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**slopsucker**: /slop´suhk·r/, n.
A lowest-priority task that waits around until everything else has ‘had
its fill’ of machine resources. Only when the machine would otherwise be
idle is the task allowed to \`‘suck up the slop’. Also called a hungry
puppy or bottom feeder. One common variety of slopsucker hunts for large
prime numbers. Compare `*background* <../B/background.html>`__.
--------------
+-------------------------+----------------------------+------------------------------+
| `Prev `__ | `Up <../S.html>`__ | `Next `__ |
+-------------------------+----------------------------+------------------------------+
| slop | `Home <../index.html>`__ | Slowlaris |
+-------------------------+----------------------------+------------------------------+


This is an experimental background and site combination. Mouse over links to see more! Note: the links are fake, meant only as a demonstration.


Cover is a one-page template for building simple and beautiful home pages. Download, edit the text, and add your own fullscreen background photo to make it your own.
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Organise your routes in a tree of named routes and be reactive to change
// Route definitions
var router = new Router5()
.setOption('useHash', true)
// Users
.addNode('users', '/users')
.addNode('users.view', '/view/:id')
.addNode('users.list', '/list')
// Orders
.addNode('orders', '/orders')
.addNode('orders.completed', '/completed')
.addNode('orders.pending', '/pending')
.addNode('orders.view', '/details/:id')
// Listener
.addListener(drawGraph)
// Start
.start();
function drawGraph(toState, fromState) { /* ... */ }
// Init
drawGraph(router.getState());
Fully featured, easy to use, lightweight (4Kb g-zipped), for modern browsers (IE10+)
Router5 is made of distinctive building blocks, each of them embrace the Single Responsability Principle.
On top of that, Helpers are being created to support the use of router5 with libraries and frameworks out there.


The Azure Workload Tracker (AWT)
portal is an interface for the Microsoft Solutions professional (CSA, DSA, TSP, PSS) and managers to track
Azure workloads and more importantly the consumption generated via those workloads in a single easy-to-use
application.
The goals of this project are to provide:
- A comprehensive way to track Azure workloads and consumption.
- A means to associate internal consumption reports (e.g. the Azure Health report) to workloads that
are still "in-flight".
- A shared portal to share ideas between CSA/DSA/TSP's and others.


fooof.Bands¶
-
class
fooof.
Bands
(input_bands={})[source]¶ Frequency band definitions.
Examples
Define a bands object storing canonical frequency bands:
>>> bands = Bands({'theta' : [4, 8], 'alpha' : [8, 12], 'beta' : [15, 30]})
- Attributes
- bandsdict
Band definitions. Each entry should be {‘label’ : (f_low, f_high)}.
-
__init__
(self, input_bands={})[source]¶ Initialize the Bands object.
- Parameters
- input_bandsdict, optional
A dictionary of oscillation bands.
Methods
__init__
(self[, input_bands])Initialize the Bands object.
add_band
(self, label, band_definition)Add a new oscillation band definition.
remove_band
(self, label)Remove a previously defined oscillation band.
Attributes
Frequency definitions for all the bands defined in the object.
Labels for all the bands defined in the object.
The number of bands defined in the object.
-
add_band
(self, label, band_definition)[source]¶ Add a new oscillation band definition.
- Parameters
- labelstr
Band label to add.
- band_definitiontuple of (float, float)
The lower and upper frequency limit of the band, in Hz.
-
definitions
¶ Frequency definitions for all the bands defined in the object.
-
labels
¶ Labels for all the bands defined in the object.
-
n_bands
¶ The number of bands defined in the object.


LAND AND FREEDOM A film review by James Berardinelli Copyright 1996 James Berardinelli
RATING (0 TO 10): 9.0 Alternative Scale: **** out of ****
United Kingdom, 1995 U.S. Release Date: varies Running Length: 1:49 MPAA Classification: No MPAA Rating (Violence, profanity, mature themes) Theatrical Aspect Ratio: 1.66:1
Cast: Ian Hart, Rosana Pastor, Iciar Bollain, Tom Gilroy, Frederic Pierrot, Marc Martinez, Suzanne Maddock, Mandy Walsh Director: Ken Loach Producer: Rebecca O'Brien Screenplay: Jim Alleln Cinematography: Barry Ackroyd Music: George Fenton U.S. Distributor: Gramercy Pictures
One of the most consistent makers of excellent motion pictures during the 1980s and 1990s has been Ken Loach. With a resume highlighted by such unforgettable titles as HIDDEN AGENDA, RIFF-RAFF, RAINING STONES, and LADYBIRD, LADYBIRD, Loach is recognized as the kind of director who will face challenges without backing down. His provocative, idea-rich movies are always populated by believable characters, and his latest offering, LAND AND FREEDOM, is no exception. With this movie, however, Loach has moved out of his familiar territory of modern-day England, turning the clock back to 1936 Spain to tell the story of one group who stood against General Franco and his fascist supporters.
The Spanish Civil War was like no other uprising in history. It was a messy, disorganized affair with pro-communist and pro-democracy forces fighting each other instead of uniting against their common enemy. This lack of organization among the country's landless workers led to victory by Franco, who was backed by both Mussolini and Hitler. Some, including Loach, believe that the pernicious influence of the Stalin-backed Communist party fostered the divisiveness among the revolutionaries that resulted in the fascist victory.
LAND AND FREEDOM opens in present-day England, with a young woman (Mandy Walsh) reading the diaries and letters of her late grandfather, who was part of the multi-national Republican Militia fighting against Franco. David (Ian Hart), a card-carrying member of the Communist Party, was unemployed in Liverpool when the call went out from Spain for support in the war against fascism. Driven by idealism, David left his wife behind to join a ragtag division of one of many local militias struggling to defeat Franco.
There are several gritty battle scenes in LAND AND FREEDOM, but, as with all of Loach's movies, this one is impelled by ideas. It's unlikely that you've seen a war movie quite like LAND AND FREEDOM. After the militia liberates a small town, they join the local workers in a lengthy argument about the pros and cons of collectivization. It's a rich, spirited discussion, and both sides make excellent points. LAND AND FREEDOM is filled with such scenes as characters talk about things that mean something, like why they should reject the organized Communist army and why they shouldn't moderate their slogans just to gain the support of other nations.
The story unfolds as seen through David's eyes. This is his tale, and, like all epic journeys of the heart and spirit, it involves triumph, tragedy, love, passion, and pain. Torn between supporting the organized resistance and continuing to be a part of an isolated but autonomous militia, David makes the "safe" decision, then, to his dismay, learns the reason why Franco is winning the war -- the Stalinists are more interested in suppressing the real freedom fighters than opposing the fascists.
While in Spain, David falls in love with a Blanca (Rosana Pastor), a fiery Spaniard who has already paid a terrible price in the war. This relationship forms the film's emotional center, but, like everything else that David holds dear, it is endangered by his ambivalence about which revolutionary arm to support.
Loach directs with a deft hand, and Jim Alleln's script is filled with small, unpredictable turns. Violence is used sparingly but effectively, as when a substandard gun blows up in David's face while he's trying to teach townspeople how to use it. In LAND AND FREEDOM, death is given a face, and one scene late in the film underscores the real tragedy of what was, in Loach's words, "the revolution betrayed."
For the director, there's a relevance between what happened in 1936 Spain and what could happen today, and that's why he chooses to frame the story with David's granddaughter unraveling his story. Loach sees a creeping apathy enveloping Western society, and wonders whether the fires of idealism are dying or dead. As a wake-up call, LAND AND FREEDOM reminds us of the price of fighting for beliefs, and the greater price of being abandoned by supposed allies during that fight. Idealism can be a lonely, difficult road when action is required -- something that David, Blanca, and all the other members of the Republican Militia learn.
- James Berardinelli e-mail<EMAIL_ADDRESS>web: http://www.cybernex.net/~berardin
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
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Related links: index of all rec.arts.movies.reviews reviews


import logging
import torch
import torch.nn as nn
import torch.optim as optim
from torch.autograd import Variable
from torch.nn.utils import clip_grad_norm
logger = logging.getLogger('deepmatcher.optim')
[docs]class SoftNLLLoss(nn.NLLLoss):
"""A soft version of negative log likelihood loss with support for label smoothing.
Effectively equivalent to PyTorch's :class:`torch.nn.NLLLoss`, if `label_smoothing`
set to zero. While the numerical loss values will be different compared to
:class:`torch.nn.NLLLoss`, this loss results in the same gradients. This is because
the implementation uses :class:`torch.nn.KLDivLoss` to support multi-class label
smoothing.
Args:
label_smoothing (float):
The smoothing parameter :math:`epsilon` for label smoothing. For details on
label smoothing refer `this paper <https://arxiv.org/abs/1512.00567v1>`__.
weight (:class:`torch.Tensor`):
A 1D tensor of size equal to the number of classes. Specifies the manual
weight rescaling applied to each class. Useful in cases when there is severe
class imbalance in the training set.
num_classes (int):
The number of classes.
size_average (bool):
By default, the losses are averaged for each minibatch over observations **as
well as** over dimensions. However, if ``False`` the losses are instead
summed. This is a keyword only parameter.
"""
def __init__(self, label_smoothing=0, weight=None, num_classes=2, **kwargs):
super(SoftNLLLoss, self).__init__(**kwargs)
self.label_smoothing = label_smoothing
self.confidence = 1 - self.label_smoothing
self.num_classes = num_classes
self.register_buffer('weight', Variable(weight))
assert label_smoothing >= 0.0 and label_smoothing <= 1.0
self.criterion = nn.KLDivLoss(**kwargs)
def forward(self, input, target):
one_hot = torch.zeros_like(input)
one_hot.fill_(self.label_smoothing / (self.num_classes - 1))
one_hot.scatter_(1, target.unsqueeze(1).long(), self.confidence)
if self.weight is not None:
one_hot.mul_(self.weight)
return self.criterion(input, one_hot)
# This class is based on the Optimizer class in the ONMT-py project.
[docs]class Optimizer(object):
"""Controller class for optimization.
Mostly a thin wrapper for `optim`, but also useful for implementing learning rate
scheduling beyond what is currently available. Also implements necessary methods for
training RNNs such as grad manipulations.
Args:
method (string):
One of [sgd, adagrad, adadelta, adam].
lr (float):
Learning rate.
lr_decay (float):
Learning rate decay multiplier.
start_decay_at (int):
Epoch to start learning rate decay. If None, starts decay when the validation
accuracy stops improving. Defaults to 1.
beta1, beta2 (float):
Hyperarameters for adam.
adagrad_accum (float, optional):
Initialization hyperparameter for adagrad.
"""
def __init__(self,
method='adam',
lr=0.001,
max_grad_norm=5,
start_decay_at=1,
beta1=0.9,
beta2=0.999,
adagrad_accum=0.0,
lr_decay=0.8):
self.last_acc = None
self.lr = lr
self.original_lr = lr
self.max_grad_norm = max_grad_norm
self.method = method
self.lr_decay = lr_decay
self.start_decay_at = start_decay_at
self.start_decay = False
self._step = 0
self.betas = [beta1, beta2]
self.adagrad_accum = adagrad_accum
self.params = None
logger.info('Initial learning rate: {:0.3e}'.format(self.lr))
[docs] def set_parameters(self, params):
"""Sets the model parameters and initializes the base optimizer.
Args:
params:
Dictionary of named model parameters. Parameters that do not require
gradients will be filtered out for optimization.
"""
self.params = []
for k, p in params:
if p.requires_grad:
self.params.append(p)
if self.method == 'sgd':
self.base_optimizer = optim.SGD(self.params, lr=self.lr)
elif self.method == 'adagrad':
self.base_optimizer = optim.Adagrad(self.params, lr=self.lr)
for group in self.base_optimizer.param_groups:
for p in group['params']:
self.base_optimizer.state[p]['sum'] = self.base_optimizer\
.state[p]['sum'].fill_(self.adagrad_accum)
elif self.method == 'adadelta':
self.base_optimizer = optim.Adadelta(self.params, lr=self.lr)
elif self.method == 'adam':
self.base_optimizer = optim.Adam(
self.params, lr=self.lr, betas=self.betas, eps=1e-9)
else:
raise RuntimeError("Invalid optim method: " + self.method)
def _set_rate(self, lr):
for param_group in self.base_optimizer.param_groups:
param_group['lr'] = self.lr
[docs] def step(self):
"""Update the model parameters based on current gradients.
Optionally, will employ gradient clipping.
"""
self._step += 1
if self.max_grad_norm:
clip_grad_norm(self.params, self.max_grad_norm)
self.base_optimizer.step()
[docs] def update_learning_rate(self, acc, epoch):
"""Decay learning rate.
Decays lerning rate if val perf does not improve or we hit the `start_decay_at`
limit.
Args:
acc:
The accuracy score on the validation set.
epoch:
The current epoch number.
"""
if self.start_decay_at is not None and epoch >= self.start_decay_at:
self.start_decay = True
if self.last_acc is not None and acc < self.last_acc:
self.start_decay = True
if self.start_decay:
self.lr = self.lr * self.lr_decay
logger.info('Setting learning rate to {:0.3e} for next epoch'.format(self.lr))
self.last_acc = acc
self._set_rate(self.lr)


MISERY A film review by Mark R. Leeper Copyright 1990 Mark R. Leeper
Capsule review: Rob Reiner had a real coup casting unknown Kathy Bates as Annie Wilks in MISERY. But it wasn't good enough to save this from being his most unpleasant and least exceptional film. There are sparks of wit but they do not kindle much warmth. Rating; high 0 (-4 to +4).
Stephen King showed up as advertised at a World Fantasy Convention I attended in Ottawa. I have a review copy of CARRIE I found cheap in a used bookstore and I thought this would be a good opportunity to get it autographed. I had no idea the investment of time it would require. The limit was three books per person and even with that limit King could have easily spent twelve hours straight just autographing books for his fans. But the number was not so amazing as the fervor of some of his fans. Some fans scouted at the front of the line to find people who were holding fewer than three books and who could be coerced into getting someone else's book autographed. Now recognize, King is only a reasonably competent writer. But he is a celebrity and every celebrity seems to have a cult of admirers in which a fair percentage carry their adulation to the point of being nuisances. Martin Scorsese's KING OF COMEDY shows not too unrealistically the fervor of some fans, including King's.
That King knows the extremities of what fans will do and uses it as the basis of a book is hardly surprising. What is a little more surprising is that King would, knowingly or not, combine the idea with a plot that had previously been done on NIGHT GALLERY. In the "Marmalade Wine" episode a man, played by Robert Morse, takes refuge from a storm in the secluded house of a lonely surgeon, played by Rudy Vallee. The surgeon seems only too pleased to have a guest he can care for. The visitor finds himself drugged and wakes to the surgeon cheerfully informing him, "I've taken the liberty of amputating your feet. Have some oatmeal." (There are further plot parallels, but revealing them would be a MISERY spoiler.)
Well, there you have the basic plot of Rob Reiner's adaptation of the Stephen King novel MISERY. James Caan plays Paul Sheldon, author of eight melodramatic books about a heroine named Misery. He mangles himself in a car accident in a Colorado snowstorm and awakes to find himself in the overly loving care of his self-professed "Number One Fan," Annie Wilks. Kathy Bates plays Nurse Wilks, who refuses to share her patient with any hospital and instead cares for him attentively in her own home. Wilks takes the occasion to read the eighth book about Misery. When the Number One Fan finds out Sheldon has killed off Misery, the number two really hits the fan. Sheldon will be held a prisoner until he writes a novel resurrecting Misery. Wilks flashes from adulation to rage to depression. Bates's combination of winning child-like innocence and monstrous menace--perhaps not so far apart--is really what makes the film tick. Caan's flat performance goes almost unnoticed next to Bates. Richard Farnsworth and Frances Sternhagen as a husband and wife sheriff and deputy have some chemistry but not enough screen time really to show it.
It seems as if every popular lead actor in Hollywood will eventually be cast as "the good cop" in an action film and every director in Hollywood will eventually direct a Stephen King horror film. Maybe it only seems that way. But MISERY is certainly Rob Reiner's least remarkable film to date. It is hard to imagine that MISERY is from the same director who made has a very distinguished set of films including THE SURE THING and THE PRINCESS BRIDE. Reiner seems to have been gambling very heavily on Kathy Bates's performance to set this film apart and make it a Reiner film. Bates was good but not that good.
In the end MISERY is a very minor horror film not too different from DEAD OF WINTER or several others. My rating would be a high 0 on the -4 to +4 scale.
Mark R. Leeper att!mtgzy!leeper<EMAIL_ADDRESS>.
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


Seldom have I been as pleasantly surprised by a film as I was by The Matrix. Many science fiction films are marred by gratuitous special effects and a weak and illogical plot. The Matrix successfully avoids these pitfalls and delivers an exciting and well reasoned escapist thrill ride.
Keanu Reeves plays Neo, a computer hacker who is drawn into a group that has discovered an insidious manipulation of reality. He puts in a fine performance as the perplexed and overwhelmed lynchpin in what he discovers is a resistance movement led by Laurence Fishburne and abetted by Carrie-Anne. To say much more about the plot would give away too much, and the gradual revalation of what is going on is one of the pleasures of the film.
While there is a slightly cartoon-like air to some of the characters and sequences, the movie hangs together well and provides a sustained adrenaline rush. In fact, the directors have a background in the cartoon field and successfully adapt some of those metaphors, including zany cartoon-physics, to the movie domain.
As escapism goes, this film delivers a solid dose of thrills and a vicarious sense of invincibility. Like other escapist fare such as True Lies or any James Bond film, the film involves plenty of action-filled confrontations between the bad guys and our heros. Some aspects of the film are reminiscent of other sci-films such as Dark City or Alien, but in this case (unlike Dark City) several characters are well worked out and earn our empathy. This doesn't make the film a careful character study, but it does make it rich enough to assure that we care about the outcome. Equally important, the specifics of the plot are consisent with one another and textured with interesting embellishments. For example, like the dissapointing Johnny Mnemonic (which also starred Reeves) people can have information downloaded into their heads, but in this film it's an incidental detail kept vague enough to seem plausible. Finally, the plot has enough twists to for it keep us on wondering and captivated right to the end.
The graphics and sound effects are excellent, but there isn't a sense that the film was constructed simply as a vehicle to deliver them -- despite their overwhelming technical quality they support the plot rather than distract from it. Despite the fact that, or perhaps because, I teach computer graphics I am usually not impressed by special effects in their own right. In this film several sequences provoked me to tell myself "I've got to see that again" as soon as they finished. Some of the tricks involved morph-like techniques using footage supposedly shot at almost 12000 frames per second (yes, twelve thousand frames), so even for the technically jaded it's pretty impressive. Together the effects span creatures akin to those of H.R. Giger and battles that would be at home in a Batman flick. The combination leads to a strange sense of unreality and unpredictability that is very comprelling. All in all The Matrix is a great ride: intelligent enough to be satisfying, disturbing enough to be provocative, thoroughly exciting and a technical tour de force.
Summary comments
Overall rating 4.5/5 Genre keys: action, science fiction, fantasy, futuristic Warnings: several grotesque scenes and images, extensive violence. I you like these, consider this film: Dark City, Terminator, Blade Runner, Batman, True Lies, James Bond, Alien, Johnny Mnemonic
- Gregory Dudek
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


5. Theory¶
The methodology details are available in Yang [Yan86]. Usage differs here only in that rather than using precomputed matrices for an assumed variation in structural properties, a polynomial representation is assumed that allows for more flexible usage and exact polynomial integration.
Nomenclature
| symbol | definition |
|---|---|
| \(K\) | stiffness matrix |
| \(M\) | inertia matrix or moment |
| \(N\) | incremental stiffness matrix |
| \(q\) | displacement vector |
| \(F\) | force vector |
| \(\eta\) | nondimensional coordinate along element |
| \(L\) | length of element |
| \(\rho\) | mass density |
| \(m\) | mass |
| \(A\) | cross-sectional area |
| \(I\) | area moment of inertia |
| \(J\) | polar area moment of inertia |
| \(E\) | modulus of elasticity |
| \(G\) | shear modulus of elasticity |
| \(f\) | shape function |
| \(v\) | velocity vector |
| \(\omega\) | angular velocity vector |
| \(V\) | shear force |
5.1. Finite Element Matrices¶
The governing equation of the structure is given by
and for buckling analysis
The finite element matrices are computed from the structural properties of the beam. As mentioned earlier, pBEAM uses a polynomial representation of the structural properties. All polynomials are defined across an element in normalized coordinates (\(\eta\)). For example, the moment of inertia across an element may vary quadratically as \(I_2 \eta^2 + I_1 \eta + I_0\). Computation of the finite element matrices are described below, where all derivatives are with respect to \(\eta\).
bending stiffness matrix:
bending inertia matrix:
incremental stiffness matrix:
axial stiffness matrix:
axial inertia matrix:
Torsional matrices are computed similarly to the axial matrices, except \(EA(\eta)\) is replaced with \(GJ(\eta)\) and \(\rho A(\eta)\) is replaced with \(\rho J(\eta)\). Note that although the same notation was used, the axial shape functions are not the same as those for bending. Because section properties are defined as polynomials, each of these derivatives and integrals are done analytically.
5.2. Top Mass¶
pBEAM assumes that the top of the beam is a free end, but that a mass may exist on top of the beam. This is useful for modeling structures such as an RNA (rotor/nacelle/assembly) on top of a wind turbine tower. The top mass is assumed to be a rigid body with respect to the main beam and thus, does not contribute to the stiffness matrix. It does, however, affect the inertial loading and external forces as discussed below. The top mass can be offset from the beam top by some vector \(\rho\). Although idealized as a point mass, its moment of inertia matrix can also be specified. The tip is both translating and rotating, so the velocity of the tip mass in an inertial reference frame is given by (with reference to the variables in Figure 1):
where the second time derivative is taken in the rotating reference frame. The kinetic energy of the mass is then
Using the Lagrangian one can show that
After taking the derivatives, the inertial matrix contribution from the top mass is given by
where \(q = [x,\theta_x,y,\theta_y,z,\theta_z]\). Note that the current implementation assumes moments of inertia are given about the beam tip, though moments of inertia about its own center of mass are easily translated to the beam tip via the generalized parallel axis theorem.
Finally, the top mass may also apply loads (forces and moments) to the beam. These are simply added to the force vector at the tip of the structure. It is assumed that the weight of the top mass was already added to the force vector.
5.3. Base¶
The bottom of the beam is assumed to be constrained by linear springs in all 6 coordinate directions. Any of these springs can be chosen to be infinitely stiff, or in other words, rigidly constrained in that direction. This simply adds a diagonal stiffness matrix at the bottom of the beam, and directions that are rigid are removed from the structural matrices.
5.4. Loads¶
Distributed loads, point forces, and point moments can be specified anywhere in the structure. Distributed loads are specified as polynomials across the elements. For distributed loads in the lateral directions, work equivalent loads are computed at the nodes. Axially distributed loads are integrated starting from the free end of the beam to compute the polynomial variation in axial force.
5.5. Axial Stress¶
The computation of axial stress is separate from the finite element analysis, but is included in this code for convenience. First, the forces and moments must be computed along the beam. For example the shear force and moments are evaluated as
where \(F_{pt}\) and \(M_{pt}\) are external point forces and moments along the structure. Note that the integration is actually an indefinite integral, but limits are noted to signify that integration must be done from the tip where forces/moments are known. Finally, the stress is computed as (or use \(E(x, y) = 1\) to compute strain):
Bibliography
| [Han08] | Martin O. L. Hansen. Aerodynamics of Wind Turbines. Earthscan, 2nd edition, 2008. |
| [Yan86] | T. Y. Yang. Finite Element Structural Analysis. Prentice Hall College Div, 1986. |


Class Base
Class Base
Direct known subclasses
LeadCommerce\Shopware\SDK\Query\AddressQuery, LeadCommerce\Shopware\SDK\Query\ArticleQuery, LeadCommerce\Shopware\SDK\Query\OrdersQuery, LeadCommerce\Shopware\SDK\Query\PropertyGroupsQuery, LeadCommerce\Shopware\SDK\Query\ShopsQuery, LeadCommerce\Shopware\SDK\Query\TranslationsQuery, LeadCommerce\Shopware\SDK\Query\VariantsQuery, LeadCommerce\Shopware\SDK\Query\VersionQuery, LeadCommerce\Shopware\SDK\Query\CacheQuery, LeadCommerce\Shopware\SDK\Query\CategoriesQuery, LeadCommerce\Shopware\SDK\Query\CountriesQuery, LeadCommerce\Shopware\SDK\Query\CustomerGroupsQuery, LeadCommerce\Shopware\SDK\Query\CustomerQuery, LeadCommerce\Shopware\SDK\Query\GenerateArticleImagesQuery, LeadCommerce\Shopware\SDK\Query\ManufacturersQuery, LeadCommerce\Shopware\SDK\Query\MediaQuery
Abstract
Namespace: LeadCommerce\Shopware\SDK\Query
Copyright: 2016 LeadCommerce<EMAIL_ADDRESS>Author: Alexander Mahrt<EMAIL_ADDRESS>Located at LeadCommerce/Shopware/SDK/Query/Base.php
Namespace: LeadCommerce\Shopware\SDK\Query
Copyright: 2016 LeadCommerce<EMAIL_ADDRESS>Author: Alexander Mahrt<EMAIL_ADDRESS>Located at LeadCommerce/Shopware/SDK/Query/Base.php
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public
array|mixed
|
|
public
array|mixed
|
|
protected
mixed|Psr\Http\Message\ResponseInterface
|
|
protected
false|stdClass
|
protected
|
$client
|
|
protected
string
|
$queryPath
|
|
protected
array
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$methodsAllowed
|
#
[
Constants::METHOD_CREATE,
Constants::METHOD_GET,
Constants::METHOD_GET_BATCH,
Constants::METHOD_UPDATE,
Constants::METHOD_UPDATE_BATCH,
Constants::METHOD_DELETE,
Constants::METHOD_DELETE_BATCH,
]
|


Ping Pong
Rules
Numbers divisible by 3 are replaced with "PING"
Numbers divisible by 5 are replaced with "PONG"
Numbers divisible by 15 are replaced with "PING-PONG"
Enter a Number:
Play


Connacht strengthen starting lineup for meeting with Toulouse
Bundee Aki remains out of the team but Quinn Roux has come back in to start
Heineken Champions Cup: Toulouse v Connacht
Kick-off: 1pm (Irish time), Saturday. Venue: Stade Ernest Wallon. How to follow: The Irish Times liveblog will begin at 12.30pm. On TV: BT Sport.
Andy Friend has restored some of his first choice players for Saturday’s meeting with Toulouse after coming through with a victory against Montpellier last week despite missing 16 players.
Bundee Aki remains out of the matchday squad but Quinn Roux has come back in to captain the side in the absence of Jarrad Butler and he will line up alongside Ultan Dillane in the second row after the latter came through the Montpellier game unscathed following a recent back injury.
In the front row there are two changes, with Dave Heffernan coming in at hooker and Peter McCabe at loosehead. Dominic Robertson-McCoy is retained at tighthead with Finlay Bealham named on the bench after a two week layoff with injury.
In the back row, the versatile Eoghan Masterson comes in at blindside with Colby Fainga’a at openside and Robin Copeland starting again at number 8.
There is a reshuffle in the backline, with Matt Healy at full back in a back three that sees Kyle Godwin and John Porch on the wings, while Tom Farrell comes into the midfield alongside Tom Daly.
Caolin Blade will make his 100th appearance for the province when he forms the halfback partnership with Conor Fitzgerald.
Connacht: Matt Healy; John Porch, Tom Farrell, Tom Daly, Kyle Godwin; Conor Fitzgerald, Caolin Blade; Peter McCabe, Dave Heffernan, Dominic Robertson-McCoy; Ultan Dillane, Quinn Roux; Eoghan Masterson, Colby Fainga’a, Robin Copeland.
Replacements: Shane Delahunt, Matthew Burke, Finlay Bealham, Joe Maksymiw, Paul Boyle, Angus Lloyd, Jack Carty, Peter Robb.


The registration deadline was the {{reg_deadline_room|date:"d.m.Y"}}. Please contact us by email if you still want to register for a developer room. However, we may not be able to accept you this year.
{% endif %}
{% crispy form form.helper%}
{% endblock %}


Lane McIntosh
Ph.D. Student, Neurosciences
Stanford University   (2012 - present)
M.A., Mathematics
University of Hawaii   (2010 - 2012)
B.A., Computational Neuroscience, Biological Sciences
The University of Chicago   (2006 - 2010)
Office: Room D209, Fairchild Research Building
Voice:<PHONE_NUMBER>
Email: lmcintosh (at) stanford.edu
In a fraction of a second our brain captures information about our world and effortlessly extracts meaning from this sensory information. What exactly are the computations these neural circuits are performing? Are there general principles for understanding how neural systems are processing information, given the input statistics for instance? And what normative statements can we make about what these neural systems
should be doing? In addition to just really wanting to know the answers, I believe that the answers to these questions will inform how we should be building artificially intelligent systems like deep learning networks.


Try out our Premium Member services: Virtual Legal Assistant, Query Alert Service and an ad-free experience. Free for one month and pay only if you like it.
CUSTOMS, EXCISE & SERVICE TAX APPELLATE TRIBUNAL SOUTH ZONAL BENCH BANGALORE Appeal(s) Involved: E/27434/2013-SM, E/27435/2013-SM, E/27436/2013-SM [Arising out of Order-in-Appeal No. 231-234/2013 CE dated 10/05/2013 passed by Commissioner of Central Excise , (Appeals-I) BANGALORE] For approval and signature: HON'BLE SHRI S.S GARG, JUDICIAL MEMBER 1 Whether Press Reporters may be allowed to see the Order for publication as per Rule 27 of the CESTAT (Procedure) Rules, 1982? No 2 Whether it should be released under Rule 27 of the CESTAT (Procedure) Rules, 1982 for publication in any authoritative report or not? Yes 3 Whether Their Lordships wish to see the fair copy of the Order? Seen 4 Whether Order is to be circulated to the Departmental authorities? Yes M/s Koeleman India (P) Ltd No. 98, NH-4, Narasapur Bypass, Kolar Taluk & Distt Appellant(s) Versus Commissioner of Central Excise ,Customs and Service Tax BANGALORE-I POST BOX NO 5400...CR BUILDINGS, BANGALORE, - 560001 KARNATAKA Respondent(s)
Appearance:
Mr. G.P. Leonce, Consultant For the Appellant Mr. Pakshi Rajan A.R.
For the Respondent Date of Hearing: 15/09/2016 Date of Decision: 15/09/2016 CORAM:
HON'BLE SHRI S.S GARG, JUDICIAL MEMBER Final Order No. 20827-20829/ 2016 Per : S.S GARG All these three appeals are directed against impugned order-in-appeal No. 231-234/2013 dated 10.05.2013. Since all the three appeals are directed against a common impugned order, they are disposed of by this common order.
2. The issue involved in these three appeals is whether the appellant is entitled for refund of CENVAT credit of service tax paid on Banking charges, installation of effluent treatment plant and insurance service.
3. Lower authorities have denied the refund claim on the ground that these services do not have any nexus with the manufacturing activity of the appellant.
4. Heard both sides and perused the records.
5. Learned counsel for the appellant submits that in respect of bank charges the issue is squarely covered in their favour by the following judgements. i. Wipro Ltd Vs UOI [2013(29)STR 545 (Del) ii. CCE Surat-II Vs Vishal Malleables Ltd [2013(287)ELT 234 (Tri-Ahmd) iii. Meghmani Dyes & Intermediates Ltd Vs CCE Ahmadabad [2011(22) STR 54(Tri-Ahmd). As regards effluent treatment plant, learned counsel for the appellant submits that it is mandatory to have the effluent treatment plant under the Pollution Control Act and it is an essential input service. He further submits that the appellant is not pressing for insurance service.
6. Learned A.R. reiterated the findings in the impugned order.
7. On a careful consideration of the submissions made by both sides and on perusal of the records, I find that as regards banking charges, the issue is squarely covered in favour of the appellant by the judgements cited supra. As regards the effluent treatment plant, since it is mandatory to have the effluent treatment plant under Pollution Control Act, I hold that it is an essential input service. Accordingly refund claim in respect of these two service is allowed. As the appellant is not pressing for refund in respect of insurance service, the same is not allowed.
8. All the three appeals are disposed of in above terms.
(Order pronounced in open court) S.S GARG JUDICIAL MEMBER pnr...
2


--- layout: archive title: Zulip Chat Archive permalink: /stream/113488-general/topic/bors.html ---
Am I the only one who finds this a bit creepy:
No.
I was going to comment on it earlier, but as far as I can tell it's the picture for the bors github user and so we couldn't change it.
What is the creepy part? The unnecessarily large heading? The name of the bot? The logo?
For me mainly the logo, I don't know what bors is.
Other than this bot, I mean
I always thought it's a Russian name, but I guess I mixed it up with Boris. This is the official explanation for the name:
It’s a reference to a 1953 sci-fi novel 17 about the robot, Bors, that ran the world’s last surviving government.
Now that you mentioned it, the font is unnecessarily large as well
The bors-ng
project is reasonably active. You could submit a PR to change the font size.
If anybody wants to test changes on a live bors instance, I've set up a personal bors here: https://borslein.herokuapp.com/ This is deployed from by bors-ng fork, feel free to submit a PR if you want to test something: https://github.com/gebner/bors-ng
borslein.png
An alternative approach is for us all to start using that size font, so it's less obvious that bors is being so loud.
PR fired: https://github.com/bors-ng/bors-ng/pull/930 Here's an example of the proposed comment style: https://github.com/gebner/mathlib/pull/3#issuecomment-612657757
Bryan Gin-ge Chen said:
Sadly, Zulip doesn't increase the font size, it just bolds and underlines.
@Gabriel Ebner's PR to bors was merged: bors is much calmer now.
thanks @Gabriel Ebner !
Thanks! We still get the creepy eye. Can we choose that?
The octopus was much funnier :-)
The octopus is the bors instance I've set up myself (to test my bors PRs). It is possible to switch mathlib over to it if we want, we'd just need to remove the bors app and add the borslein app.
Would it be slower? Does it use your own machine?
No, it's hosted on the free tier of heroku (a cloud hosting service). Sometimes it takes a few seconds to load the https://borslein.herokuapp.com page, but I don't think this causes any problems for bors r+
comments and such.
Then the only downside is it would display the octopus for every bors message, not only good news, right?
Maybe it can randomly show either the octopus or an upside down octopus to compensate for that?
Errm, yes. The picture you see next to the bors comments is the logo of the bot. Every bot can only have one logo. You can choose between a friendly octopus or a government robot eye.
Then we need a more neutral logo.
Does it have to be an emoji or can it be any picture?
what's wrong with the government robot eye?
It's creepy.
it's your friendly neighborhood bors
https://en.wikipedia.org/wiki/Bors
https://en.wikipedia.org/wiki/The_Last_of_the_Masters
Gabriel Ebner said:
But that is their Bors.... maybe you can use the other Bors as inspiration?
How about :guard: ? It's less creepy, but it's still the one who decides whether you'll get to the master
or not...
I really don't actually care about the creepy eye that much. I do think it's good that it's stopped shouting, because its messages were easy enough to spot because of the creepy eye, but I hope that some passing silly comment by me is not actually the sole reason that people are pouring their time into turning the creepy eye into some other random pic.
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


I do rhyme once in a while, in portuguese - my mother tongue - under the alias of DEL. This schizophrenic fictional character also has over 20 heteronyms, some of those (e.g. zer-0, delvispresley, g-elo, TΩDΩ-PΩDEλΩSΩ, etc.) have realeased some tracks already.
ALBUM
ZGAXDEL - Directrizes e Métodos de Transcendência
Lines from 2008 up to 2018 get hyperdimensionally rebuilt into the ultimate origami by DEL while ZGA brings all the genres into a supernova darwinian competition in a spheric battlefield of lost clouds of electrons.
- EIS EU, EX-DEUS
- SOLIPSISMO A DOIS
- COLUNA VERTEBRAL
- RA.RAR
- PERCEPTRÃO
- ENSAIO DE AUTOPARASITOLOGIA
- KURTE GODEL
- ALÓTROPO
- PSICONAUTA (feat. zer-0)
- SOLIPDOIS A SISMO (REMIX)
- GRAVIDADE MAIOR (feat. Momentum II)
- TU A VIRES TER COMIGO OU EU A IR TER CONTIGO
Raps and lyrics by DEL
Beats, production, mastering, 1st verses and chorus on track 2, 2nd verse and chorus on track 10, adlibs on track 7 by Z G A
2nd verse on track 9 by zer-0
Piano and adlib on track 11 by Momemtum II
All videos relating to this release were produced by TΩDΩ-PΩDEλΩSΩ. You can see all of them here:
EPs
delvispresley এবং kaoru starkid ≐ CYBERRAP - Vol. 1 "Memórias de 2103"
This cyber-, cypher- and biopunk inspired EP, released on 11/11/17, contains 7 unreleased tracks from 2011-13 that were remixed by LeVert (in 2017), per order:
- Um Ensaio em Orch OR de 42 microtúbulos
- CIRC8S
- em redes neuronais (feat. Dusk)
- da casca ao recipiente
- aperta-me
- isto sim, são barras
- IC8
All poetry and audio recording by: João Coelho (2011-13) as delvispresley, with exception of Dusk’s part (by Ricardo Alves, 2011).
All instrumentals by: Carlos André Fonseca (2011) as kaoru starkid (all made in 2011)
All mixed by: José Pinto (2017)
g-elo ᑕᓪᕙᓗ kaoru starkid ⤕ da qaniɣ à aniɣu
This EP inspired by my erasmus year in Iceland (2012-13), released on September (2017), contains 4 songs, per order:
- INTR0ºC
- a noite encobre o gavial
- ß-endorfina ≠ Μνημοσύνη
- ᐃᓄᐃᑦ, ou “As Pessoas”
All poetry and audio recording by: João Coelho as g-elo (2017)
All instrumentals by: Carlos André Fonseca as kaoru starkid (all made in 2011)
All mixed by: José Guilherme Almeida
Singles (2018)
Palarvas, Casulos e Bourbonletras
Poetry: João Coelho as DEL, José Pinto as LeVert
Instrumental: José Pinto
NAUTILUS
Poetry: João Coelho as g-elo and DEL
Instrumental: Miki Mallo (recorded in 2014)
DE NETO A NOVELO
Poetry: João Coelho as DEL (2010, recorded in 2018)
Instrumental: Jorge André Silva Fernandes (2008)
Singles (2018)
Διογένης, ou "Diogenes"
Poetry: João Coelho as *DEL
Drums and Piano: Carlos André Fonseca
Synths and Irish Bouzouki: João Pedro Amorim
Mixed by: José Guilherme Almeida
αxioma do sintoμa
Poetry: João Coelho as delvispresley
Instrumental: Carlos André Fonseca as kaoru starkid (in 2011)
Mixed by: José Guilherme Almeida
0/10
Poetry: João Coelho as DEL
Instrumental: José Pinto


{% extends "account/base.html" %} {% load i18n %} {% block head_title %}{% trans "Account Inactive" %}{% endblock %} {% block jumbotron %}
Sorry, your account is not active, please contact support if you feel that this is an error on our part.
{% trans "This account is inactive." %}


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Protocol-Independent Secrecy Results
date: april 2002
author: Frederic Blanqui
email<EMAIL_ADDRESS>webpage:
The current development is built above the HOL (Higher-Order Logic)
Isabelle theory and the formalization of protocols introduced by Larry Paulson. More details are
in his paper
The Inductive approach
to verifying cryptographic protocols (J. Computer Security 6, pages
85-128, 1998).
This directory contains a number of files:
- Extensions.thy contains extensions of Larry Paulson's files with many useful
lemmas.
- Analz contains an important theorem about the decomposition of analz
between pparts (pairs) and kparts (messages that are not pairs).
- Guard contains the protocol-independent secrecy theorem for nonces.
- GuardK is the same for keys.
- Guard_Public extends Guard and GuardK for public-key protocols.
- Guard_Shared extends Guard and GuardK for symmetric-key protocols.
- List_Msg contains definitions on lists (inside messages).
- P1 contains the definition of the protocol P1 and the proof of its
properties (strong forward integrity, insertion resilience, truncation
resilience, data confidentiality and non-repudiability)
- P2 is the same for the protocol P2
- NS_Public is for Needham-Schroeder-Lowe
- OtwayRees is for Otway-Rees
- Yahalom is for Yahalom
- Proto contains a more precise formalization of protocols with rules
and a protocol-independent theorem for proving guardness from a preservation
property. It also contains the proofs for Needham-Schroeder as an example.
Last modified 20 August 2002
Frederic Blanqui,
blanqui@lri.fr


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