To the Editor: Campos et al. ( 1 ) reported a Zika virus (ZIKV) outbreak in Brazil in 2015. This response adds complementary data related to the propagation of this mosquitoborne disease.
To date, the largest ZIKV outbreak occurred in French Polynesia during 2013–2014. The outbreak spread to other Pacific Islands: New Caledonia, Cook Islands, Easter Island, Vanuatu, and Solomon Islands ( 2 ). The origin of introduction of ZIKV to French Polynesia remains unknown; introduction of ZIKV in New Caledonia was after imported cases from French Polynesia ( 3 ); introduction to Easter Island was suspected to have occurred among attendees of the annual Tapati festival, including those from French Polynesia ( 4 ). The virus was likely transmitted to New Caledonia, Cook Islands, and Easter Island when infected travelers from French Polynesia were bitten by vectors while on the islands. Frequent travel between New Caledonia and Vanuatu is likely related to the introduction of ZIKV in the latter country.
Phylogenetic studies showed that the closest strain to the one that emerged in Brazil was isolated from samples from case-patients in French Polynesia and spread among the Pacific Islands ( 1 ); both strains belong to the Asian lineage. It has been assumed that ZIKV was introduced to Brazil during a World Cup soccer competition in 2014 ( 5 ), although no ZIKV-endemic Pacific countries competed. However, in August 2014, the Va’a World Sprint Championship canoe race was held in Rio de Janeiro, Brazil. Four Pacific countries (French Polynesia, New Caledonia, Cook Islands, and Easter Island) in which ZIKV circulated during 2014 had teams engaged in this contest in several categories. These data combined with phylogenetic studies by Zanluca et al. ( 5 ) suggest that ZIKV introduction in Brazil may have been a consequence of this event. In areas where potential vectors are present, vigilance should be enhanced to detect imported cases of ZIKV, and laboratory capacity to confirm suspected ZIKV infections should be strengthened.
Suggested citation for this article: Musso D. Zika virus transmission from French Polynesia to Brazil [letter]. Emerg Infect Dis. 2015 Oct [ date cited].


This is the directory on your computer that games will install into.
{{ formModel.game_install_dir }}
If you have more than this number, downloads will be queued up.
An extraction is when the game is unpacked and installed after downloading.
If you have more than this number, extractions will be queued up.
Should we pause all game installs and updates when you're playing a game?


@main(title="whereuat | team") {
@teammate("Julius Alexander IV", "Backend & Android dev, Scala, Java, Clojure", "Godspeed You! Black Emperor, Functional Programming, Racquetball, Kurt Vonnegut", "julius.jpg") @teammate("Peter Kang", "Backend dev, Scala, Java", "Just Dance 4, amateur astronomy, Chrome Sparks, Pokemon Puzzle League, teaching math", "peter.jpg") @teammate("Spencer Whitehead", "Android dev, Java", "Goalie Mask, booty, Artificial Intelligence Research, Detroit Red Wings", "spencer.jpg") @teammate("Raymond Jacobson", "iOS dev, Design, Swift", "Traveling, DSLR, Age of Empires II, Tycho, Natural Language Processing, Vinyl", "ray.jpg") }


Seperating Collision & Rendering
The first thing we need to do in order to add depth to our game is to seperate the collision rectangle of characters and tiles from their rendering. This will give us the unsorted illusion of depth. By the end of this chapter we want to achieve this effect (Note how links head is above the tile):
New Project
Let's make a new project, call it DepthBase and get this project up to par with the LimitedScrolling section of the writeup. We're going to work from here.
Character
We're going to start by changing the scrolling behaviour of the character class. Starting with the character is nice, we get the effects of it applied to both the player character and enemy character! We're only going to add depth on the Y axis for now, it's rare to see depth on the X axis.
We are going to hard code the height of the character to some constant number (In this example 20px). Whenever the corners or bounding rectangle of the character is requested we're going to change the return to have 20 hard coded to it. Then we're going to change the render function, we're going to change it to render the sprite at Position.Y - 20 instead of Position.Y.
These changes will cause a 20px gap at the top of our characters. This part of the sprite will still be drawn, but it won't be taken into collision calculations. I made a graphic atempting to describe what we will be doing:
Debug Rendering
Before we start coding anything, let's make our lives easyer by adding a little debug indicator to the Character
class. At the end of the Render function, add this bit of code:
// Get a 3x3 rectangle, centered on the top left pixel
Rectangle positionLocator = new Rectangle((int)Position.X - 1, (int)Position.Y - 1, 3, 3);
// Apply camera offset
positionLocator.X -= (int)offsetPosition.X;
positionLocator.Y -= (int)offsetPosition.Y;
// Draw indicator
GraphicsManager.Instance.DrawRect(positionLocator, Color.Yellow);
This should draw a 3x3 yellow rectangle centered at the top left pixel of the character. If you run your game you should see this:
Applying Depth
First, we have to add a new member variable to the Character
class. Make it a protected float and call it Height
. Set it to -1 by default. If the new variable is less than 0 we will not apply the depth effect to the character, if it is greater than 0 we will apply a depth effect.
Next, change the constructor of character, it should now take in a third argument, a float called height. Set the member variable accordingly. Since we changed the constructor, we need to change where the constructor gets called. Find the following code in both PlayerCharacter
and EnemyCharacter
:
: base(spritePath, pos) {
In PlayerCharacter
pass 20 as the third argument, in EnemyCharacter
pass -1 as the third argument. By using constants as the last argument of the base constructor we can avoid changing the constructor of PlayerCharacter
and EnemyCharacter
. Needless to say, the player will have a depth effect, while the enemy will not.
Change the Rect getter in the Character
class. If the new Height
variable is >= 0, set the returned rectangles height to the varaible.
Change the Corners getter. Right now it uses this bit of code to add height to corners SpriteSources[currentSprite][currentFrame].Height
, if the new Height
variable is >= 0, use the Height
variable, if it's less than 0 keep using what was already there.
Finally, change the Render function. After subtracting offsetPosition
from renderPosition
, if the new Height
variable is >= 0 find the height difference of the frame height and the hard coded height:
int difference = SpriteSources[currentSprite][currentFrame].Height - (int)Height;
and subtract it from from renderPosition.Y
. That should do it. Run the game and you should be able to walk up to walls and overlap them a bit. Links head should be above the yellow debug indicator. our game should look like this:
Notice how the moblins yellow indicator pixel is at his top left, while link's is slightly below his head. Also, links head slightly overlaps the obstacle. This is what we expected.
Tiles
The character having depth is awesome, but we're going to want the tiles to have depth too! Unlike character however we always know the height of a tile, it's 30! Because we already know the height of the tile, all we need to change is the Render
function in Tile.cs.
This is what the current tile render function looks like (I've added comments to help readability):
public void Render(PointF offsetPosition) {
// Find the world render position of this tile
Point renderPos = new Point(WorldPosition.X, WorldPosition.Y);
// Apply scale to tile offset
renderPos.X = (int)(Scale * renderPos.X);
renderPos.Y = (int)(Scale * renderPos.Y);
// Move the tile into camera space
renderPos.X -= (int)offsetPosition.X;
renderPos.Y -= (int)offsetPosition.Y;
// Draw the tile
TextureManager.Instance.Draw(Sprite, renderPos, Scale, Source);
}
After moving the tile into camera space, make a new rectangle, call it renderRect and copy Source into is, then use this new renderRect to draw instead of Source (Change last argument). You can copy one rect into another with only two arguments like so:
Rectangle renderRect = new Rectangle(Source.Location, Source.Size);
After creating renderRect, check it's height. If renderRect.Height is not equal to 30 we will want to offset the tile render position.
To offset the render position, first find the heightDifference
by subtracting 30 from renderRect.Height, i suggest storing this in a variable. Then, subtract heightDifference
from renderRect.Y
.
That's it! Tiles now have the same depth support that the character does. We will not be able to test this right now for two resons. First, we don't have any tiles that are taler than 30 pixels.
Second, because we draw all the tiles first, then the character on top, we would never see the character behind a tile. We're going to fix this in the next section.


Implements the finger-proxy algorithm for computing interaction forces between a point force device and meshes. More...
#include <CProxyPointForceAlgo.h>
Public Member Functions | |
| cProxyPointForceAlgo () | |
| Constructor of cProxyPointForceAlgo. | |
| virtual | ~cProxyPointForceAlgo () |
| Destructor of cProxyPointForceAlgo. | |
| void | initialize (cWorld *a_world, const cVector3d &a_initialGlobalPosition) |
| Initialize the algorithm. | |
| void | reset () |
| Reset the algorithm. Set proxy position to device position. | |
| virtual cVector3d | computeForces (const cVector3d &a_toolPos, const cVector3d &a_toolVel) |
| Calculate interaction forces between device and meshes. | |
| void | setProxyRadius (const double &a_radius) |
| Set radius of proxy. | |
| double | getProxyRadius () const |
| Read radius of proxy. | |
| cVector3d | getProxyGlobalPosition () const |
| Get last computed position of proxy in world coordinates. | |
| void | setProxyGlobalPosition (const cVector3d &a_position) |
| Set position of proxy in world coordinates. | |
| cVector3d | getDeviceGlobalPosition () const |
| Get last specified position of device in world coordinates. | |
| cVector3d | getForce () |
| Get last computed force vector in world coordinates. | |
| cVector3d | getNormalForce () |
| Return most recently calculated normal force. | |
| cVector3d | getTangentialForce () |
| Return most recently calculated tangential force. | |
| int | getNumContacts () |
| Return the number of contacts (0, 1, 2 or 3):. | |
| void | setEpsilonBaseValue (double a_value) |
| Set epsilon base value. | |
| double | getEpsilonBaseValue () |
| Read current epsilon value. | |
Public Attributes | |
| cCollisionEvent * | m_contactPoint0 |
| Information about collision point 0. Call getNumContacts() to see if valid. | |
| cCollisionEvent * | m_contactPoint1 |
| Information about collision point 1. Call getNumContacts() to see if valid. | |
| cCollisionEvent * | m_contactPoint2 |
| Information about collision point 2. Call getNumContacts() to see if valid. | |
| bool | m_useFriction |
| Use any friction algorithm? | |
| bool | m_useDynamicProxy |
| Use the dynamic proxy algorithm to deal with mobile objects? | |
| bool | m_useForceShading |
| Use force shading. | |
| double | m_frictionDynHysteresisMultiplier |
| double | m_forceShadingAngleThreshold |
| Maximum force shading angle (radians) threshold between normals of triangle. | |
| cCollisionSettings | m_collisionSettings |
| Collision cettings. | |
Protected Member Functions | |
| virtual bool | goalAchieved (const cVector3d &a_proxy, const cVector3d &a_goal) const |
| Test whether the proxy has reached the goal point. | |
| virtual void | computeNextBestProxyPosition (const cVector3d &a_goal) |
| Compute the next goal position of the proxy. | |
| virtual void | testFrictionAndMoveProxy (const cVector3d &a_goal, const cVector3d &a_proxy, cVector3d &a_normal, cGenericObject *a_parent) |
| Attempt to move the proxy, subject to friction constraints. | |
| virtual void | updateForce () |
| Compute force to apply to device. | |
| bool | computeNextProxyPositionWithContraints0 (const cVector3d &a_goalGlobalPos) |
| Implementation of the proxy algorithm - constraint 0. | |
| bool | computeNextProxyPositionWithContraints1 (const cVector3d &a_goalGlobalPos) |
| Implementation of the proxy algorithm - constraint 1. | |
| bool | computeNextProxyPositionWithContraints2 (const cVector3d &a_goalGlobalPos) |
| Implementation of the proxy algorithm - constraint 2. | |
Protected Attributes | |
| cVector3d | m_proxyGlobalPos |
| Global position of the proxy. | |
| cVector3d | m_deviceGlobalPos |
| Global position of device. | |
| cVector3d | m_lastGlobalForce |
| Last computed force (in global coordinate frame). | |
| cVector3d | m_nextBestProxyGlobalPos |
| Next best position for the proxy (in global coordinate frame). | |
| bool | m_slipping |
| Are we currently in a "slip friction" state? | |
| cVector3d | m_normalForce |
| Normal force. | |
| cVector3d | m_tangentialForce |
| Tangential force. | |
| unsigned int | m_numContacts |
| Number of contacts between proxy and triangles (0, 1, 2 or 3). | |
| double | m_radius |
| Radius of the proxy. | |
| cCollisionRecorder | m_collisionRecorderConstraint0 |
| Collision detection recorder for searching first constraint. | |
| cCollisionRecorder | m_collisionRecorderConstraint1 |
| Collision detection recorder for searching second constraint. | |
| cCollisionRecorder | m_collisionRecorderConstraint2 |
| Collision detection recorder for searching third constraint. | |
| double | m_epsilonInitialValue |
| epsilon value - used for handling numerical limits. | |
| double | m_epsilon |
| epsilon value - used for handling numerical limits. | |
| double | m_epsilonCollisionDetection |
| epsilon value - used for handling numerical limits. | |
| double | m_epsilonBaseValue |
| epsilon value - used for handling numerical limits. | |
| double | m_epsilonMinimalValue |
| epsilon value - used for handling numerical limits. | |
| unsigned int | m_algoCounter |
| Value of state machine. |
Implements the finger-proxy algorithm for computing interaction forces between a point force device and meshes.
| cVector3d cProxyPointForceAlgo::computeForces | ( | const cVector3d & | a_toolPos, | |
| const cVector3d & | a_toolVel | |||
| ) | [virtual] |
Calculate interaction forces between device and meshes.
This method computes the force to add to the device due to any collisions with meshes by calling computeNextBestProxyPosition() to update the proxy location and then computeForce() to calculate a force vector based on the proxy location.
| a_toolPos | New position of tool | |
| a_toolVel | New velocity of tool |
Reimplemented from cGenericPointForceAlgo.
| void cProxyPointForceAlgo::computeNextBestProxyPosition | ( | const cVector3d & | a_goal | ) | [protected, virtual] |
Compute the next goal position of the proxy.
Given the new position of the device and considering the current position of the proxy, this function attempts to move the proxy towards the device position (the goal). If its path is blocked by an obstacle (e.g., a triangle in a mesh), the proxy is moved to this intersection point and a new goal is calculated as the closest point to the original goal in the half-plane above the intersection triangle. The process is repeated if necessary, bringing the proxy to its final location.
| a_goal | The goal towards which to move the proxy, subject to constraints |
| bool cProxyPointForceAlgo::goalAchieved | ( | const cVector3d & | a_proxy, | |
| const cVector3d & | a_goal | |||
| ) | const [protected, virtual] |
Test whether the proxy has reached the goal point.
Test whether the proxy has reached the goal point, allowing for subclass- specific approximations.
| a_goal | The location to which we'd like to move the proxy | |
| a_proxy | The current position of the proxy |
| void cProxyPointForceAlgo::initialize | ( | cWorld * | a_world, | |
| const cVector3d & | a_initialGlobalPosition | |||
| ) | [virtual] |
Initialize the algorithm.
Initialize the algorithm, including setting the pointer to the world in which the algorithm is to operate, and setting the initial position of the device.
| a_world | Pointer to world in which force algorithm is operating. | |
| a_initialGlobalPosition | Initial position of the device. |
Reimplemented from cGenericPointForceAlgo.
| void cProxyPointForceAlgo::reset | ( | void | ) |
Reset the algorithm. Set proxy position to device position.
Reset the algorithm. Set the proxy position to the device position.
| void cProxyPointForceAlgo::setEpsilonBaseValue | ( | double | a_value | ) |
Set epsilon base value.
Set the epsilon value which is used during geometry computation of the proxy model.
| void cProxyPointForceAlgo::testFrictionAndMoveProxy | ( | const cVector3d & | a_goal, | |
| const cVector3d & | a_proxy, | |||
| cVector3d & | a_normal, | |||
| cGenericObject * | a_parent | |||
| ) | [protected, virtual] |
Attempt to move the proxy, subject to friction constraints.
Attempt to move the proxy, subject to friction constraints. This is called from computeNextBestProxyPosition when the proxy is ready to move along a known surface.
| a_goal | The location to which we'd like to move the proxy | |
| a_proxy | The current position of the proxy | |
| a_normal | The surface normal at the obstructing surface | |
| a_parent | The surface along which we're moving |
| void cProxyPointForceAlgo::updateForce | ( | ) | [protected, virtual] |
Compute force to apply to device.
This method uses the information computed earlier in computeNextProxyPosition() to determine the force to apply to the device. The function computes a force proportional to the distance between the positions of the proxy and the device and scaled by the average stiffness of each contact triangle.
double cProxyPointForceAlgo::m_epsilonInitialValue [protected] |
epsilon value - used for handling numerical limits.
To address numerical errors during geometric computation, several epsilon values are computed and used.
Dynamic friction hysteresis multiplier In CHAI's proxy, the angle computed from the coefficient is multiplied by this constant to avoid rapidly oscillating between slipping and sticking without having to turn the dynamic friction level way down.


{% extends 'dashboard/navbar_base.html' %} {% block title %}Event Index | Warwick.gg{% endblock %} {% block body %} {# TODO: Add an event archive and pagination #} Events index {% if events %} {% for event in events %} {% include 'events/includes/event_list_item.html' with event=event %} {% endfor %} {% else %} There are no events at the moment. Check back soon! {% endif %} {% endblock %}
There are no events at the moment. Check back soon!


Accountability court extends Khursheed Shah's remand by 15 days | Pakistan - Geo.tv
by Web DeskAn accountability court in Sukkur on Saturday extended the judicial remand of Pakistan Peoples Party (PPP) leader Khursheed Shah by 15 days.
The court extended the remand after the National Accountability Bureau (NAB) requested the court for an extension to the remand by 15 days in the assets beyond means case against the PPP leader.
During today’s hearing, the NAB prosecutor informed the court that Shah’s mobile has been sent for a forensic analysis and will be returned once the process is completed.
The PPP leader, during the hearing, told the court that his health had improved and that his treatment was underway at a hospital.
The judge also asked the PPP leader if he was facing any problems. To this, Shah told the court that he was not facing any problems.
Subsequently, the court extended the judicial remand and ordered the accountability watchdog to present the PPP leader before the court on December 7.


MEMO.SYS
MEMO.SYS (\FBB\SYSTEM).
This file was designed for DosFBB and works fine there. See comments on use
with WinFBB at the end of this file.
This ascii file will substitute a text when pressing CtrL-F1 to Ctrl-F10.
This text can hold variables and is limited to 255 characters. It can
include $W variable (CR) and then will be formatted as more than one line.
This file will have 10 lines, the first line corresponding to Ctrl-F1, and
the last one to Ctrl-F10. If a line is not used, it must have a dot in first
column.
 Jean-Paul, F6FBB @ F6FBB.FMLR.FRA.EU$W$W/EX$W
$W 73 Qro. Jean-Paul<EMAIL_ADDRESS>In WinFBB this does not work the same. It works only in the editor,
and only Ctrl-F2, Ctrl-F3, Ctrl-F5 to Ctrl-F9 works. The rest are
captured by Windows itself.
This page was last updated


This component is a tool for watching the run-time behavior of a state machine, and is provided with the distribution. By default, it appears in the Components panel under the folder "FStEng Debbugging Tools". The tool allows you to see the structure of a state machine while your movie is running. States and managers that are active are colored in green. In the following image, the tool is located on the right hand side.
As your simulation runs, the tool updates itself with the current managers and states. If you click on a state or manager pictured, the tool displays information about that object, such as name, ID, and other characteristics, on the right hand side. The symbols in the tree have the following meaning:
|
Type |
Active |
Inactive |
| state | ||
| hState | ||
| hStateC | ||
| stateMgr |
Open the Component panel (Window > Development Panels > Components), find and Open the FStEng Debugging Tools folder, and drop the RTVis component onto the Stage. The actual placement is irrelevant--the tool uses the PopUp manager to open a window above content on the screen. Test your movie as normal.
When you want to see the run-time behavior of your simulation, enter the path from _root to the clip and instance name of your stateEngine, then press Load Engine. The tool will read the structure from the given stateEngine, or tell you "Not Found / Re-enter" if it cannot find the instance (remember to use the instance name, not the state engine name).
Use your simulation as you would normally, and watch the current states and managers change as your simulation proceeds. Click the down arrow on the left of an hState, hStateC, or stateMgr to open that branch and inspect the sub-network. Click on those objects when the branch is open to hide the branch. Click on any state or manager in the tree view to inspect values related to that object.
When you have finished using RTVis and are ready for production, remove RTVis from the Stage, and delete it from your Library. You can always put it back if you need further debugging, but this process makes sure you don't have unnecessary symbols loaded before the first frame.
If your simulation is not working as you expect, the most common problem we have encountered is that we erroneously defined enter or leave actions overriding the enter or leave method (these are internal routines not to be touched), instead of the correct entActs and lvActs, respectively. If this is not the problem, check the case of entActs and lvActs, because Flash will not warn you about improper case (AS 2.0 is case sensitive), and will ignore your actions, unless you define your state variables as type state (or hState, or hStateC)--in which case Flash will signal a compile error if entActs or lvActs are improperly spelled.


Alert: No void:Dataset object or missing dataset URI.
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Insert the URI for VoID metadata RDF.
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Delete DatasetAre you sure you want to remove this dataset from the Nomisma.org SPARQL endpoint?Yesget-datasetsNoRefresh DatasetRefreshing the dataset may take several minutes. Continue?Yesget-datasetsNo


Ethan Frome
by Edith Wharton
Chapter 2
Additional Information
- Year Published: 1912
- Language: English
- Country of Origin: United States of America
- Source: Wharton, E. (1912). Ethan Frome. New York: Scribner's.
-
Readability:
- Flesch–Kincaid Level: 8.7
- Word Count: 3,253
- Genre: Tragedy
- Keywords: loss, love
- ✎ Cite This
Downloads
As the dancers poured out of the hall Frome, drawing back behind the projecting storm-door, watched the segregation of the grotesquely muffled groups, in which a moving lantern ray now and then lit up a face flushed with food and dancing. The villagers, being afoot, were the first to climb the slope to the main street, while the country neighbours packed themselves more slowly into the sleighs under the shed. “Ain’t you riding, Mattie?” a woman’s voice called back from the throng about the shed, and Ethan’s heart gave a jump. From where he stood he could not see the persons coming out of the hall till they had advanced a few steps beyond the wooden sides of the storm-door; but through its cracks he heard a clear voice answer: “Mercy no! Not on such a night.”
She was there, then, close to him, only a thin board between. In another moment she would step forth into the night, and his eyes, accustomed to the obscurity, would discern her as clearly as though she stood in daylight. A wave of shyness pulled him back into the dark angle of the wall, and he stood there in silence instead of making his presence known to her. It had been one of the wonders of their intercourse that from the first, she, the quicker, finer, more expressive, instead of crushing him by the contrast, had given him something of her own ease and freedom; but now he felt as heavy and loutish as in his student days, when he had tried to “jolly” the Worcester girls at a picnic.
He hung back, and she came out alone and paused within a few yards of him. She was almost the last to leave the hall, and she stood looking uncertainly about her as if wondering why he did not show himself. Then a man’s figure approached, coming so close to her that under their formless wrappings they seemed merged in one dim outline.
“Gentleman friend gone back on you? Say, Matt, that’s tough! No, I wouldn’t be mean enough to tell the other girls. I ain’t as low-down as that.” (How Frome hated his cheap banter!) “But look a here, ain’t it lucky I got the old man’s cutter down there waiting for us?”
Frome heard the girl’s voice, gaily incredulous: “What on earth’s your father’s cutter doin’ down there?”
“Why, waiting for me to take a ride. I got the roan colt too. I kinder knew I’d want to take a ride to-night,” Eady, in his triumph, tried to put a sentimental note into his bragging voice.
The girl seemed to waver, and Frome saw her twirl the end of her scarf irresolutely about her fingers. Not for the world would he have made a sign to her, though it seemed to him that his life hung on her next gesture.
“Hold on a minute while I unhitch the colt,” Denis called to her, springing toward the shed.
She stood perfectly still, looking after him, in an attitude of tranquil expectancy torturing to the hidden watcher. Frome noticed that she no longer turned her head from side to side, as though peering through the night for another figure. She let Denis Eady lead out the horse, climb into the cutter and fling back the bearskin to make room for her at his side; then, with a swift motion of flight, she turned about and darted up the slope toward the front of the church.
“Good-bye! Hope you’ll have a lovely ride!” she called back to him over her shoulder.
Denis laughed, and gave the horse a cut that brought him quickly abreast of her retreating figure.
“Come along! Get in quick! It’s as slippery as thunder on this turn,” he cried, leaning over to reach out a hand to her.
She laughed back at him: “Good-night! I’m not getting in.”
By this time they had passed beyond Frome’s earshot and he could only follow the shadowy pantomime of their silhouettes as they continued to move along the crest of the slope above him. He saw Eady, after a moment, jump from the cutter and go toward the girl with the reins over one arm. The other he tried to slip through hers; but she eluded him nimbly, and Frome’s heart, which had swung out over a black void, trembled back to safety. A moment later he heard the jingle of departing sleigh bells and discerned a figure advancing alone toward the empty expanse of snow before the church.

She answered seriously: “I thought maybe you couldn’t come back for me.”
“Couldn’t? What on earth could stop me?”
“I knew Zeena wasn’t feeling any too good to-day.”
“Oh, she’s in bed long ago.” He paused, a question struggling in him. “Then you meant to walk home all alone?”
“Oh, I ain’t afraid!” she laughed.
They stood together in the gloom of the spruces, an empty world glimmering about them wide and grey under the stars. He brought his question out.
“If you thought I hadn’t come, why didn’t you ride back with Denis Eady?”
“Why, where were you? How did you know? I never saw you!”
Her wonder and his laughter ran together like spring rills in a thaw. Ethan had the sense of having done something arch and ingenious. To prolong the effect he groped for a dazzling phrase, and brought out, in a growl of rapture: “Come along.”
He slipped an arm through hers, as Eady had done, and fancied it was faintly pressed against her side. but neither of them moved. It was so dark under the spruces that he could barely see the shape of her head beside his shoulder. He longed to stoop his cheek and rub it against her scarf. He would have liked to stand there with her all night in the blackness. She moved forward a step or two and then paused again above the dip of the Corbury road. Its icy slope, scored by innumerable runners, looked like a mirror scratched by travellers at an inn.
“There was a whole lot of them coasting before the moon set,” she said.
“Would you like to come in and coast with them some night?” he asked.
“Oh, would you, Ethan? It would be lovely!”
“We’ll come to-morrow if there’s a moon.”
She lingered, pressing closer to his side. “Ned Hale and Ruth Varnum came just as near running into the big elm at the bottom. We were all sure they were killed.” Her shiver ran down his arm. “Wouldn’t it have been too awful? They’re so happy!”
“Oh, Ned ain’t much at steering. I guess I can take you down all right!” he said disdainfully.
He was aware that he was “talking big,” like Denis Eady; but his reaction of joy had unsteadied him, and the inflection with which she had said of the engaged couple “They’re so happy!” made the words sound as if she had been thinking of herself and him.
“The elm is dangerous, though. It ought to be cut down,” she insisted.

These alterations of mood were the despair and joy of Ethan Frome. The motions of her mind were as incalculable as the flit of a bird in the branches. The fact that he had no right to show his feelings, and thus provoke the expression of hers, made him attach a fantastic importance to every change in her look and tone. Now he thought she understood him, and feared; now he was sure she did not, and despaired. To-night the pressure of accumulated misgivings sent the scale drooping toward despair, and her indifference was the more chilling after the flush of joy into which she had plunged him by dismissing Denis Eady. He mounted School House Hill at her side and walked on in silence till they reached the lane leading to the saw-mill; then the need of some definite assurance grew too strong for him.
 He could not pronounce the name without a stiffening of the muscles of his throat.
“Why, Ethan, how could I tell you were there?”
“I suppose what folks say is true,” he jerked out at her, instead of answering.
She stopped short, and he felt, in the darkness, that her face was lifted quickly to his. “Why, what do folks say?”
“It’s natural enough you should be leaving us” he floundered on, following his thought.
“Is that what they say?” she mocked back at him; then, with a sudden drop of her sweet treble: “You mean that Zeena- ain’t suited with me any more?” she faltered.
Their arms had slipped apart and they stood motionless, each seeking to distinguish the other’s face.
“I know I ain’t anything like as smart as I ought to be,” she went on, while he vainly struggled for expression. “There’s lots of things a hired girl could do that come awkward to me still- and I haven’t got much strength in my arms. But if she’d only tell me I’d try. You know she hardly ever says anything, and sometimes I can see she ain’t suited, and yet I don’t know why.” She turned on him with a sudden flash of indignation. “You’d ought to tell me, Ethan Frome- you’d ought to! Unless you want me to go too-”
Unless he wanted her to go too! The cry was balm to his raw wound. The iron heavens seemed to melt and rain down sweetness. Again he struggled for the all-expressive word, and again, his arm in hers, found only a deep “Come along.”
They walked on in silence through the blackness of the hemlock-shaded lane, where Ethan’s sawmill gloomed through the night, and out again into the comparative clearness of the fields. On the farther side of the hemlock belt the open country rolled away before them grey and lonely under the stars. Sometimes their way led them under the shade of an overhanging bank or through the thin obscurity of a clump of leafless trees. Here and there a farmhouse stood far back among the fields, mute and cold as a grave-stone. The night was so still that they heard the frozen snow crackle under their feet. The crash of a loaded branch falling far off in the woods reverberated like a musket-shot, and once a fox barked, and Mattie shrank closer to Ethan, and quickened her steps.
At length they sighted the group of larches at Ethan’s gate, and as they drew near it the sense that the walk was over brought back his words.
“Then you don’t want to leave us, Matt?”
He had to stoop his head to catch her stifled whisper: “Where’d I go, if I did?”
The answer sent a pang through him but the tone suffused him with joy. He forgot what else he had meant to say and pressed her against him so closely that he seemed to feel her warmth in his veins.

They turned in at the gate and passed under the shaded knoll where, enclosed in a low fence, the Frome grave-stones slanted at crazy angles through the snow. Ethan looked at them curiously. For years that quiet company had mocked his restlessness, his desire for change and freedom. “We never got away- how should you?” seemed to be written on every headstone; and whenever he went in or out of his gate he thought with a shiver: “I shall just go on living here till I join them.” But now all desire for change had vanished, and the sight of the little enclosure gave him a warm sense of continuance and stability.
“I guess we’ll never let you go, Matt,” he whispered, as though even the dead, lovers once, must conspire with him to keep her; and brushing by the graves, he thought: “We’ll always go on living here together, and some day she’ll lie there beside me.”
He let the vision possess him as they climbed the hill to the house. He was never so happy with her as when he abandoned himself to these dreams. Half-way up the slope Mattie stumbled against some unseen obstruction and clutched his sleeve to steady herself. The wave of warmth that went through him was like the prolongation of his vision. For the first time he stole his arm about her, and she did not resist. They walked on as if they were floating on a summer stream.
Zeena always went to bed as soon as she had had her supper, and the shutterless windows of the house were dark.
They walked around to the back of the house, between the rigid gooseberry bushes. It was Zeena’s habit, when they came back late from the village, to leave the key of the kitchen door under the mat. Ethan stood before the door, his head heavy with dreams, his arm still about Mattie. “Matt-” he began, not knowing what he meant to say.
She slipped out of his hold without speaking, and he stooped down and felt for the key.
“It’s not there!” he said, straightening himself with a start.
They strained their eyes at each other through the icy darkness. Such a thing had never happened before.
“Maybe she’s forgotten it,” Mattie said in a tremulous whisper; but both of them knew that it was not like Zeena to forget.
“It might have fallen off into the snow,” Mattie continued, after a pause during which they had stood intently listening.
“It must have been pushed off, then,” he rejoined in the same tone. Another wild thought tore through him. What if tramps had been there- what if…
Again he listened, fancying he heard a distant sound in the house; then he felt in his pocket for a match, and kneeling down, passed its light slowly over the rough edges of snow about the doorstep.
He was still kneeling when his eyes, on a level with the lower panel of the door, caught a faint ray beneath it. Who could be stirring in that silent house? He heard a step on the stairs, and again for an instant the thought of tramps tore through him. Then the door opened and he saw his wife.
Against the dark background of the kitchen she stood up tall and angular, one hand drawing a quilted counterpane to her flat breast, while the other held a lamp. The light, on a level with her chin, drew out of the darkness her puckered throat and the projecting wrist of the hand that clutched the quilt, and deepened fantastically the hollows and prominences of her high-boned face under its ring of crimping-pins. To Ethan, still in the rosy haze of his hour with Mattie, the sight came with the intense precision of the last dream before waking. He felt as if he had never before known what his wife looked like.
She drew aside without speaking, and Mattie and Ethan passed into the kitchen, which had the deadly chill of a vault after the dry cold of the night.
“Guess you forgot about us, Zeena,” Ethan joked, stamping the snow from his boots.
“No. I just felt so mean I couldn’t sleep.”
Mattie came forward, unwinding her wraps, the colour of the cherry scarf in her fresh lips and cheeks. “I’m so sorry, Zeena! Isn’t there anything I can do?”
“No; there’s nothing.” Zeena turned away from her. “You might ‘a’ shook off that snow outside,” she said to her husband.
She walked out of the kitchen ahead of them and pausing in the hall raised the lamp at arm’s-length, as if to light them up the stairs.
Ethan paused also, affecting to fumble for the peg on which he hung his coat and cap. The doors of the two bedrooms faced each other across the narrow upper landing, and to-night it was peculiarly repugnant to him that Mattie should see him follow Zeena.
“I guess I won’t come up yet awhile,” he said, turning as if to go back to the kitchen.
Zeena stopped short and looked at him. “For the land’s sake- what you going to do down here?”
“I’ve got the mill accounts to go over.”
She continued to stare at him, the flame of the unshaded lamp bringing out with microscopic cruelty the fretful lines of her face.
“At this time o’ night? You’ll ketch your death. The fire’s out long ago.”
Without answering he moved away toward the kitchen. As he did so his glance crossed Mattie’s and he fancied that a fugitive warning gleamed through her lashes. The next moment they sank to her flushed cheeks and she began to mount the stairs ahead of Zeena.
“That’s so. It is powerful cold down here,” Ethan assented; and with lowered head he went up in his wife’s wake, and followed her across the threshold of their room.


The 2010 Commonwealth Games Village was the athlete's residence for the 2010 Commonwealth Games in New Delhi. The village is spread over an area of 63.5 hectares (157 acres).
Jaipur International Airport is the primary airport serving Jaipur, the capital of the Indian state of Rajasthan.Jaipur International Airport has been declared as the World's Best Airport in the category of 2 to 5 million passengers per annum for 2015 according to Airports Council International.
The Mangala Area, located in Block RJ-ON-90-1 (the Rajasthan Block), is a major oil field located in the Indian State of Rajasthan. The Mangala area consists of over 16 separate oil and gas fields of which the majority of the reserves are located in the three fields of Mangala, Bhagyam and Aishwariya.
The Tapovan Vishnugad Hydropower Plant is a 520 MW run-of-river hydroelectric project being constructed on Dhauliganga River in Chamoli District of Uttarakhand, India. The plant is expected to generate over 2.5k GWh of electricity annually
A company formed in 2007 as part of MOU between Andhra Pradesh Govrnment and Ras-Al-Khaimah Govt. to set up a 1.5 million Tons per annum alumina Refinery & a 250 KTPA Aluminium Smelter.
Kempegowda International Airport is an international airport serving Bangalore, the capital of the Indian state of Karnataka. Spread over 4,000 acres, it is located about 40 kilometres north of the city near the village of Devanahalli.
Gadarwara Super Thermal Power Station is a coal based thermal power project located at near by Gangai village in Gadarwara Tehsil in Narsinghpur District in Indian state of Madhya Pradesh
The Bhupen Hazarika Setu, also referred to as the Dhola–Sadiya Bridge is a beam bridge in India, connecting the northeast states of Assam and Arunachal Pradesh.The bridge spans the Lohit River, a major tributary of the Brahmaputra River, from the village of Dhola (Tinsukia District) in the south to Sadiya to the north.
Lara Super Thermal Power Station is under construction power project located at near village Lara,Taluk Pussore, Raigarh district in Indian state of Chhattisgarh.The power plant is one of the coal based power plants of NTPC. The coal requirement will be obtained from Talaipalli coal block Mand Raigarh Coalfield and water requirement will be sourced from Mahanadi River through Saradih Barrage
Netaji Subhas Chandra Bose International Airport is an international airport located in Kolkata, West Bengal, India, serving the Kolkata metropolitan area. It is located approximately 17 km from the city cente
The Vindhyachal Thermal Power Station is located in Singrauli district in the Indian state of Madhya Pradesh. One of the coal-fired power stations of NTPC, it is the largest power station in India, with an installed capacity of 4760 MW
The Bandra–Worli Sea Link, officially called Rajiv Gandhi Sea Link, is a cable-stayed bridge with pre-stressed concrete-steel viaducts on either side that links Bandra in the Western Suburbs of Mumbai with Worli in South Mumbai.
Aurangabad Airport is a public airport located in Aurangabad, Maharashtra, India. It is located about 5.5 km east of the city center, and 11 km from Aurangabad Railway Station, along the Aurangabad-Nagpur State Highway
Chhatrapati Shivaji International Airport, formerly known as Sahar International Airport, is the primary international airport serving the Mumbai Metropolitan Area, India
Gujarat Solar Parks are solar power generating parks being constructed in Gujarat, India. A total of about 1100 MW are commissioned as of March 2016, with individual solar parks ranging from hundreds of kW to 40 MW capacity


|
Purpose |
In some cases, stubs indicate an error in the design. Normally, lines end with pads, or are drilled by component holes or vias (wide ground conductors). |
|
Function |
Reports line endpoints that do not touch any other feature. Measurements are shapes representing the endpoints (e.g. a circle for a round capped line). When two identical lines lie on top of each other, the two
lines' endpoints touch each other. This is reported, if the end points do not
touch other features. Drilled line endpoints are not inserted as measurements. |
|
Activation |
|
|
Known Limitations |
* Features tagged
with the .pattern_fill attribute are not
tested for Stubs in order to improve performance. * The endpoints of
lines that are shaved (touching successive negative features) are not
inserted as measurements. * When two circuit
lines coincide, possibly a false alarm will be reported at the end of the
wider line. |


abstract class StripeIntentResult<T : StripeIntent> : StripeModel
A model representing the result of a StripeIntent confirmation or authentication attempt via Stripe.confirmPayment or Stripe.handleNextActionForPayment
intent is a StripeIntent retrieved after confirmation/authentication succeeded or failed.
Outcome |
Values that indicate the outcome of confirmation and payment authentication. annotation class Outcome |
intent |
val intent: T |
outcome |
val outcome: Int |
describeContents |
open fun describeContents(): Int |
equals |
open fun equals(other: Any?): Boolean |
hashCode |
open fun hashCode(): Int |
writeToParcel |
open fun writeToParcel(dest: Parcel, flags: Int): Unit |
PaymentIntentResult |
A model representing the result of a PaymentIntent confirmation via Stripe.confirmPayment or handling of next actions via Stripe.handleNextActionForPayment. class PaymentIntentResult : StripeIntentResult<PaymentIntent> |
SetupIntentResult |
A model representing the result of a SetupIntent confirmation via Stripe.confirmSetupIntent or handling of next actions via Stripe.handleNextActionForSetupIntent. class SetupIntentResult : StripeIntentResult<SetupIntent> |


| Outcome | Percent White | Percent Non-White | Percent Black | Percent Asian Pacific | Percent American Indian / Alaska Native |
|---|---|---|---|---|---|
| Infraction | 83.04% | 16.95% | 13.85% | 2.26% | 0.84% |
| Misdemeanor Summons | 74.39% | 25.61% | 24.39% | 0.81% | 0.4% |
| No Disposition | 83.78% | 16.22% | 14.33% | 1.27% | 0.62% |
| Uniform Arrest Report | 77.33% | 22.67% | 21.42% | 0.89% | 0.35% |
| Verbal Warning | 82.25% | 17.75% | 15.5% | 1.65% | 0.59% |
| Written Warning | 86.95% | 13.04% | 10.81% | 1.74% | 0.5% |


Taylor Swift slams Scooter Braun and Scott Borchetta
Taylor Swift has accused the head of her former record label and a prominent music industry figure of “exercising tyrannical control” over her career, in a row over her old music.
In an extraordinary statement, Swift alleged Scott Borchetta and Scooter Braun are blocking her from performing a medley of her songs at the American Music Awards (AMAs), where she will be named artist of the decade later this month.
Borchetta founded Big Machine Label Group, which signed Swift as a teenager.
Earlier this year it emerged Braun, who manages high-profile pop stars including Justin Bieber, had acquired Swift’s back catalogue.
At the time she said she was “sad” and “grossed out” at the move. Swift has now shared a statement on her social media accounts, saying the two men are preventing her from performing her old songs at the AMAs as it would constitute “re-recording them before I’m allowed to next year”.
Swift also announced Netflix has created a documentary about “my life for the past few years”.
Borchetta and Scooter have declined the use of her older music or performance footage for the project, she alleges.
Swift also claims Borchetta told her team they will allow her to use her music if she agrees not to re-record copycat versions of her songs next year and “stop talking” about him and Braun.
Swift said she is legally allowed to re-record her old songs and is “looking forward” to it.
The 29-year-old said: “I feel very strongly that sharing what is happening to me could change the awareness level for other artists and potentially help them avoid a similar fate.
“The message being sent to me is very clear.  Or you’ll be punished.
“This is WRONG. Neither of these men had a hand in the writing of those songs. They did nothing to create the relationship I have with my fans.”
Swift then asked her fans for “help”, by letting Braun and Borchetta “know how you feel about this”.
She said Braun “manages several artists who I really believe care about other artists and their work”.
Swift added: “Please ask them for help with this – I’m hoping that maybe they can talk some sense into the men who are exercising tyrannical control over someone who just wants to play the music she wrote.”
She then named The Carlyle Group, saying they put up the money for the sale of her music.
 That’s it. I’ve tried to work this out privately though my team but have not been able to resolve anything.
“Right now my performance at the AMA’s, the Netflix documentary and any other recorded events I am planning to play until November of 2020 are a question mark.”
She finished the post by writing: “I love you guys and I thought you should know what’s been going on.”
Pop star Halsey later backed Swift, saying her treatment is “punishment”.
Writing on Instagram, she said: “These people are protected because they inspire complicity with fear.
“Banking on the illusion that people will not stand up for her. That the world will say she is over reacting, You’re barking up the wrong tree.
“It is her grace and patience in these moments that make her Artist of the Decade.”
Supermodel Gigi Hadid also lent her support to Swift.
The 24-year-old tweeted: “Scott and Scooter, you know what the right thing to do is.
“Taylor and her fans deserve to celebrate the music!!”
Big Machine Label Group and Braun have been contacted for comment.


Fully encompassed worldwide tech solutions.
Delivered expert support for a wide range of devices. Proficient in troubleshooting, optimization and tailoured solutions to enhance user experiences and resolve issues.
Experienced Electron developer adept at crafting cross-platform applications, seamlessly integrating technologies to deliver user-centered software solutions.
BCIT, Burnaby, BC - A+ Hardware Technician (CITX 1110), 2018
Problem Solving
Effective Communication
Adaptability
Academic Excellence, Honours


Patching Physical Objects
Figure 1: To minimize material consumption and to reduce waste during design iteration, we propose patching the existing object rather than reprinting it from scratch. (a) First, our software calculates which part changed, then (b) a mill removes outdated geometry, followed by a print head that prints the new geometry.
Personal fabrication is currently a one-way process: once an object has been fabricated with a 3D printer, it cannot be changed anymore. Any change requires printing a new version from scratch. The problem is that this approach ignores the nature of design iteration, i.e. that in subsequent iterations large parts of an object stay the same and only small parts change. This makes fabricating from scratch feel unnecessary and wasteful.
In this paper, we propose a different approach: instead of re-printing the entire object from scratch, we suggest patching the existing object to reflect the next design iteration. We built a system on top of a 3D printer that accomplishes this: Users mount the existing object into the 3D printer, then load both the original and the modified 3D model into our software, which in turn calculates how to patch the object. After identifying which parts to remove and what to add, our system locates the existing object in the printer using the system’s built-in 3D scanner. After calibrating the orientation, a mill first removes the outdated geometry, then a print head prints the new geometry in place.
Since only a fraction of the entire object is refabricated, our approach reduces material consumption and plastic waste (for our example objects by 82% and 93% respectively).
Patching Physical Objects: Life-Long Design
While we focus primarily on design iterations, objects may require a patch:
1. immediately because of failed 3D printing
2. minutes to hours later because of a new design iteration
3. days to months later because the object breaks
4. months to years later because of changing requirements
Being able to patch an existing object allows for what we call life-long design and effectively reduces material consumption and waste.
Hardware for patching physical objects
Figure 2 shows the hardware setup that we integrated into an existing 3D printer (MakerBot Replicator 2X): a mill with suction for removing geometry, a 5-axis rotating platform for additional degrees of freedom, and a depth camera for 3D scanning and alignment.
Figure 2: Hardware for patching physical objects.
subtractive fabrication: We added a motor with mill bit and suction on the side of the MakerBot extruder. We built on top of the hardware suggested in the Scotty [17] paper, but optimized the component layout to fit onto a single carriage so as to maximize the build volume.
5 axis printing: Off-the-shelve 3D printers only have 3-axis and thus can only remove and add geometry from the top of an object. This often requires removing more material than necessary. To add and remove geometry from the side of an object, we added a 5-axis extension in the form of a dual axis rotating platform.
3D scanning: Our system 3D scans the existing object to align it with the next iteration of the 3D model. For 3D scanning, we mounted a depth camera (model: Creative Senz3D) to the frame of the 3D printer and use our dual-axis rotating platform to turn the object 360°.
Walkthrough
We illustrate how patching physical objects allows for life-long design at the example of a phone charging dock that fits into the coffee holder of a car.
#1 Patching immediately because of failed 3D printing
While printing the initial version of the phone dock, the 3D print fails half way through: the stepper motors accidentally leaves out a step, which leads to a layer shift in all following layers (Figure 3a). The user stops the print and instead of trashing the failed print, patches the object.
Figure 3: (a) Failed print. (b) The user selects the failed part with the repair brush. (c) Patching.
As can be seen in Figure 3b, the user loads the corresponding 3D model into our software, then uses the “repair” brush to select the part that did not print correctly (selection is done based on a raster grid, the raster resolution can be changed by the user). No alignment with 3D scanning is necessary in this case since the failed print is still on the printing platform. After the user hits the “patch” button, our system instructs the mill to remove the failed upper layers, and then continues the regular print. Note that patching this failed print is different from [14] in that our system is able to not only resume a print job, but also to remove falsely printed geometry. Fixing the print required 34.43cm3 material (with 10% infill), saving 39% compared to reprinting it from scratch, and preventing 29.67cm3 of waste from trashing the object. During milling, we had to remove 7.54cm3.
#2 minutes to hours later because of a new design iteration
After printing the initial version of the phone dock, the user notices that the home button is half-way covered and thus hard to operate (Figure 1). To fix the problem, the user adds a cut out for the home button to the 3D model, then loads it into our software together with the original 3D model. The user mounts the existing phone dock into the 3D printer (using double-sided tape) and hits the “patch” button. To locate the existing phone dock in the 3D printer, our system 3D scans it. After alignment, our system instructs the mill to remove the outdated geometry around the mount, and then instructs the 3D print head to create the new mount directly on the remaining geometry. This patch required only 2.39cm3, saving 96% material compared to reprinting from scratch, preventing 56.56cm3 of waste. During milling, we removed 2.54cm3 material.
After testing the phone dock in the car, the user decides to use the remaining space in front of the phone mount to store a coin for unlocking shopping carts that he otherwise always loses. In Figure 4, the user adds the coin slot to the phone dock 3D model, then hits the “patch” button.
Figure 4: (a,b) Our system finds the optimal orientation to minimize printing material and waste. (d) Milling.
This time, the system uses its dual-axis rotating platform to minimize material consumption by rotating the phone dock so that only a small part needs to be removed and reprinted. Adding the coin slot required only 1.46cm3 material, saving 97% material compared to reprinting it from scratch, and preventing 56.40cm3 waste. During milling, we had to remove 1.43cm3 material.
#3 patching days to months later because the object breaks
One day, the user accidentally breaks the phone dock when putting his bag onto the side seat. The user decides to fix it (Figure 5). The user first loads the corresponding 3D model and using the “repair” brush marks the part that broke off. Our system patches the phone dock by milling off protruding geometry and then reprinting all missing parts. Repairing the phone dock took 2.86cm3 material, saving 95% compared to reprinting from scratch, preventing 56.44cm3 of waste. During milling, we removed 2.15cm3 of material.
Figure 5: (a) The user accidentally broke the object. (b) The user marks the parts that need repair. (c) Our system then repairs the object using mill and print head.
#4 months to years later because of changing requirements
A year later, the user buys a new phone that is too large for the mount (Figure 6a).
Figure 6: (a) The user’s new phone is too large, thus the user changes the model. (b) Changes. (c) Patched object.
Since the charging dock still works, the user decides to patch it. Patching the phone dock required only 10.56cm3 of material, effectively saving 81% compared to reprinting it from scratch, and preventing 56.44cm3 waste. During milling, we had to remove 9.56cm3.
Minimizing Material Consumption and Waste
In the digital world, determining how much volume has changed is merely subtracting one model from the other, but implementing these changes in the physical world often requires additional volume (and thus material) to be removed. The reason for this are physical constraints:
size of print/mill head: the print head and mill head define a volume that can collide with existing geometry (Figure 7)—making it necessary to remove more material than actually changed. The smaller the print and mill head, the less additional material needs to be removed.
Figure 7: (a) The print head causes a collision. (b) The system removes additional geometry, to (c) then reprint.
alignment of mill bit and extruder: As shown in Figure 8a, if the extruder nozzle and the mill bit operate on the same layer, this can cause a collision of the mill bit with already printed material.
Figure 8: (a) In this setup, the mill bit causes a collision. (b) Correct alignment of mill and print head.
The mill bit thus needs to operate one layer above the extruder. This however, comes with the physical constraint that the print head always has to operate in the “shadow” of the mill, i.e. the mill has to first remove material, and then the print head can follow. In Figure 7, for instance, we rotate the object by 180° to be able to remove the colliding geometry with the mill. Afterwards, we rotate the object back for printing. One solution to avoid this problem is to add a mechanism to the carriage that can lift up the mill bit and the extruder, i.e. when the system mills the extruder is moved up and vice versa. A second option is to only add a mechanism to either the mill head or the print head, however this requires moving one of the heads the double distance.
degrees of freedom of the print/mill head: While 3-axis 3D printers are the most common, they can only remove and print geometry from the top of an object. If an object’s geometry changes close to its bottom, all upper geometry needs to be removed (Figure 9a). This creates a lot of waste and requires large amounts of printing material. In contrast, printers with higher degrees of freedom, such as 5-axis machines, can print and remove geometry from the side of an object (Figure 9b).
Figure 9: 3-axis vs. 5 axis for adding a handle to this watering can.
size of build plate: If the bottom of an object is patched using 5-axis milling/printing, the size of the build plate determines how much volume is accessible (Figure 10).
Figure 10: (a) The larger the build plate, the less volume is accessible. (b) One voxel build plate.
While making the base plate smaller allows for increasingly more volume to become accessible, the only way to reach the entire volume is to work with a one-voxel build plate (conceptual drawing in Figure 10b). The basic idea is to place the first voxel on the vertically aligned build plate and then through rotation of the build plate build up the object voxel by voxel from the side. However, due to the limited capabilities of today’s 3D printers, we were not able to implement the one-voxel build plate.
support material: Current 3D printing technology requires printing support material underneath structures with overhangs >45°. While for this paper, we did not explore the issue of support material, we think it is a challenge worth further research, especially when printing above gaps.
Contribution, Benefits, and Limitations
The main contribution of this paper is a system that allows patching the geometry of an existing object rather than printing it from scratch. The system combines subtractive and additive fabrication in a single integrated process to remove and add geometry to an object, and uses 3D scanning for alignment. In addition, our dual-axis rotating platform can patch geometry from both the top of an object and the side. Our approach not only saves material, but also reduces plastic waste—making 3D printing more sustainable.
On the flipside, patching an object’s geometry is subject to the following limitations: (1) physical constraints: due to the size of the print head and its limited degrees of freedom, regions that surround the to be modified area sometimes also need to be partially removed. (2) high precision necessary: print head, mill, and 3D scanning need to be calibrated to each other in the sub-millimeter range (see section “3D scanning”). (3) stress-resistance: by rotating the object, not all layers are printed in the same orientation, making the object potentially less stress resistant (see [26] for a discussion). (4) suction: we had good results with our suction, but not 100% of the chips were removed.
Implementation
To help readers replicate our results, we use the following section to explain the details of our hardware extension and the software implementation.
Rotating platform for 5 axis printing
We designed the dual axis rotating platform so as to maximize the build volume in the 3D printer. Our design replaces the standard Makerbot platform. Key to our design is the use of a slewing ring searing from Igus (PRT-02-30-AL) for the Y axis. This bearing is designed to accept both radial and axial load and creates a rigid connection between the rotating platform and its support. Both axes are driven by a stepper motor attached (a NEMA 17 stepper motor, 200 steps per 360°). The Y axis has a transmission ratio of 17.7:1, while the transmission ratio for the Z axis is 8.13:1. Both motors are controlled by an Arduino Uno.
The carriage with the mill, camera, and suction is based on the hardware from the Scotty [23] project. However, to maximize the build volume, we fit both the print head and the mill head onto the same carriage and removed the down-facing RGB camera. For 3D scanning, we mounted a depth camera (model: Creative Senz3D) to the casing of the MakerBot, which faces sideward onto the object.
Software
In the next section, we describe the algorithm that our system uses to determine which parts need to be removed by the mill and which need to be reprinted.
Determining what changed in the model:
Our system identifies geometry that needs to be removed by uniting the existing object and the next iteration, and then subtracting the next iteration (Figure 11a).
Figure 11: Calculating (a) what to add, (b) to remove.
Similarly, our system identifies geometry that needs to be added by uniting the existing object and the next iteration and then subtracting the existing object (Figure 11b).
Calculating the volume which collides with mill or print head
As discussed in section “Minimizing material usage”, the size of the mill and print head can make it necessary to remove more material than actually changed to avoid collisions. Figure 12 illustrates our algorithm with an example of the geometry that needs to be added from the previous figure: (a,b) First, our system identifies the volume that needs to be empty so that the print head can reach all locations required to add the part. To do this, our software takes the 3D geometry of the print head and moves it along the surface of the part that should be added. All of the volumes are added up (minkowski sum).
Figure 12: Checking collision volume for the geometry that should be added (from the previous figure).
(c) In the next step, our software determines if there are any collisions. For this, our software intersects the volume that should be empty with the existing geometry of the object. If the resulting volume is empty, no collision exists and the system can perform the patch without removing any additional geometry. If the volume is not empty as in the example shown in Figure 12c), a part of the new geometry cannot be added due to a collision. Thus, the part of the existing object that causes the collision has to be removed too.
The question remains if the additional part that needs to be removed causes collisions itself. The algorithm thus repeats all steps until no additional collisions exist anymore. (d) It then adds up all collision volumes, (e) removes them, and then (f) recreates them together with the geometry that needs to be added.
Minimizing collision volume with 5-axis printing
In 3-axis printing only one option exists to change the geometry in a certain location, but 5-axis printing can achieve the same result in several ways, i.e. by rotating the object at different angles, resulting in different collision volumes, and thus requiring different amounts of geometry to be milled away and reprinted. Our system therefore finds the angles that create least waste and consume least material.
For this, our system iteratively builds a tree structure of all potential solutions and applies a breadth first search, i.e. we stop pursuing a branch as soon as it creates more waste and requires more material than the current best solution (Figure 13).
Figure 13: In the example shown, the optimal solution to minimize waste and material consumption is to rotate the object 90°.
Our algorithm starts by (a) calculating the difference between the existing object and the next iteration (as described in Figure 11). (b) It then calculates the collision volume for each potential angle (as described in Figure 12c). If the object contains several patches in different locations, the algorithm builds the next layer in the tree by repeating steps (a) and (b), i.e. testing all potential rotation angles for the second part that needs to be changed and again calculating the collision volume.
After traversing the valid options, our algorithm picks the solution that consumes least material and produces least waste. In the case shown in Figure 13, rotating the object by 90° produces zero waste and only requires a fraction of the material than changing it in a 0° position—making the 90° angle the optimal solution.
As testing all potential rotation angles is computationally expensive, we only test a set of discrete angles rather than a continuous space. The number of angles tested is a trade-off between accuracy and computation time (we currently test in 1° distances).
Order of executing changes
Our system first removes all collision geometries and geometries that no longer exist in the next iteration. After that, the system prints the geometry that needs to be added.
Calculating the tool paths for the mill and print head
Milling: For each part that needs to be removed, our system calculates the mill path. For this, our system slices the part that should be removed in layers (we use a two wing flute mill bit for milling plastic, and mill layers with 0.6mm height). Our system implements the slicing by intersecting the 3D model of the part that should be removed with horizontal planes at increasing heights. For each slice, our system then calculates the bounding box. From the bounding box, our system generates the tool path for the mill in the form of g-code commands. Moving the mill exactly along the contour of the layer could further optimize our current implementation.
3D printing: Our system generates the 3D print tool path for each part by sending the geometry in .stl file format to the MakerBot slicer miraclegrue, which in turn generates a g-code file that we automatically read back into our system.
Collision prevention during travel
By default, the 3D printer moves the shortest path between two print locations, which can lead to collisions with existing geometry (Figure 14). To avoid collisions, our system first detects the highest point of existing geometry on the path (based on the initial 3D scan of the object). It then lowers the base plate to move the point below the print head. Finally, the system instructs the print head to move to the other location, and afterwards brings the base plate back up.
Figure 14: To avoid collision of the print head with existing geometry, we lower the base plate accordingly.
Closing open surfaces / covering infill
To save time in 3D printing, objects are often printed with a solid surface and a sparse infill pattern.
Figure 15: Closing open infill areas.
During a change, the existing surface of an object can be removed and parts of the infill form the new outside surface (Figure 15). To cover the infill pattern, our system removes the top infill layer in addition and reprints it as solid to close the surface.
3D scanning and alignment
We take multiple snapshots with the camera while rotating the object. Each snapshot contains the depth value in mm for each pixel. We combine all snapshots into a single point cloud, taking into account the position of the camera, the rotational center of the platform, and the 3D printer coordinate system. We then call the command line interface of CloudCompare [4] to register the object geometry with the point cloud (Figure 16).
Figure 16: 3D scanning for alignment.
Unfortunately, current depth cameras, such as the CreativeSenz3D we use, are not accurate enough to achieve a seamless patch as this requires a resolution below the 200 microns of current consumer FDM printers. This is why the objects in our example walkthrough show small defects at the interface of the patch.
In our setup, scanning accuracy is a trade-off between time and precision. By scanning the object from additional angles, we can collect more data and thereby increase the scanning resolution. In addition, since our algorithm combines all data from the point cloud (using the standard POSIT algorithm), not every point needs to be perfectly accurate.
Discussion
In the next section, we discuss insights we gained while patching a range of different objects.
Material savings for different types of changes
The material saved between two design iterations highly depends on the type of change. For local patches, i.e. changes that only affect a small part of the object in a specific area, material savings are typically high. For global patches, such as scaling the entire object, material savings tend to be small. In addition, they are technically more difficult to achieve.
Time saving during design iteration
Patching physical objects does not only lead to material savings, but in most cases also to time savings. However, the time saved depends on the type of patch as patching requires both time for printing and time for milling. One option to further reduce fabrication time is to use a saw for cutting off outdated parts in a single piece rather than using a mill to remove material layer-by-layer. However, a saw limits the type of removals that can be achieved.
5 axis vs. 3+2 axis printing
While our hardware is capable of full 5-axis printing, our algorithm currently implements 3+2 axis printing, i.e. we first rotate the object, then apply the patch rather than rotating and fabricating at the same time, which would allow for additional material savings. The benefit of 3+2 axis printing is that it allows us to re-use the default MakerBot slicer as we only print in the x-y plane and do not print 3D curves. Using industrial 5-axis printing software, our system could be extended to full 5-axis patching.
Taping the object into the printer vs. using a mount
While double-sided tape is sufficient to mount objects with a large bottom area (such as the phone dock in the walkthrough), it is not sufficient for objects with a small bottom area. For smaller objects, we developed a mount that can be opened and closed with a screw (Figure 17). One limitation of an additional mount is that it reduces the reachable area by the print head. To avoid the problem, the user can orient the object in the mount in different ways according to the part that is being patched. The efficacy of the tape bond also depends on the shearing forces during milling.
Figure 17: While double-sided tape is strong enough to hold objects with a large surface area, we use this mount for objects with a small surface area.
Conclusion
In this paper, we presented a system that can patch an existing physical object rather than reprinting it from scratch. We showed how combining subtractive and additive fabrication in 5-axis allows efficient patching of an object to minimize material consumption and plastic waste—making 3D printing more sustainable.
For future work, we want to explore how to patch more complex physical objects, such as those that are not only based on shape, but also exhibit behavior (e.g. kinematic mechanisms [4]). In addition, it would be interesting to apply the patching concept to different types of 3D printing techniques. Our current setup focuses on FDM 3D printing, but other technologies such as SLA/SLS exist.


We'll contact you to arrange a phone call with a mediator from the Small Claims Mediation Service.
The call won't take longer than an hour.
The mediator will:
If mediation is successful we'll ask you to sign a legal agreement that formalises what you agreed.
If either party breaks the terms, the other party can apply to the court to enforce them.
If mediation fails and a hearing is needed, any mediation discussions can't be mentioned in court.


{% extends "base.html" %} {% block title %} U.N. Universal Period Review - Add/Edit Organization {% endblock title %} {% block content %} Organization Details Name: Acronymn: Type: Accreditation: Phone Number Street Address: Postal Code: Province: Country: United States of America {% endblock content %}


Display For the first time ever, the entirety of Apple’s flagship iPhone lineup will sport OLED display technology
his year
Camera Other than screen size, the biggest differentiator between the iPhone 12 models will be camera technology.
Essentially, Apple is planning two iPhones with dual-lens camera systems and two
iPhones with triple-lens camera systems.


Please note: The kirby-reorder-list component needs to be wrapped in a kirby-page to function correctly.
kirby-reorder-list
kirby-page


Amazon Connect Routing Profile APIs
Selected routing profile details
JSON Output
Waiting for server to respond
Overview
Routing profile queues
Routing profile details
Name
Description
Voice
Chat
Max chats per agent
Default outbound queue
Create routing profile
Modify name/description
Modify concurrency
Modify default queue
Routing profile queues
Add Queue
Remove Queue
Name
Channels
Priority
Delay
-
Queue details
Queue
Channels
Voice
Chat
Priority
Delay
Enter AWS credentials for routing profile management
Access Key :
Region :
Secret Key :
Instance Id :
Save Configurations
Are you sure you want to delete the instance?


--- layout: post title: "No Title" ---
A gorgeous set of photos taken (and captioned) by astronaut Douglas Wheelock who’s currently on the International Space Station.


- TableauPileView - Class in game.views
-
This view represents a single Tableau pile
- TableauPileView(List<CardModel>) - Constructor for class game.views.TableauPileView
-
Constructs a new instance of this class type
- TalonPileView - Class in game.views
-
This views represents the talon pile view.
- TalonPileView(List<CardModel>) - Constructor for class game.views.TalonPileView
-
Constructs a new instance of this class type
- TalonPileView.TalonCardState - Enum in game.views
-
The available states of the talon
- timedGame - Variable in class game.config.OptionsPreferences
-
- TimerView - Class in game.views
-
- TimerView() - Constructor for class game.views.TimerView
-
Constructs a new instance of this class type
- TITLE - Static variable in class resources.LocalizationStrings
-
- toString() - Method in class game.config.OptionsPreferences
-
- toString() - Method in class game.entities.AbstractCardEntity
-
- toString() - Method in class game.entities.StockCardEntity
-
- toString() - Method in class game.models.CardModel
-
- toString() - Method in class game.views.AbstractPileView
-
- toString() - Method in class game.views.CardView
-
- toString() - Method in class game.views.ScoreView
-
- toString() - Method in class game.views.TalonPileView
-
- toString() - Method in class game.views.TimerView
-
- toString() - Method in class game.views.VegasScoreView
-
- TOTAL_CARD_SIZE - Static variable in class game.views.TalonPileView
-
The total number of cards that this view contains by default


After Steve Harvey’s Apparent Miss Universe Teleprompter Gaffe, No One Knows If Miss Malaysia Or Miss Philippines Won The National Costume
by Charisse Van HornOh no! It’s happened again! Steve Harvey hosted the 2019 Miss Universe and there was a gaffe when it was time to name the winner of the costume competition. Miss Malaysia, Shweta Sekhon, stated she won the category and stood on stage wearing an elaborate costume that represented a historic city in her country. Steve Harvey read the teleprompter and spoke to her about her costume. That portion had been pre-recorded so Steve was just going off of what the teleprompter told him. When he read what was written on the teleprompter, he announced that Miss Philippines (Gazini Ganados) was the winner.
Miss Malaysia, chimed in that she was the winner. But now, sources are saying that she was mistaken and really wasn’t the winner.
Steve went by what Miss Malaysia said and then blamed the teleprompter, explaining he was only reading what was on the screen scrolling before him.
He was clearly upset about the mistake. Steve Harvey stated the following after Miss Malaysia corrected him.
“OK, well, let me explain something to you. I just read that in the teleprompter. Y’all got to quit doing this to me. I can read. They said … they’re trying to fix it now. See, this what they did to me back in 2015. Played me short like that. This is Malaysia. I really love this national costume of Malaysia. This is crazy.”
Now, no one seems to know who really won the competition.
You may watch the full costume competition from the 2019 Miss Universe pageant below.
Miss Universe addressed the issue and set the record straight.
It wasn’t Miss Malaysia who won the National Costume segment of the Miss Universe 2019 competition but instead, it really was Miss Philippines and Steve Harvey had it correct when he read the teleprompter.
It was Miss Malaysia who made the gaffe, not Steve Harvey.
You may see a tweet that the Miss Universe pageant shared clearing up the confusion below.
What do you think about the Miss Universe mistake?
Were you confused about who truly won?


@
<EMAIL_ADDRESS>Cultur3ducation
Home
About
What You Can Do
Share and Care
Contact
Cultur3ducation
living to learn, learning to live
Days:
Day 1
Day 2
Day 3
Day 4
Day 5
Day 6
Day 7


--- layout: post status: publish published: true title: Podcast 3.47 - A Year and a Quarter with Quade author: display_name: Corey Fineran login: Corey email<EMAIL_ADDRESS>url: '' author_login: Corey author_email<EMAIL_ADDRESS>wordpress_id: 6364 wordpress_url: http://ivyenvy.com/?p=6364 date: '2011-11-08 23:07:54 +0000' date_gmt: '2011-11-09 05:07:54 +0000' categories: - Podcast tags: - Cardinals - Carlos Zambrano - Mike Quade - Ryne Sandberg - Spring Training - Venezuela - Cubs Convention - St. Louis Cardinals comments: [] ---
Andy, Corey and Kurt discuss the firing of Mike Quade and reflect on his short managerial career with the Cubs. We look at the highlights, lowlights and his future in baseball. We look at the options the Cubs have for a manager, one of which is not Ryne Sandberg. We consider what it would be like for Sandberg to be the manager of the St. Louis Cardinals.
We give an update on Ken, who is in Venezuela and will be keeping an eye (maybe) on Zambrano for us. We pick a winner for the photo caption contest and talk about Cubs Convention vs. Spring Training.


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BayesLab - Bayesian Hierarchical Modeling
Preface
1
Introduction
2
Diving In
Published with bookdown
BayesLab - Exploring Bayesian Hierarchical Modeling
Chapter 1
Introduction
This is the first real chapter.


This web page is a demonstration of the use of musical.js with a plain script tag. Other examples here include September and Sonata and Moonlight.
Here is the code for this page:
Minified, musical.js is about 17K, and it has no dependencies. It can also be used as an AMD or node.js modele.


Enter shuffle parameters.
Enter number of players and who will win.
Designate cards as desired. Any unfilled fields will use a random card.
Flop Turn River
Dealer Cards
Player 1 Cards
Player 2 Cards
Player 3 Cards
Player 4 Cards
Player 5 Cards
Player 6 Cards
Player 7 Cards


On the Manage payment types page, you specify how customers may pay for their subscriptions, for example, on receipt of invoice, with credit card, or by direct debit. You can specify the payment types for individual customers and services. By default, suppliers and resellers can allow customers to pay on invoice so that they can subscribe to a service that is not free of charge.
Your operator is responsible for configuring the payment types you can offer. Payment on receipt of invoice is automatically set up for all suppliers and resellers. This means that you can always allow your customers to pay on receipt of invoice without additional preparations by your operator. Payment on receipt of invoice implies that you are responsible for creating invoices and collecting payments.
If you decide to offer more than one payment type to a customer, the customer is free to choose the type he prefers when subscribing to a service. If you remove a used payment type, the customer must specify a new one before he can continue using the service.
Be aware of the following effects of removing a used payment type:
On the Manage payment types page, you can define the payment types you want to offer for services and for customers. The intersection of both sets of payment types determines which payment types a customer can finally choose from when subscribing to a service. If the intersection is empty, i.e. the two sets of payment types have no payment types in common, the customer is not offered any payment type at all. Subscribing to a service is not possible in this case.
To define a payment type:
The selected payment type is instantly available for selection.
To remove a payment type:
The selected payment type is instantly removed. It is no longer available for selection.


I am Jay Patel. I am interested in coding in different languages. I would like to pusrsue my career in computer science or computational mathematics and hoping to be a network scientist some day.
| Email: |<EMAIL_ADDRESS>|
|---|---|
| phone: |<PHONE_NUMBER> |
| Address: | Hamilton, On |
|---|---|
| Language: | Hindi, Gujarati, English |
I have ability to grasp new concepts quickly and efficiently. I am good with creating and keeping deadlines. I am capable of solving problems independently and also, capable to work as a part of a team.
Currently a high school student at Westdale Secondary School. I am interested in coding in different languages. I could code in different languages such as Java, HTML, CSS and basic Python.


https://lists.samba.org/archive/samba/2016-March/198423.html
https://www.securusglobal.com/community/2013/12/20/dumping-windows-credentials/
https://wiki.samba.org/index.php/Joining_a_Samba_DC_to_an_Existing_Active_Directory
https://web.archive.org/web/20180518143810/https://malicious.link/post/2014/2014-05-14-dumping-ntds-dot-dit-domain-hashes-using-samba/


This page is a full scale diffraction image viewer. Mousehweel zooms in and out, drag click to pan around the image. Press > to go to the next image and < the previous.
Resolution: 0Å


{screen-buttons.png width=192}
At any time you can {_tap} one of these to display the corresponding screen in the rest of the Toolkit window.
The {Programs_screen PROGRAMS} screen is where you select {_program programs}, rearrange them, modify their names or descriptions, delete them, or set up {_link_program links} to them. It normally shows one bank of programs, but has buttons to select any of the nine banks, and can be split between two banks so that you can move programs between them. Normally, the current bank is selected, meaning that it will show whatever bank contains the {_current_program}, even if you select a program in a different bank from the Chroma's control panel.
The {Editor_screen EDITOR} screen is where you edit programs. It is by far the most complicated screen, because the Digital Chroma is a pretty complicated instrument.
The {Tools_screen TOOLS} screen is where you manipulate the {_global_parameter global parameters} that control the overall operation of the Digital Chroma, and perform other utility functions.
The {Help_screen HELP} screen is what you're looking at now. Complete documentation is provided for both the Toolkit and the Digital Chroma itself.
If you {_long-press long-press} this button, it selects this screen and switches to the Home page.
You can also click on various {question.png height=16} buttons in other screens, to switch to this screen and bring up a relevant help page.
Pressing P, E, T, or H on the keyboard is another way to switch screens.


Model Builder
#
Property Attributes
Property Type
Property Name
JSON keypath
DB Column Name
1
Add Row
Build
Delete Row


| add_global_p {gtsummary} | R Documentation |
This function uses car::Anova with argument
type = "III"
to calculate global p-values for categorical variables.
Output from tbl_regression
and tbl_uvregression
objects supported.
add_global_p(x, ...)
x |
|
... |
Further arguments passed to or from other methods. |
If a needed class of model is not supported by car::Anova, please create an issue to request support.
Daniel D. Sjoberg
add_global_p.tbl_regression
,
add_global_p.tbl_uvregression


We are the London community for the Enlightened faction in Niantic Project's Ingress.
Ingress is a near-real time augmented reality massively multiplayer online pervasive game created by Niantic Labs, a start up within Google, currently for Android devices, but, expected to be available for Apple's iOS in 2014. The game has a complex science fiction back story with a continuous open narrative.
Some Ingress story should go here.
We are the Green Faction. We side with the Shapers to bring XM to Earth, because we believe that it will be good for humanity.
We also love cake.


QVideoEncoderSettingsControl Class
The QVideoEncoderSettingsControl class provides access to the settings of a media service that performs video encoding. More...
| Header: | #include <QVideoEncoderSettingsControl> |
| qmake: | QT += multimedia |
| Inherits: | QMediaControl |
Public Functions
| virtual | ~QVideoEncoderSettingsControl() |
| virtual void | setVideoSettings(const QVideoEncoderSettings &settings) = 0 |
| virtual QList<qreal> | supportedFrameRates(const QVideoEncoderSettings &settings, bool *continuous = Q_NULLPTR) const = 0 |
| virtual QList<QSize> | supportedResolutions(const QVideoEncoderSettings &settings, bool *continuous = Q_NULLPTR) const = 0 |
| virtual QStringList | supportedVideoCodecs() const = 0 |
| virtual QString | videoCodecDescription(const QString &codec) const = 0 |
| virtual QVideoEncoderSettings | videoSettings() const = 0 |
- 32 public functions inherited from QObject
Protected Functions
| QVideoEncoderSettingsControl(QObject *parent = Q_NULLPTR) |
- 9 protected functions inherited from QObject
Macros
Additional Inherited Members
- 1 property inherited from QObject
- 1 public slot inherited from QObject
- 2 signals inherited from QObject
- 1 public variable inherited from QObject
- 10 static public members inherited from QObject
- 2 protected variables inherited from QObject
Detailed Description
The QVideoEncoderSettingsControl class provides access to the settings of a media service that performs video encoding.
If a QMediaService supports encoding video data it will implement QVideoEncoderSettingsControl. This control provides information about the limits of restricted video encoder options and allows the selection of a set of video encoder settings as specified in a QVideoEncoderSettings object.
The functionality provided by this control is exposed to application code through the QMediaRecorder class.
The interface name of QVideoEncoderSettingsControl is org.qt-project.qt.videoencodersettingscontrol/5.0
as defined in QVideoEncoderSettingsControl_iid.
See also QMediaRecorder, QVideoEncoderSettings, and QMediaService::requestControl().
Member Function Documentation
[protected]
QVideoEncoderSettingsControl::QVideoEncoderSettingsControl(QObject *parent = Q_NULLPTR)
Create a new video encoder settings control object with the given parent.
[virtual]
QVideoEncoderSettingsControl::~QVideoEncoderSettingsControl()
Destroys a video encoder settings control.
[pure virtual]
void QVideoEncoderSettingsControl::setVideoSettings(const QVideoEncoderSettings &settings)
Sets the selected video encoder settings.
See also videoSettings().
[pure virtual]
QList<qreal> QVideoEncoderSettingsControl::supportedFrameRates(const QVideoEncoderSettings &settings, bool *continuous = Q_NULLPTR) const
Returns a list of supported frame rates.
If non null video settings parameter is passed, the returned list is reduced to frame rates supported with partial settings like video codec or video resolution applied.
If the encoder supports arbitrary frame rates within the supported range, *continuous is set to true, otherwise *continuous is set to false.
See also QVideoEncoderSettings::frameRate().
[pure virtual]
QList<QSize> QVideoEncoderSettingsControl::supportedResolutions(const QVideoEncoderSettings &settings, bool *continuous = Q_NULLPTR) const
Returns a list of supported resolutions.
If non null video settings parameter is passed, the returned list is reduced to resolution supported with partial settings like video codec or frame rate applied.
If the encoder supports arbitrary resolutions within the supported resolutions range, *continuous is set to true, otherwise *continuous is set to false.
See also QVideoEncoderSettings::resolution().
[pure virtual]
QStringList QVideoEncoderSettingsControl::supportedVideoCodecs() const
Returns the list of supported video codecs.
[pure virtual]
QString QVideoEncoderSettingsControl::videoCodecDescription(const QString &codec) const
Returns a description of a video codec.
[pure virtual]
QVideoEncoderSettings QVideoEncoderSettingsControl::videoSettings() const
Returns the video encoder settings.
The returned value may be different tha passed to QVideoEncoderSettingsControl::setVideoSettings() if the settings contains the default or undefined parameters. In this case if the undefined parameters are already resolved, they should be returned.
See also setVideoSettings().
Macro Documentation
QVideoEncoderSettingsControl_iid
org.qt-project.qt.videoencodersettingscontrol/5.0
Defines the interface name of the QVideoEncoderSettingsControl class.


Chapter: AngularJS Forms
Input Controls
input elements
select elements
button elements
textarea elements
Data-Binding
Checkbox
Secret
Radiobuttons
Selected topic: {{topic}}
Selectbox
Another selected topic: {{anotherTopic}}
An AngularJS Form Example
form = {{user}}
master = {{master}}


|
Name here
V1.0
Summary here
|
Tool in development to aid orchestral conducting students in understanding how to remain on beat with their conducting.
| Asset | Purpose |
|---|---|
| VRTK | Tool kit used for implementing VR functionality into a scene. Allows easy interchangeability between different VR hardware. |
| SteamVR | Gives Unity access to SteamVR. |
| Oculus Plugin | Allows Oculus functionality within Unity. |
| Asset | Purpose |
|---|---|
| Orchestra Practice Room 3D Model | 3D model of orchestra practice room environment. |
| Mannequin Saxophone 3D Model | 3D model of mannequin saxophonist for the orchestra. |
| Mannequin Upright Bass 3D Model | 3D model of mannequin bassist for the orchestra. |
| Mannequin Piano 3D Model | 3D model of mannequin pianist for the orchestra. |
| Mannequin Violin 3D Model | 3D model of mannequin violinist for the orchestra. |
| Ceiling Tile Texture | 3D texture for ceiling in the orchestra practice room environment. |
| O Canada Sheet Music | O Canada sheet music to display on music stand. |
| Wall Texture (Plastic Rough) | 3D wall texture for the orchestra practice room environment. |
The following assets are either necessary or recommended for the project to work as intended, and may be included in the project's final release. However, we cannot distribute them, and they must be acquired elsewhere.
| Asset | Purpose | Optional? |
|---|---|---|
| AirSig for HTC VIVE & Oculus Rift | Gesture recognition library used for defining the shape of each gesture component. Provides a score of correctness. | :heavy_check_mark: |
| Wwise 2018.1.3 | Interactive audio software, used for slowing and speeding up the piece according to the user. | :x: |
| Asset | Purpose | Optional? |
|---|---|---|
| Wooden Floor Texture | 3D texture for wood flooring in the orchestra practice room environment. | :heavy_check_mark: |
Dr. Jonathan Girard | Principal Investigator - Director of Orchestral Activities, Assistant Professor of Conducting and Ensembles at the UBC School of Music
For documentation, please visit the GitHub Wiki for this repository: https://wiki.ubc.ca/Documentation:Interactive_Orchestra


3d-solo painting ProCredit Bank 2014
3d-solo work, StreetArtFestival Alle Center 2016
Festival-9 "Galapagos 10 " 2016
3d-artist duo, technique: chalk, Beton Festival 2013
3d-Teamwork Lets Do It 2013
StreetArtFest 2014
3d-teamwork Not-Vello 2013
3d-teamwork Festival-9 2016
3d-teamwork Beton Fest 2013
3d-teamwork Khamoro Festival 2016
Giraffe
3d-teamwork, Medjunarodni Festival Gradjevinarstva, Beogradski Sajam SEEBBE 2018
3d-solo OGUS (City of open art Srebrenik) Art Colony 2018
Mural art, acryl on wall, Loft Club 2016
Cat eyes, photography, retouch, colour 2016
Acryl on canvas, A5 format, Godfather 2015
Watercolors on fine paper, A3 format 2015