almost subconsciously, the many interesting ways that film is this film's doppelganger. It may be true that it takes a passing acquaintance with film history to truly appreciate TWELVE MONKEYS; the most overwhelming shot in the film may be the moment when Bernard Herrmann's love theme from VERTIGO wells up inexplicably on the soundtrack, at exactly the point where Cole and Railly begin their incognito rush toward destiny.
Of course, the actors are instrumental in grabbing the audience's sympathy for a tale this far removed from everyday life, and Gilliam's performers really come through for him. Willis' Cole is a burly, tragic Everyman, a tough guy who looks like he's too often on the verge of tears.  If our big-budget hero embodies the film's core humanity, heartthrob Brad Pitt is the off-kilter comic axis. Apparently urged to run with his most hyperactive instincts, Pitt plays Goines as an unpredictable loon who hammers his fast-talking points home with quick, neurotic gestures (his charm is undercut by the possibility that he will be responsible for five billion murders). As Dr. Railly, Madeleine Stowe has comparatively little to do, though her presence is key as the only rational observer in the film. Balancing her reactions between incredulity and blind faith, she's the center holding the film's increasingly disparate elements together. In fact, in the last scene of the film, the camera holds on her face, where it seems possible that the entire contradictory spectrum of human feeling is in evidence.
Until now, character has never been Gilliam's forte, and it's no surprise that the films from his oeuvre that deal significantly in human transformations -- THE FISHER KING and TWELVE MONKEYS -- are the ones he had no hand in writing. It's as though the presence of a tight script frees him from the more obsessive demands of following his bliss. (Among screenwriter David Peoples' previous credits are BLADE RUNNER and UNFORGIVEN, two fatalistic films that look long and hard at the static nature of their heroes' respective identities as probable Replicant and once and future gunslinger.) In Gilliam's films, of course, apparent madness is often the only escape route from brutal, demanding reality. In similar fashion, TWELVE MONKEYS plays wicked games with notions of madness, perspectives on reality, and its protagonist's hopes and dreams.
After going over the film in my head time and time again, I'm still not sure how all of the puzzle pieces fit together, and I start to wonder what I really saw in certain scenes. But this is not a liability, because the up-front emotional wallop packed by TWELVE MONKEYS makes the niggling pleasures of deciphering the script's layers and loopbacks strictly secondary. A second viewing is definitely in order, just to put my mind at ease. And at the very end of a year when many film fans claimed to relish repeated viewings of THE USUAL SUSPECTS -- a movie that actually negates itself in its final scene -- I'm pleased beyond words to find a movie that cares deeply for its characters even as they fall under the wheels of destiny, instead of killing them just to be clever.
-- DEEP FOCUS (Movie Reviews) http://www.panix.com/~bfrazer/flicker/
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


The hosts that will have access to the exported directory.
Warning: when exporting with krb5, the choice of the clients is made in the configuration of Kerberos5.
Six ways of specifying which hosts are allowed to mount the directory are available:
- Everyone
- Any host capable of contacting your system is allowed access. This option
should be used with care, especially if your system is connected to the
Internet.
- Host(s)
- This can either be a single IP address, a single hostname, or a regular
expression like *.foo.com. In the last case, any host whose
reverse DNS lookup by IP address matches the expression will be allowed
access.
- WebNFS clients
- Allows clients using Sun's WebNFS protocol to access this directory.
- NIS Netgroup
- Allows all members of the specified NIS netgroup to access this export.
- IPv4 Network and Netmask
- Any host in the specified subnet is allowed access. For example, if the
network was <IP_ADDRESS> and the netmask <IP_ADDRESS>,
all hosts with IP addresses from <IP_ADDRESS> to <IP_ADDRESS>
would be allowed.
- IPv6 Address and Prefix
- Any host in the specified subnet is allowed access.


gridfile
Catalogue and load gridded data sets
Description
The gridfile class creates and manages gridfile objects. These objects catalogue metadata and data source files for a gridded dataset. The catalogue is stored in a file with a “.grid” extension.
A key function of gridfile is to provide an interface for loading data from data source files with diverse formatting. This interface allows the user to efficiently:
Load subsets of the catalogued data
Order the dimensions of loaded data
Apply linear or log transforms to loaded data, and
Perform simple arithmetic on large gridded datasets
Another function of gridfile is to associate all gridded data with dimensional metadata. This allows data to be accessed using human-readable metadata, rather than array indices.
The following is an outline for using the gridfile class.
Use the “new” command to initialize a new .grid file
Use “add” to add data source file to the gridfile’s catalogue
Use “fillValue”, “validRange”, and “transform” to apply data transformations when data is loaded from the source files
Use the output of the “metadata” command to locate interesting subsets of the catalogued data.
Use “load” to load data subsets in customizable dimension orders.
Use “plus”, “minus”, “times”, or “divide” to implement arithmetic across multiple data catalogues.
The class also includes many methods for accessing and editing metadata, which are summarized in the methods list.
Key Methods
The following methods are the most essential methods for users.
All User Methods
The complete list of gridfile methods for users.
Create
Metadata
Metadata Attributes
Data Sources
Data Adjustments
Load
Arithmetic
Return Information
Print Information
Utility Methods
Under-the-hood methods that help the class run. These are not intended for users, and do not implement error checking on their inputs.


Loads an external csv file, creates a custom quantitative color scale using L*a*b interpolation, and enables brushing.
Reset Brushes


--- layout: default permalink: /404.html --- Wrong page Website under construction, this page does not exist yet !
Website under construction, this page does not exist yet !


@* * Copyright 2015 Yahoo Inc. Licensed under the Apache License, Version 2.0 * See accompanying LICENSE file. *@ @(cluster: String, topics: IndexedSeq[String])


黒の手番です。54 はどう動かしますか？
3-6:9pt
pips Black=140 White=149
(CorrectAnswer= 0/0, ErrorScore= 0)
1. 8/3 7/3 eq:-0.450 33.37% (G:13.07% B:0.23%) 66.63% (G:16.17% B:1.68%) 2. 8/4 6/1* eq:-0.555 (-0.104) 31.59% (G:11.39% B:0.29%) 68.41% (G:19.82% B:2.50%) 3. 13/9 6/1* eq:-0.600 (-0.150) 30.38% (G:10.82% B:0.35%) 69.62% (G:19.75% B:2.24%) 4. 13/9 13/8 eq:-0.613 (-0.163) 30.18% (G: 9.46% B:0.44%) 69.82% (G:16.68% B:1.73%) 5. 8/3 6/2 eq:-0.578 (-0.127) 30.27% (G:10.38% B:0.26%) 69.73% (G:20.28% B:1.33%)


{% extends 'base.html' %} {% block content %} {% if 'provider' in session %} Choose a username (required): This username will be displayed with your public posts. {% if error %} {{error}} {% endif %} Tell us about yourself (optional): We received the following information about you from {{session['provider']}}, which we will store in our database. Name: {{session['name']}} E-mail: {% if session['provider'] == "Github" %} We have received the following e-mail addresses. Please pick one: {% for email in session['emails'] %} {{email}} {% endfor %} (We will only store the one that you select and forget that we ever saw the others) {% else %} {{session['email']}} {% endif %} Link to your profile picture at {{session['provider']}} For more information read our page about privacy. By clicking submit you agree to the above {% else %} Please use the login page to log in and sign up with one of the supported services. {% endif %} {% endblock %}
This username will be displayed with your public posts.
{{error}}
We received the following information about you from {{session['provider']}}, which we will store in our database.
Name:
{{session['name']}}
E-mail:
{{session['email']}}
Link to your profile picture at {{session['provider']}}
For more information read our page about privacy.
Please use the login page to log in and sign up with one of the supported services.


| Categories: functors, adaptors | Component type: type |
Mem_fun1_ref_t<Result, X, Arg>'s constructor takes a pointer to one of X's member functions. Then, like all function objects, mem_fun1_ref_t has an operator() that allows the mem_fun1_ref_t to be invoked with ordinary function call syntax. In this case, mem_fun1_ref_t's operator() takes two arguments; the first is of type X and the second is of type Arg.
If F is a mem_fun1_ref_t that was constructed to use the member function X::f, and if x is an object of type X and a is a value of type Arg, then the expression F(x, a) is equivalent to the expression x.f(a). The difference is simply that F can be passed to STL algorithms whose arguments must be function objects.
Mem_fun1_ref_t is one of a family of member function adaptors. These adaptors are useful if you want to combine generic programming with inheritance and polymorphism, since, in C++, polymorphism involves calling member functions through pointers or references. In fact, though, mem_fun1_ref_t is usually not as useful as mem_fun1_t. The difference between the two is that mem_fun1_t's first argument is a pointer to an object while mem_fun1_ref_t's argument is a reference to an object. References, unlike pointers, can't be stored in STL containers: pointers are objects in their own right, but references are merely aliases.
As with many other adaptors, it is usually inconvenient to use mem_fun1_ref_t's constructor directly. It is usually better to use the helper function mem_fun1_ref instead.
int main() { int A1[5] = {1, 2, 3, 4, 5}; int A2[5] = {1, 1, 2, 3, 5}; int A3[5] = {1, 4, 1, 5, 9}; vector<vector<int> > V; V.push_back(vector<int>(A1, A1 + 5)); V.push_back(vector<int>(A2, A2 + 5)); V.push_back(vector<int>(A3, A3 + 5)); int indices[3] = {0, 2, 4}; int& (vector<int>::*extract)(vector<int>::size_type); extract = vector<int>::operator[]; transform(V.begin(), V.end(), indices, ostream_iterator<int>(cout, "\n"), mem_fun1_ref(extract)); }
| Parameter | Description | Default |
|---|---|---|
| Result | The member function's return type. | |
| X | The class whose member function the mem_fun1_ref_t invokes. | |
| Arg | The member function's argument type. |
| Member | Where defined | Description |
|---|---|---|
| first_argument_type | Adaptable Binary Function | The type of the first argument: X |
| second_argument_type | Adaptable Binary Function | The type of the second argument: Arg |
| result_type | Adaptable Binary Function | The type of the result: Result |
Result operator()(X& x, Arg a) const |
Binary Function | Function call operator. Invokes x.f(a), where f is the member function that was passed to the constructor. |
explicit mem_fun1_ref_t(Result (X::*f)(Arg)) |
mem_fun1_ref_t | See below. |
template <class Result, class X, class Arg> mem_fun1_ref_t<Result, X, Arg> mem_fun1_ref(Result (X::*f)(Arg)); |
mem_fun1_ref_t | See below. |
| Member | Description |
|---|---|
explicit mem_fun1_ref_t(Result (X::*f)(Arg)) |
The constructor. Creates a mem_fun1_ref_t that calls the member function f. |
template <class Result, class X, class Arg> mem_fun1_ref_t<Result, X, Arg> mem_fun1_ref(Result (X::*f)(Arg)); |
If f is of type Result (X::*)(Arg) then mem_fun1_ref(f) is the same as mem_fun1_ref_t<Result, X, Arg>(f), but is more convenient. This is a global function, not a member function. |
[1] The type Result is permitted to be void. That is, this adaptor may be used for functions that return no value. However, this presents implementation difficulties. According to the draft C++ standard, it is possible to return from a void function by writing return void instead of just return. At present, however (early 1998), very few compilers support that feature. As a substitute, then, mem_fun1_ref_t uses partial specialization to support void member functions. If your compiler has not implemented partial specialization, then you will not be able to use mem_fun1_ref_t with member functions whose return type is void.


Address File
Address code
Company name
Address
Country
Fax
Telephone
E-Mail
Company Reg. No.
Company Tax No.


Original and 2click Flare Orbit Combo by KenOne Feb 5th, 2014 http://instagram.com/p/j77YJVE1MW/ by djkenone
Chirps, Original Flare and 2click Orbit Combo by KenOne Feb 5th, 2014 http://instagram.com/p/j-kzkfk1N1/ by djkenone


|
Panda3D
|
A condition variable, usually used to communicate information about changing state to a thread that is waiting for something to happen. More...
Public Member Functions | |
| MutexDirect | getMutex () |
| Returns the mutex associated with this condition variable. More... | |
| notify () | |
| Informs one of the other threads who are currently blocked on wait() that the relevant condition has changed. More... | |
| notifyAll () | |
| Informs all of the other threads who are currently blocked on wait() that the relevant condition has changed. More... | |
| output (Ostream out) | |
| This method is declared virtual in ConditionVarFullDebug, but non-virtual in ConditionVarFullDirect. More... | |
| wait () | |
| Waits on the condition. More... | |
| wait (double timeout) | |
| Waits on the condition, with a timeout. More... | |
A condition variable, usually used to communicate information about changing state to a thread that is waiting for something to happen.
A condition variable can be used to "wake up" a thread when some arbitrary condition has changed.
A condition variable is associated with a single mutex, and several condition variables may share the same mutex.
| MutexDirect getMutex | ( | ) |
Returns the mutex associated with this condition variable.
| notify | ( | ) |
Informs one of the other threads who are currently blocked on wait() that the relevant condition has changed.
If multiple threads are currently waiting, at least one of them will be woken up, although there is no way to predict which one. It is possible that more than one thread will be woken up.
The caller must be holding the mutex associated with the condition variable before making this call, which will not release the mutex.
If no threads are waiting, this is a no-op: the notify is lost.
| notifyAll | ( | ) |
Informs all of the other threads who are currently blocked on wait() that the relevant condition has changed.
The caller must be holding the mutex associated with the condition variable before making this call, which will not release the mutex.
If no threads are waiting, this is a no-op: the notify event is lost.
| output | ( | Ostream | out | ) |
This method is declared virtual in ConditionVarFullDebug, but non-virtual in ConditionVarFullDirect.
| wait | ( | ) |
Waits on the condition.
The caller must already be holding the lock associated with the condition variable before calling this function.
wait() will release the lock, then go to sleep until some other thread calls notify() on this condition variable. At that time at least one thread waiting on the same ConditionVarFullDirect will grab the lock again, and then return from wait().
It is possible that wait() will return even if no one has called notify(). It is the responsibility of the calling process to verify the condition on return from wait, and possibly loop back to wait again if necessary.
Note the semantics of a condition variable: the mutex must be held before wait() is called, and it will still be held when wait() returns. However, it will be temporarily released during the wait() call itself.
| wait | ( | double | timeout | ) |
Waits on the condition, with a timeout.
The function will return when the condition variable is notified, or the timeout occurs. There is no way to directly tell which happened, and it is possible that neither in fact happened (spurious wakeups are possible).
See wait() with no parameters for more.


Version 0.1.2.
This is the reference document for BERT, which is part of CLERIC
(Common Lisp Erlang Interface). It describes all symbols exported from the
BERT
package.
The latest version of this document is available here: http://common-lisp.net/project/cleric/doc/bert_reference.html
CLERIC implements the BERT binary data
interchange format and exports these functions through the BERT
package.
Represents a BERT regex term.
Represents a BERT time term.
[Standard class]
erlang-binary
Inherited from CLERIC
.
See
cleric:erlang-binary
.
Inherited from CLERIC
.
See
cleric:erlang-tuple
.
[Generic function]
arity tuple => size
Inherited from
CLERIC
. See cleric:arity.
[Function]
binary &rest
bytes => binary
Inherited from
CLERIC
. See cleric:binary .
[Function]
binary-to-string binary => string
Inherited from
CLERIC
. See cleric:binary-to-string.
[Function]
bool value => bert-boolean
Returns the value of bert:true if value is true, otherwise returns the value of bert:false.
[Generic function]
bytes binary => bytes
Inherited from
CLERIC
. See cleric:bytes.
[Function]
bytes-to-binary bytes => binary
Inherited from
CLERIC
. See cleric:bytes-to-binary .
[Function]
decode bytes => bert-term, position
Decodes the sequence bytes into BERT terms. position is the number of bytes consumed from bytes.
[Generic function]
elements tuple => vector
Inherited from
CLERIC
. See cleric:elements .
[Generic function]
encode object &key
berp-header => bytes
berp-header defaults to
NIL
.Encodes object according to BERT into a vector of bytes. If berp-header is true the resulting byte vector is prepended with a BERP header, a four byte length header.
[Generic function]
size tuple-or-binary => size
Inherited from
CLERIC
. See cleric:size.
[Function]
string-to-binary string => binary
Inherited from
CLERIC
. See cleric:string-to-binary .
[Function]
tuple &rest
objects => tuple
Inherited from
CLERIC
. See cleric:tuple.
[Special variable]
*atom-symbol-package*
Inherited from
CLERIC
. See cleric:*atom-symbol-package* .
[Special variable]
*lisp-string-is-erlang-binary*
Inherited from
CLERIC
. See cleric:*lisp-string-is-erlang-binary* .
Value:
#<ERLANG-TUPLE {|bert| |false|}>
Value:
#<ERLANG-TUPLE {|bert| |true|}>
[Condition]
unexpected-message-length-error
Inherited from
CLERIC
. See cleric:unexpected-message-length-error .
[Condition]
unexpected-message-tag-error
Inherited from
CLERIC
. See cleric:unexpected-message-tag-error .
[Condition]
untranslatable-lisp-object-error
Inherited from
CLERIC
. See cleric:untranslatable-lisp-object-error .


spass-wasm
SPASS input
begin_problem(Sokrates1). list_of_descriptions. name({*Sokrates*}). author({*Christoph Weidenbach*}). status(unsatisfiable). description({* Sokrates is mortal and since all humans are mortal, he is mortal too. *}). end_of_list. list_of_symbols. functions[(sokrates,0)]. predicates[(Human,1),(Mortal,1)]. end_of_list. list_of_formulae(axioms). formula(Human(sokrates),1). formula(forall([x],implies(Human(x),Mortal(x))),2). end_of_list. list_of_formulae(conjectures). formula(Mortal(sokrates),3). end_of_list. end_problem.
Command line arguments
Run


| GEOS SDK TechDocs
|
| 6.1 IACP Overview
| 6.3 Messages Across an IACP Link
GenApplicationClass
is built to support IACP automatically. If a server or client object is subclassed from
GenApplicationClass
, most of the work of supporting IACP is done transparently to the application writer. The following capabilities are built in:
-
The Application Object automatically registers itself as a server for the appropriate list when it is launched in application mode. If it is launched in engine mode, it registers itself when it receives MSG_META_APP_STARTUP. If the last client-connection to the application is closed, and the Application is not currently running in application mode, the Application object will shut down automatically.
-
When the Application object registers itself as a server for its own list, it sends itself MSG_GEN_APPLICATION_IACP_REGISTER. An application may subclass this if it wants to take other action at this time (e.g. registering itself for other lists). Similarly, when an Application object unregisters itself from its own server list, it sends itself MSG_GEN_APPLICATION_IACP_UNREGISTER.
-
The Application object automatically handles the MSG_META_IACP... messages appropriately. In particular, when the kernel passes an encapsulated message to an Application object with
MSG_META_IACP_PROCESS_MESSAGE
, the Application object automatically dispatches the message to the appropriate location.
-
An Application object will refuse to quit as long as any client has an open IACP connection to it. (It can, however, be forcibly detached; this happens when the system is shut down, as noted below.). In such a case, the Application object will automatically call
IACPShutdownAll()
to shut down all IACP links it has open, whether it is a client or a server on those links.
-
When a link is closed, IACP automatically sends MSG_META_IACP_LOST_CONNECTION to all objects on the other side of the link. When an Application object receives this message, it waits until all remaining messages from the link have been handled; it then calls
IACPShutdown()
for that connection. It also forwards this message to all Document objects, so a Document object will know to close itself if the IACP connection was the only reference to it. Again, the Application object does this whether it is a client or a server.
-
If the Application object is forcibly detached, it sends itself MSG_GEN_APPLICATION_IACP_SHUTDOWN_ALL_CONNECTIONS. The default handler for this message will call
IACPShutdownAll()
to shut down all IACP links the Application object has open, whether it is a client or a server on those links. You can subclass this message if you need to take some additional action when the IACP connections are severed.
| GEOS SDK TechDocs
|
| 6.1 IACP Overview
| 6.3 Messages Across an IACP Link


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