WITNESS LIST Finance Committee April 12, 2004 - 1:00P Review of Fees at State Regulatory Agencies ON: Francis, Brian E. Deputy Executive Director (Texas Department of Licensing and Regulation), Austin, TX Garanflo, Jaime Director, Customer Affairs (Texas State Board of Medical Examiners), Austin, TX Griffin, Gayle L. Deputy Commissioner (Texas Department of Banking), Austin, TX Kuntz, Jr., William H. Executive Director (Texas Department of Licensing and Regulation), Austin, TX Lanford, Lane Executive Director (Public Utility Commission), Austin, TX Majek, Mark Director of Operations (Board of Nurse Examiners), Austin, TX Montemayor, Jose Commissioner of Insurance (Texas Department of Insurance), Austin, TX Newberg, Stephanie Deputy Commissioner (Texas Department of Banking), Austin, TX Perez, Laurie Director of Finance (Texas State Board of Medical Examiners), Austin, TX Phillips, Karen A. Chief Financial Officer (Texas Department of Insurance), Austin, TX Thomas, Katherine A. Executive Director (Board of Nurse Examiners), Austin, TX Travis, Rick Analyst (Legislative Budget Board), Austin, TX Walker, Jerry T. Deputy Executive Director (Texas State Board of Medical Examiners), Austin, TX


Ulrika Maude
, Volume 18, Number 4, November 2011, pp. 814-821 (Article)
Published by The Johns Hopkins University Press
DOI: 10.1353/mod.2011.0100
For additional information about this article
http://muse.jhu.edu/journals/mod/summary/v018/18.4.maude.html
Access Provided by The University Of Texas at Austin, General Libraries at 07/05/12 7:58PM GMT
Habit presents a challenge to our received understanding of what it is to be human, because it seems to entail an absence of reflection, thought, and rational intentionality, and appears instead to be closer to a form of automatism. Habit is therefore antithetical to what we value in ourselves: critical reflection, intentional actions, and an Aristotelian capacity for wonder. For this reason, habit figures prominently in the work of a number of philosophers, many of whom view it with suspicion. However, there is an alternative line of thinking that can be traced back at least to the work of the nineteenth-century French philosopher Félix Ravaisson, whose essay Of Habit, from 1838, influenced writers and thinkers such as Henri Bergson, Marcel Proust, Maurice Merleau-Ponty, Paul Ricoeur, and Gilles Deleuze, all of whom are of course anti-rationalist thinkers. In this paper I will argue that Beckett’s work, too, gives habit some very serious consideration. In fact, it might even be argued that an appreciation of its functions and mechanism is crucial to our understanding of Beckett’s oeuvre.
The word “habit” can be understood in two different ways:
modernism / modernity volume eighteen, number four, pp 813–821. © 2012
the johns hopkins university press
Ulrika Maude is Senior Lecturer in Beckett Studies and Modernism at the University of Reading. She is author of Beckett, Technology and the Body
(Cambridge, 2009) and co-editor of Beckett and Phenomenology
(Continuum, 2009) and
The Body and the Arts
(Palgrave, 2009). She is writing a book on modernism and medicine.
814 I shall argue that although they are seemingly very different, these two senses of habit can be seen to “proceed from the same principle.”2 Ravaisson’s (1813–1900) extended essay advances one of the most sophisticated and detailed analyses of habit available, and, crucially steers a path between materialism and idealism. In all forms of existence, Ravaisson argues, “the following are found together: permanence; change; and, in change itself, a tendency towards permanence” (OH, 27). The higher we move up in the “hierarchy of beings,” the more multiple become the conditions of permanence and change, partly because higher beings exercise will rather than instinct and therefore simply have more freedom of choice. “Permanence and change,” Ravaisson argues, are hence “the first conditions of habit” (OH, 33). “Habit is at first an effect, a way of being that results from change, but it gradually becomes a cause of change itself,” initiating and maintaining repetition.3 As Catherine Malabou rather elegantly puts it, “change generates habit, but in return habit is actualised as a habit of changing.”4 Deleuze calls this “repetition productive of difference”—the very paradox of repetition. Beckett, in his essay on Proust, published in 1931, perhaps says the same thing thus: “There is no escape from yesterday because yesterday has deformed us, or been deformed by us. The mood is of no importance. Deformation has taken place.”5 In his analysis of motivation, Ravaisson makes a distinction between action and passion, which for him are “inversely related to each other”: while action is triggered by the intentional will, passions are initially prompted by receptivity or, what for him amounts to the same thing, passivity. The two are also diametrically opposed because “The continuity or the repetition of passion weakens it; [while] the continuity or repetition of action exalts and strengthens it.” For Ravaisson, “Prolonged or repeated movement becomes gradually easier, quicker and more assured. Perception, which is linked to movement, similarly becomes clearer, swifter, and more certain” (OH, 49). Action leads to habit, and habit to grace, ease and elegance. Prolonged or repeated sensation, on the other hand, diminishes gradually and through the reversibility of energies prompts action and a desire for a strengthened stimulus in the subject (this would for instance be the case in addictions). What began as passivity is therefore transformed into action. Effort, fatigue, and pain initially insert themselves between the will and the action, but they recede along with effort, and as the pain disappears, pleasure develops and increases. Continuity or repetition therefore “weakens passivity and excites activity,” while “the action itself becomes more of a tendency, an inclination that no longer awaits the commandments of the will but rather anticipates them, and which even escapes entirely and irremediably both will and consciousness” (OH, 51). We are therefore faced with an “obscure and unreflective tendency, which goes further down into the organism [than will], increasingly concentrating itself there” (OH, 53). This “unreflective spontaneity . . . beyond, beneath the region of will, personality and consciousness” is what Ravaisson defines as habit—habit as second nature (OH, 53). Habit, in other words, bridges the gap between will or consciousness on the one hand and matter and the automated functions of the body on the other, forming a kind of complex ontology: virtually everything integral to
the subject can be traced back to habit. Here Ravaission’s thinking parts company with 815 the received notion in philosophy that habit is “an obstacle to knowledge.”6 Instead, his theory provides a link between will and habit, will and nature. And he argues, following Aristotle, that “Habit is an acquired nature, a second nature that has its ultimate ground in primitive nature” (OH, 59). So habit, he suggests, is constitutive of the self. For Ravaission, however, as I have already implied, habit is a source of both grace and addiction: it produces ease, facility, and power, but also machinic and at times pathological repetition, such as in “inflammations, spasms, convulsions [which] make regular appearances without any appearance of a determining cause in the material of the organism.” Here, Raviasson argues, “A fever that has come by chance to manifest itself in regular bouts tends to convert itself into periodic affection; the periodicity becomes essential to it” (OH, 35). So illness for Ravaission is a habit, and his essay draws substantially from various medical textbooks of his time.
Beckett’s most direct treatment of habit appears in his essay on Proust, from 1931, in which he declares that “Memory and Habit . . . control the most simple Proustian episode, and an understanding of their mechanism must precede any particular analysis of their application” (P, 18). Something very similar could be said about much of Beckett’s own work. Proust’s ideas on habit come largely from Bergson, who in turn was a student of Ravaisson’s at the École Normale Supérieure in Paris; Bergson graduated from the École Normale in 1881. Beckett would therefore have had indirect access to Ravaisson’s thinking on habit through his knowledge of the work of both Proust and Bergson.
Bergson is far more scathing about habit than Ravaisson. For him, habit constitutes a form of memory, but the acquisition of memories through repetition is not “true” or proper memory, but mere habit-memory, “the main office of our nervous system.”7 Habit therefore functions as a low-order memory: “Habits formed by repeated actions are amassed in the body; these do not represent the past, they merely act it” (MM, 92). In this way, Bergson writes, “is ensured the appropriate reaction, the correspondence to environment—adaptation, in a word—which is the general aim of life. And a living being which did nothing but live would need no more than this” (MM, 96). Where for Ravaisson habit is developed into an ontology, a key to all human existence, for Bergson it is insufficient and more appropriate to animal life. Bergson gives the example of a dog greeting its owner as a prime instance of habit-memory. In Bergson’s thinking, habit must be combined with the memory-images conjured up by spontaneous memory for it to constitute a veritable representation of the past, something that, incidentally, is parodied in Beckett’s Murphy (1938)—in Murphy’s attempt to recreate the image of “his father, his mother, Celia, Wylie, Neary, Cooper, Miss Dew, Miss Carridge, Nelly, the sheep, the chandlers, even Bom and Co., even Bim,” and his inability to do so.8 For Bergson, too, however, the observation of pathological cases reveals that the automatism of motor memory extends far further than might at first meet the eye. Bergson writes in Matter and Memory, from 1896 (trans. 1911):
In cases of dementia, we sometimes find that intelligent answers are given to a succession of questions which are not understood: language here works after the manner of a reflex. Aphasics, incapable of uttering a word spontaneously, can recollect without a mistake the words of an air which they sing. Or again, they will fluently repeat a prayer, a series of numbers, the days of the week, the months of the year. (MM, 99)
Language too can be a mere reflex or a habit, then, something that begins to bring us closer to Beckett’s work.
It is not clear when exactly Beckett became familiar with Bergson’s work, but we do know that he read the philosopher for his lectures at Trinity College, Dublin, delivered in the academic year 1930 to 1931, as Beckett’s student, Rachel Burrows’s lecture notes, and her 1988 interview with Gontarski, McMillan, and Fehsenfeld make clear.9 The original lecture notes, which have gone missing, are available on microfilm at Trinity College, Dublin, Library. They reveal that Beckett makes mention of Bergson not only in his lectures on Proust, but also in his discussion of such writers as Gide, Rimbaud, and Dostoyevsky.10 Although there are notes on such philosophers as Kant in Beckett’s personal copy of À la recherche du temps perdu, the volume contains no marginal references to Bergson.11 However, Proust himself was friendly with Bergson and familiar with his philosophy, and the Bergsonian ideas in Proust may therefore have been acquired second-hand through Beckett’s reading of À la recherche. In his essay, which was submitted to Chatto and Windus a month before he began to lecture at Trinity College, Dublin, Beckett reformulates Bergson’s statements in his own idiosyncratic manner: “Habit is a compromise effected between the individual and his environment, or between the individual and his own organic eccentricities, the guarantee of a dull inviolability, the lightning-conductor of his existence” (P, 18–19). Like Bergson, and unlike Ravaisson, Beckett seems here to suggest that habit is an impediment to knowledge and understanding: “the pernicious devotion of habit paralyses our attention, drugs those handmaidens of perception whose co-operation is not absolutely essential” (P, 20). And, Beckett argues that “Breathing is habit. Life is habit,” which though scathing and damning, could be seen to anticipate the affinities detectable in Beckett’s late work with Ravaisson’s thinking (P, 19). For although Beckett views habit in negative terms in Proust, he also recognizes its necessity: “The fundamental duty of Habit, about which it describes the futile and stupefying arabesques of its supererogations, consists in a perpetual adjustment and readjustment of our organic sensibility to the conditions of its worlds” (P, 28).
Habit figures prominently in Beckett’s own oeuvre, both in its positive and negative manifestations, and it is perhaps habit in its more purely mechanical and pathological sense that dominates in Beckett’s early and mature work. Examples might include the habitual racing of Murphy’s “irrational heart that no physician could get to the root of . . . One moment in such labour that it seemed on the point of seizing, the next in such ebullition that it seemed on the point of bursting.”12 Watt’s walk offers another prominent example of what Ravaisson called “those movements, initially more or less voluntary, that gradually degenerate into convulsive ones, which we call tics,” as do the trembling, spasms and contortions of the trilogy (OH, 51). Habit is also present in 817 The Unnamable’s compulsive, convulsive prose, where language seems to speak itself: “It issues from me, it fills me, it clamours against my walls, it is not mine, I can’t stop it, I can’t prevent it, from tearing me, racking me, assailing me. . . . I have no voice and must speak.”13 Language, in other words, becomes a pathological habit, beyond intentional control.  Function running away with organ.”16 Of Mouth’s voice, he stated: “I hear it breathless, urgent, feverish, rhythmic, panting along, without undue concern with intelligibility. Addressed less to the understanding than to the nerves of the audience, which should in a sense share her bewilderment” (NABS, 283). This is Beckett staging language as a parasitic perturbation: as a pathological habit.
A play that focuses centrally on the various manifestations of habit is Happy Days, which Beckett wrote in English between 1960 and 1961. It features two protagonists, Winnie and Willie, “about fifty” and “about sixty” respectively, fixed in a desert landscape, under a blazing light.17 In the first act of the play, Winnie is stuck up to her waist in a mound; in the second act, she is buried up to her neck, virtually devoured by the earth. Her husband, Willie, while hardly agile, is still able to crawl.
Like so much of Beckett, the play is remarkable for the fact that in it, very little happens. As Daniel Albright puts it, “Happy Days is to some degree post-theatrical in the manner of Endgame, in that the concept of event seems to pertain far more to the past than the present.”18 A bell rings six times either to wake Winnie up or to prevent her from falling asleep.  She also repeatedly misremembers and misquotes her classics: Shakespeare, Thomas Gray, Omar Khayyam, Robert Browning, Milton, Keats, Charles Wolfe, Yeats, and Herrick.
Among Winnie’s first lines are an “inaudible prayer” and its audible closing words, “For Jesus Christ sake Amen” and “World without end Amen” (HD, 5). As S. E. Gontarski argues, “Winnie never really hears her prayer. It is simply part of her morning ritual, her habit, which Beckett has reminded us is a great deadener.”19 Ruby Cohn describes Winnie’s prayer as “automatic,” and goes on to add that “soon she invokes deity as a mere expletive.”20 The prayer and Winnie’s expletives, such as “God” at the sight of an emmet carrying an egg, function in the manner of a reflex, mouthed habitually, devoid of semantic content (HD, 18). One of Beckett’s major problems in writing the play, as he put it in a letter to Alan Schneider of December, 1960, was “how to have [Winnie]
818 speak alone on the stage all that time without speaking to herself or to the audience” (NABS, 77). The striking effect of the play comes precisely from the disparity between the stage spectacle and the words conveyed: “This calculated irrelevance of language to the visual images is mutually discrediting; this jangle, this inconsistency, cannot be palliated by any strategy of interpretation” (BA, 66). Something rather similar applies to Winnie’s numerous literary (mis)quotations. When, in 1971, Beckett was directing Eva Katharina Schultz as Winnie in Glückliche Tage, the German-language translation of the play, at the Schiller Theater in Berlin, “he wanted something close to a chant for the literary quotations.”21 Winnie’s (mis) quotations, such as the repeated line from Cymbeline, “Fear no more the heat o’ the sun” or the reference to Gray’s “Ode on a Distant Prospect of Eton College,” “laughing wild . . . something something laughing wild amid severest woe,” function here precisely in the manner of culturally coded chants or mantras: they are key lines from Western literature, but their signification, for Winnie, has long since been obliterated (HD, 15, 18). The misquotations function as an example of the change generated by habit through repetition, which gradually erodes the lines of verse and prose and alters their form. But they are also an example of the habitual, mechanical nature of language itself, ossified into chant and mere sound pattern. In his final essay, dedicated to Beckett’s work, Deleuze writes that words “are so burdened with calculations and significations, with intentions and personal memories, with old habits that cement them, that their surface, barely broken, heals over again. It sticks together. It imprisons and suffocates us.”22 It was important for Beckett that this habitual, cemented quality of language be conveyed in stage productions. In August, 1961, Beckett instructed Alan Schneider, who was directing the American première of the play, to maintain “same tone throughout, polishing mechanically, no emotion . . . In a word I am asking here for vocal monotony and relying on speech rhythms and speech-gesture complexes” (NABS, 95). Later, in the same letter, Beckett referred to Winnie’s “speech abnormality,” and when directing Eva Katharina Schultz ten years later, he advised her: “Speak normally, but be curiously uninvolved, impersonal.”23 Winnie’s classics constitute mere verbal debris, differing, in this sense, very little from the objects in her bag, which serve the function of acting as relics of “the old style.” In order to pass the time, Winnie contemplates listing her belongings: “The bag. . . . Could I enumerate its contents?” bringing to mind Malone’s “inventory” in the trilogy of novels (HD, 18). Here, as in Winnie’s numerous misquotations, listing and stocktaking, the most primitive forms of literacy, constitute Beckett’s aesthetics of impoverishment. S. E. Gontarski argues that words ultimately “have little meaning for [Winnie], other than as sustaining sound.”24 They function in the manner of Bergson’s aphasic utterances: as alliteration. Beckett wanted a similar “monotony of symmetry” to be reflected in the stage set: “the kind of tawdriness you get in 3rd rate musical or pantomime, that quality of pompier, laughably earnest bad imitation” (NABS, 94). But grace, the other side of habit, also forms a central part of Beckett’s work, particularly his writing for the stage. The grace that Ravaisson identifies habit as affording comes from its unselfconscious quality: movement and behavior become automatic
rather than premeditated, something that for Bergson merely constitutes “a habit of 819 the body,” but which nonetheless produces exceptional grace (MM, 90). Beckett, as we know from his admiration of Kleist’s essay, “Über das Marionetten Theater,” from 1810, had an appreciation for this kind of grace. Kleist argued in the essay that self-consciousness destroys gracefulness in humans, for it produces “affectation.” Kleist’s account of the marionettes and the fencing bear exemplify how, “in the organic world, as reflection grows darker and weaker, the natural graces within emerge ever more radiant and supreme.”25 When Beckett was rehearsing Eva Katharina Schultz for the role of Winnie in Happy Days in Berlin, he focused on “the rhythm, pace, pitch, and volume of her voice and the rhythm and timing of her movements . . . He argued that precision and economy would produce the maximum of grace, quoting Kleist’s essay on the Marionette theatre to reinforce his argument.”26 Similarly, some years later, in 1976, when Beckett was rehearsing the BBC production of the television play Ghost Trio at the Ealing film studios in London, he referred both the actor, Ronald Pickup, and his biographer, James Knowlson, to Kleist’s essay, in order “to illustrate what he [Beckett] said about the relations between economy and the grace and harmony that he wanted to see in the movements of the protagonist.”27 This economy, grace, and harmony arise precisely from the implication that F, the male figure in Ghost Trio (1975), has been performing the same actions for so long they have become automated, second nature, or, to use a different term, a habit. Ghost Trio also functions as an example of the compulsive, addictive nature of habit: of those actions initially triggered by a passively received stimulus which gradually develops into a need or addiction and whose pursuit thereafter involves intentionality, until it, too, develops into a habit that settles beneath the realm of conscious control and ultimately escapes it. In Ghost Trio and its companion piece, . . . but the clouds . . . (1976), the protagonists, F and M, are plagued by the desire to be haunted by a deceased lover, and this desire drives each meticulous movement we witness on screen. V, M’s voice in . . . but the clouds . . ., utters: “crouching there, in my little sanctum, in the dark, where none could see me, I began to beg, of her, to appear, to me. Such had long been my use and wont. No sound, a begging of the mind, to her, to appear, to me.”28 Grief itself here has become a parasitic presence, the “obscure and unreflective tendency” Ravaisson identifies with the disease of habit. For, V adds, “had she never once appeared, all that time, would I have, could I have, gone on begging, all that time?”29
The choreography of . . . but the clouds . . . displays its own peculiar grace: the exact number and precise direction of M’s movements, five steps to and from north, east, south and west shadow, is meticulously prescribed. The Süddeutsche Rundfunk production, . . . nur noch Gewölk . . ., which Beckett himself directed in Stuttgart in 1977, resembles, in its uncanny traipsing, a clownish ballet or vaudeville repertoire, always however with Beckett’s characteristic brand of disquietingly dark humor. A similar emphasis on habitual, mechanical movement can be seen in a number of other plays. In Footfalls (1975), M’s nine steps and reel appear as if they were controlled by a curious clockwork mechanism, while in Quad (1982), four players, who for preference have “some ballet training,” complete a strictly choreographed set of permutations
820 always avoiding the “danger zone” at the center of a quadrangle.30 In the play-script, Beckett’s diagram for the choreography resembles instructions for origami, while the finished performance is something akin to “hopscotch” or the maneuvers of an ancient ritual (BA, 137). What Where (1983), Beckett’s final play, is marionette theatre, albeit with real actors on stage. Its players’ machinic enunciations—Beckett no longer called them characters or even actors—bring to mind the permutations of computer code. The emphasis on habit in Beckett’s theatre work can also be detected in his repeated instruction to Billie Whitelaw not to “act,” because “acting,” which implies self-consciousness, would take away from the graceful gesture and posture of habitual, mechanical action and enunciation that Beckett trained his actors to achieve. Daniel Albright has remarked that Beckett’s characters “sometimes seem to be losing species, regressing to the subhuman, trying to rehearse the figures of instinct but botching the job” (BA, 69). Another way to put this might be to suggest that habit in Beckett plays has taken the place of instinct, and that very little, in late Beckett, escapes its influence. In short, the “laws of habit,” as Beckett calls them in Proust, only grow stronger in Beckett’s late work. Flo, Vi and Ru in Come and Go or Bim, Bam, Bem, and Bom in What Where or the four players of Quad are hardly characters any more, but all of these plays nonetheless seem to suggest that what is being represented in their formal permutations is, if anything at all, a compulsive disposition, an organic eccentricity—in other words, a habit. In the non-coincidence of self with self that Beckett’s work repeatedly stages, residual subjectivity emerges and is tenuously articulated through acts of habit. The paradox of habit therefore resides in its diminution of consciousness and will, conventionally associated with ideas of self, but also in its simultaneous suggestion that any sense of self resides precisely in and emerges out of these mechanical, near-automated actions. After all else has been pared down, Beckett seems to be suggesting in his late work, habit is what remains. For Ravaission and for the late Beckett, habit replaces instinct, which in higher beings has been lost but is nonetheless retained as a memory trace— just as there is a memory of the mineral state in organic being, as Freud would later argue, to Beckett’s delight.31 Although Beckett perhaps begins his publishing life with a Bergsonian take on habit as “the ballast that chains the dog to its vomit,” something that impedes knowledge and distracts us from experience, the late Beckett, albeit less affirmative about habit than Ravaission, is nonetheless much closer to his thinking (P, 19). For in Beckett’s late work, habit seems to constitute a tenuous, fraught, and primitive ontology, which is the most, perhaps, that we can hope for.
1. Catherine Malabou, “Addiction and Grace: Preface to Félix Ravaisson’s Of Habit,” in Of Habit, by Félix Ravaisson, trans. Clare Carlisle and Mark Sinclair (London: Continuum, 2008), xvii (hereafter cited in text as OH).
8. Samuel Beckett, Murphy, ed. J. C. C. Mays (London: Faber, 2009), 157.
15. Ibid., 92.
26. James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996),
31. Beckett mentioned Sigmund Freud to Gottfried Büttner, and noted that “man carried with him a kind of congenital yearning for the mineral kingdom”; quoted in Gottfried Büttner, Samuel Beckett’s Novel “Watt” (Philadelphia: University of Pennsylvania Press, 1984), 163, n. 200.


In target shooting competitions it's common to plot your shots for record keeping. Plot-o-matic style plotting is becoming more and more popular as it is able to visually represent what the wind is doing to your shots during the course of fire and enable competitors make better judgements on the wind conditions.
This app allows you to seamlessly switch between traditional plots and plot-o-matic. Shots can be entered as simply as tapping your aim point, tapping the point of impact, then clicking save! Simply adjust your scope values in the app track those on your turret and you'll always be in-sync with your plot.
Currently the application only supports MOA scope adjustments (both 1/4 and 1/8 click supported) and supports many US, UK and International targets.
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For useful references on Plot-o-matic plotting you can either read 'The Wind Book for Rifle Shooters' By Linda K. Miller and Keith A. Cunningham or refer to the excellent article 'How to improve your score through strategy' by Adam MacDonald (https://www.autotrickler.com/blog/how-to-improve-your-score-through-strategy). Please note the developer is not affiliated with any of these authors, but can highly recommend both.
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Preparation time
less than 30 mins
Cooking time
10 to 30 mins
Serves
Makes approx. 1 litre
Heat a large saucepan with the oil, add the rosemary, sultanas, raisins and sugar and fry them until the fruit begins to caramelise.
Pour in the vinegar and boil on a high heat for three minutes. Then add the rest of the ingredients, bring to the boil, then turn to a simmer and cook until most of the liquid has evaporated. Because of the fruit, this chutney has a tendency to stick to the bottom of the pan, so stir it well and keep an eye on it. Don't let the pears cook too much; they should keep their shape.
Spoon it into clean hot jars, filling them as full as you can, and seal while hot. Store in the fridge.


An encapsulation of an OpenGL texture object.
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#include <Texture.h>
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| | ~Texture () |
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| | Texture (Engine &engine, const std::string &filename) |
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| | Texture (Engine &engine, const std::string &filename, const GLuint &type, const bool &mipmap, const bool &anisotropy) |
| | Construct the Texture with a specific texture type, and optionally enable mipmapping and anisotropic filtering. More...
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| void | bind (const unsigned int &texture_unit) noexcept |
| | Makes this texture active at a specific texture unit. More...
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| virtual | ~Asset ()=default |
| | Destroy the asset only when all references are destroyed. More...
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| std::string | getFileName () const |
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| void | setFileName (const std::string &filename) |
| | Sets the file name of this asset. More...
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| void | addCallback (const std::shared_ptr< bool > &alive, const AssetFinalizedCallback &callback) |
| | Attaches a callback method to be triggered when the asset finishes loading. More...
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| bool | ready () const noexcept |
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GLuint | m_glTexID = 0 |
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GLuint | m_type = GL_TEXTURE_2D |
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bool | m_mipmap = false |
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bool | m_anis = false |
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Shared_Image | m_image |
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| template<typename FirstAsset , typename ... RemainingAssets> |
| static bool | All_Ready (const FirstAsset &firstAsset, const RemainingAssets &...rest) noexcept |
| | Check if an input variadic list of shared assets have all completed finalizing. More...
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| | Asset (Engine &engine, const std::string &filename) |
| | Create asset that uses the specified file-path. More...
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| void | finalize () |
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Engine & | m_engine |
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std::atomic_bool | m_finalized = false |
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GLsync | m_fence = nullptr |
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std::string | m_filename = "" |
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std::vector< std::pair< std::shared_ptr< bool >, std::function< void()> > > | m_callbacks |
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An encapsulation of an OpenGL texture object.
Represents an OpenGL texture object, and is responsible for loading the image from disk. Supports MIP-mapping and anisotropic filtering.
- Note
- owns 1 Shared_Image object.
◆ ~Texture()
◆ Texture() [1/2]
| Texture::Texture |
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engine, |
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const std::string & |
filename |
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Construct the Texture.
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| engine | reference to the engine to use. |
| filename | the asset file name (relative to engine directory). |
◆ Texture() [2/2]
| Texture::Texture |
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engine, |
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const GLuint & |
type, |
|
|
const bool & |
mipmap, |
|
|
const bool & |
anisotropy |
|
) |
| |
Construct the Texture with a specific texture type, and optionally enable mipmapping and anisotropic filtering.
- Parameters
-
| engine | reference to the engine to use. |
| filename | the asset file name (relative to engine directory). |
| type | the texture type (2D, 3D, CUBEMAP, etc). |
| mipmap | use mipmaps. |
| anisotropy | use 16x anisotropic filtering. |
◆ bind()
| void Texture::bind |
( |
const unsigned int & |
texture_unit | ) |
|
|
noexcept |
Makes this texture active at a specific texture unit.
- Parameters
-
| texture_unit | the texture unit to make this texture active at. |
The documentation for this class was generated from the following files:


|
home | news | discuss | issues | license LURE: contrasts |
|
|---|---|
Learning Contrast<EMAIL_ADDRESS>This code is a post-processor to the It gets called like this:
Contrasts are computed
between the branches to all nodes in a tree.
(and the contrast is the set delta between the
attribute values seen the branches leading
to This code ignores dull deltas; i.e.
These three rules are implemented in the Constrast sets can either be plans or monitors.
Hence we can create plans or monitors as follows:
|
require "show"
local THE=require "config"
local TREE=require "sdtree"
local TREES=require "trees"
local LST=require "lists"
local NUM=require "num"
|
|
Feature extractor from the brnaches.
Collects all the |
local function has(branch)
local out = {}
for i=1,#branch do
local step = branch[i]
out[#out+1] = {attr=step.attr, val=step.val} end
return out end
local function have(branches)
for _,branch in pairs(branches) do
branch.has = has(branch) end
return branches end
|
|
Generator for the branches. Walk down the tree and,
for each node, add the branch |
local function branches1(tr,out,b)
if tr.attr then
b[#b+1] = {attr=tr.attr,val=tr.val,_stats=tr.stats} end
if #b > 0 then out[#out+1] = b end
for _,kid in pairs(tr._kids) do
branches1(kid,out,LST.copy(b)) end
return out end
local function branches(tr)
return have(branches1(tr,{},{})) end
|
|
Compute the set delta between two branches. |
local function member2(twin0,twins)
for _,twin1 in pairs(twins) do
if twin0.attr == twin1.attr and
twin0.val == twin1.val then
return true end end
return false end
local function delta(t1, t2)
local out={}
for _,twin in pairs(t1) do
if not member2(twin,t2) then
out[#out+1] = {twin.attr, twin.val} end end
return out end
|
|
The worker. This code returns at most two branches per node: one showing the branch to maximum improvement; and another showing the branch with mininum delta. |
local function contrasts(branches, better)
for i,branch1 in pairs(branches) do
local out={}
for j,branch2 in pairs(branches) do
if i ~= j then
local num1=LST.last(branch1)._stats
local num2=LST.last(branch2)._stats
if better(num2.mu, num1.mu) then -- RULE1
if not NUM.same(num1,num2) then -- RULE2
local inc = delta(branch2.has,branch1.has)
if #inc > 0 then -- RULE3
out[#out+1] = {i=i,j=j,ninc=#inc,muinc=num2.mu - num1.mu,
inc=inc, branch1=branch1.has,mu1=num1.mu,
branch2=branch2.has,mu2=num2.mu}
end end end end end
print("")
table.sort(out, function (x,y) return x.muinc > y.muinc end)
print(i,"max mu ",out[1])
table.sort(out, function (x,y) return x.ninc < y.ninc end)
print(i,"min inc ",out[1])
end end
|
|
Plans are things we want to do. Monitors are things we want to avoid. |
|
|
More specfically, plans are to branches with |
local function more(x,y) return x > y end
|
|
And monitors are to branches with |
local function less(x,y) return x < y end
|
|
Main driver |
local function plans(branches) return contrasts(branches, more) end
local function monitors(branches) return contrasts(branches, less) end
|
|
External interface |
return {monitors=monitors, plans=plans,branches=branches}
|
LegalLURE, Copyright (c) 2017, Tim Menzies All rights reserved, BSD 3-Clause License Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:
THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. |
|


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RT @swindsor: Slides from my lighting talk “The Birthday Problem”. http://s3.sentientmonkey.com/tdd-lightning-cascadia-2014.pdf
#cascadiaruby
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RT @swindsor: Slides from my lighting talk “The Birthday Problem”. http://s3.sentientmonkey.com/tdd-lightning-cascadia-2014.pdf
#cascadiaruby
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Monday at Ten 22 Nov 2019, 23:17 The surprising link between your diet and your mood - and what you can do right now to get back on track!


On 14 May 2019, 12 new articles were published in 8 journals.
Evidence Vs. Professional Judgment in Ranking “Power Few” Crime Targets: A Comparative Analysis
The 2015 and 2016 U.s. Homicide Rate Increases in Context
Environmental Crime Prosecutions in Ireland, 2004–2014
The Peer Mentor Model At Recycleforce: An Enhancement to Transitional Jobs Programs
The Peer Mentor Model At Recycleforce: An Enhancement to Transitional Jobs Programs
Police Crackdowns in Mexico City
Expert Officer Perceptions of De-Escalation in Policing
The Evolution of the English Street Gang
Psychology Perspectives on Community Vengeance As A Terrorist Motivator: A Review


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SCARY MOVIE
Reviewed by Harvey Karten Dimension Films/Wayans Brothers Entertainment Director: Keenen Ivory Wayans Writers: Shawn Wayans, Marlon Wayans, Buddy Johnson, Phil Beauman, Jason Friedberg, Aaron Seltzer Cast: Shawn Wayans, Marlon Wayans, Chari Oteri, Shannon Elizabeth, Anna Faris, Jon Abrahams, Lochlyn Munro, Regina Hall, Dave Sheridan, Dan Joffre, Carmen Electra, Kurt Fuller, David L. Lander
What's the story on this movie? Is this the sort of film that requires the mentality of an immature 12-year-old or by pushing the envelope on vulgarity has crossover appeal and the makings of a breakout smash? The first, if you go along with AP critic Christie Lemire, who's apparently afraid of being considered a prude. The latter if you're at one with Joe Leydon of "Variety," whose mind is keen and way, way open for the likes of the Wayans brothers.
To get the answer simply add those reviews and divide by two and you get a movie which, when it's funny, it's very funny; when it's vulgar, it's very very vulgar; and as for immature and repetitious and bordering on tedium, it's that too.
If you took your Aunt Sherry from Sioux Falls to see this and if the last movie she saw fell under the Hollywood code, "If a couple are in bed, each must have at least one foot on the floor," she'd disinherit you. She wouldn't believe her eyes. If you introduced the movie to your open-minded intellectual friend Herbie and Herbie never saw Scream 1, 2 or 3, he wouldn't have the foggiest about what's going on. But if you've been brought up on the likes of "Friday the 13th," the "Scream" Trilogy, "The Blair Witch Project," "Amistad," "The Sixth Sense" and others and at the same time appreciate some darn good smut and offensiveness (think "Clerks" or anything by the Farrelly Brothers), you are the targeted audience whether you're 18 or 80.
The no-holds-barred script is by committee and it shows. "Scary Movie" does not have a tight narrative. In fact you could not be faulted for wondering whether the plot serves only as Krazy Glue for a succession of one-liners, sit- comish wisecracks and practical jokes, the best coming during the opening half hour when the unwavering, swift pace hits you with the first gag within 30 seconds. The movie is so up-to-the-minute, citing even a quickie from "Big Momma's House," that you'd think it was made fresh for the audience of the day only to be recycled for the next day's crowd with the addition of something to rib the producers of whatever came out last Friday. Keenan Ivory Wayans is best known to the movie crowd for his take-off of the 1970s blaxploitation films with his "I'm Gonna Get You, Sucka" (with Wayans in the role of Jack Spade out to avenge the death of his brother who died of an o.g., or overdose of gold chains). Wayans has not changed his style in the dozen years since that one hit the market, still playing it loose and good-natured, making clear at every point that we're watching actors who are self-consciously watching the cameraman.
Some plot points: Having run over a pedestrian on the highway whom they thought dead and dumping him into the river, the kids have made a pact to tell no-one about their actions that night. But when a knife-wielding creature with a scream mask begins drawing blood on the campus of B.A. Corpse High School, they naturally assume that the brute is the hapless pedestrian out for revenge. The first juicy killing brings in reporter Gail Hailstorm (Cheri Oteri), who will do anything to get a story--and she means anything--thereby leading to a line of smutty jokes that pop up here and there in this freewheeling story. We are soon introduced to the characteristics of each player, including the virginal Cindy (Anna Faris) and her horny boy friend Bobby (Jon Abrahams); a goofy cop named Doofy (Dave Sheridan) who is modeled on the slow-thinking Dewey of the Scream series; a sheriff with an eye for the young 'uns (Kurt Fuller); a pot-smoking doofus and bmoc football player (Marlon and Shawn Wayans); and a number of others, each with a sharply individual personality.
At time these individuals take themselves so seriously-- steering clear of winking to the audience in a way that could ruin the effect of the satire--that feminists in the audience might actually take offense at the beatings that only the women seem to be getting at the hands of the men. If the great English satirist Jonathan Swift were alive today, he'd think his "A Modest Proposal" was too modest indeed.
Rated R. Running time: 88 minutes. (C) 2000 by Harvey Karten<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Balloon help provides the user with additional information about various features of RadCon.
Balloon help is activated by either choosing the Show Balloons command in the Help menu or by clicking the button in a dialogue box.
To use balloon help the user should move the cursor over the feature about which they are unclear. If balloon help is active and information is available it will appear in a speech balloon.
The speech balloon above informs the user that choosing the Hide Balloons command will deactivate (turn off) Balloon Help.
Balloon help is deactivated by either choosing the Hide Balloons command in the Help menu or by clicking the button in a dialog box.
Go to the Table of Contents.
This page is maintained by<EMAIL_ADDRESS>© Copyright 1999, 2000, 2001, Joseph L. Thorley and Mark Wilkinson. All rights reserved.


Address: 127.127.1.u
Reference ID: LCL
Driver ID: LOCAL
This is a hack to allow a machine to use its own system clock as a reference clock, i.e., to free-run using no outside clock discipline source. This is useful if NTP is to be used in an isolated environment with no radio clock or NIST modem available. Pick a machine that has a good clock oscillator (Digital machines are good, Sun machines are not) and configure it with this driver. Set the clock using the best means available, like eyeball-and-wristwatch. Then, point all the other machines at this one or use broadcast (not multicast) mode to distribute time.
Another application for this driver is if a particular server clock is to be used as the clock of last resort when all other normal synchronization sources have gone away. This is especially useful if that server has an ovenized oscillator. For this you would configure this driver at a stratum greater than any other likely sources of time (say 3 or 4) to prevent the server taking over when legitimate sources are still available.
A third application for this driver is when an external discipline
source is available, such as the NIST lockclock
program,
which synchronizes the local clock via a telephone modem and the NIST
Automated Computer Time Service (ACTS), or the Digital Time
Synchronization Service (DTSS), which runs on DCE machines. In this case
the stratum should be set at zero, indicating a bona fide stratum-1
source. Exercise some caution with this, since there is no easy way to
telegraph via NTP that something might be wrong in the discipline source
itself. In the case of DTSS, the local clock can have a rather large
jitter, depending on the interval between corrections and the intrinsic
frequency error of the clock oscillator. In extreme cases, this can
cause clients to exceed the 128-ms slew window and drop off the NTP
subnet.
In the default mode the behavior of the clock selection algorithm is
modified when this driver is in use. The algorithm is designed so that
this driver will never be selected unless no other discipline source is
available. This can be overridden with the prefer
keyword
of the server
configuration command, in which case only
this driver will be selected for synchronization and all other
discipline sources will be ignored. This behavior is intended for use
when an external discipline source controls the system clock. See the Mitigation Rules and the prefer
Keyword page for a detailed description of the finicky behavior.
The stratum for this driver is set at 3 by default, but can be
changed by the fudge
configuration command and/or the
xntpdc
utility. The reference ID is LCL
by
default, but can be changed using the same mechanisms.
*NEVER* configure this driver to operate at a stratum
which might possibly disrupt a client with access to a bona fide primary
server, unless the local clock oscillator is reliably disciplined by
another source. *NEVER NEVER* configure a server which
might devolve to an undisciplined local clock to use multicast mode.
This driver provides a mechanism to trim the local clock in both time
and frequency, as well as a way to manipulate the leap bits. The
fudge time1
parameter adjusts the time (in seconds) and the
fudge time2
parameter adjusts the frequency (in parts per
million). Both parameters are additive and operate only once; that is,
each command (as from xntpdc
) adds signed increments in
time or frequency to the nominal local clock time and frequency. (Note:
The frequency cannot be changed when the kernel modifications are in use
- see the A Kernel Model for Precision Timekeeping
page.) The fudge flag1
and fudge flag2
flags set the corresponding leap bits; for example, setting only
flag1
causes a leap second to be inserted at the end of the
UTC day and setting only flag2
causes a leap second to be
deleted at the end of the UTC day. Setting both flags causes the local
clock driver to appear unsynchronized, which may be a blessing if a
server violates the above rules, since xntpdc
can turn the
bugger off. These bits are not reset automatically when the leap takes
place; they must be turned off manually after the leap event and before
the next UTC day.
No filegen clockstats
monitor data are produced by this
driver.
time1 time
time2 time
stratum number
refid string
LCL
.
flag1 0 | 1
flag2 0 | 1
flag3 0 | 1
flag4 0 | 1
Additional Information


Conclusion
Over the course of this Tutorial we've introduced most of the features of the adv3Lite library and some of the most common features of the TADS 3 language. To do this we've walked through the implementation of three adv3Lite games, two very short and simple, the third a bit longer and more complex (though still quite small by the standards of most typical IF). If you've faithfully followed this tutorial all the way to the end, typing in and trying out the code as you've gone along, and maybe trying a few things on your own as well (such as the "exercises best left to the interested reader"), then you should now be in a strong position to start writing your own game.
But don't worry if it doesn't all seem entirely plain sailing at first. Not everything about writing IF is easy, and if you're at all ambitious, sooner or later you're probably going to attempt something quite difficult. My best advice is not to try to tackle something too difficult too soon, but first concentrate on implementing the more straightforward parts of the game. Attempting to run before one has fully mastered the art of walking is one of the most common sources of frustration among new IF authors (people don't always like my pointing this out, but there really is no point in pretending otherwise). Still, at some point you will almost certainly want to tackle something more challenging, and of course if you're ever going to progress as an IF author it's quite right and proper that you should do so.
If you find yourself running into trouble (of course I hope you don't, but some people do) then consider taking the following steps:
- Make sure you have fully analysed the problem you're trying to solve. Maybe breaking it down into a series of smaller steps will help.
- Look back over this Tutorial, or over the adv3Lite Library Manual or the TADS 3 System Manual to see if you can find a possible solution, or at least to ensure you fully understand the feature(s) of the system you're trying to use.
- Make use of the debugguing tools provided, either in Windows Workbench (if you're using it) or (or additionally) those provided by adv3Lite. They may help you track down what's going awry.
- Take a look at the library source code to see if that can help you figure out what's going on.
- Seek help on the TADS forum of Intfiction.org.
Of course most of the time you shouldn't run into any problems at all, and though it's a lot of work to produce a well polished work of IF of any size, you should find that doing so in adv3Lite is reasonably straightforward. I hope you enjoy using adv3Lite when you come to use it for your own projects.
Eric Eve
Oxford, England
February 2013


Sendmail Port 25 open
- Fingerprint server
- telnet ip_address 25 (banner grab)
- Mail Server Testing
- Enumerate users
- VRFY username (verifies if username exists - enumeration of accounts)
- EXPN username (verifies if username is valid - enumeration of accounts)
- Mail Spoof Test
- HELO anything MAIL FROM: spoofed_address RCPT TO:valid_mail_account DATA . QUIT
- Mail Relay Test
- HELO anything
- Identical to/from - mail from: <nobody@domain> rcpt to: <nobody@domain>
- Unknown domain - mail from: <user@unknown_domain>
- Domain not present - mail from: <user@localhost>
- Domain not supplied - mail from: <user>
- Source address omission - mail from: <> rcpt to: <nobody@recipient_domain>
- Use IP address of target server - mail from: <user@IP_Address> rcpt to: <nobody@recipient_domain>
- Use double quotes - mail from: <user@domain> rcpt to: <"user@recipent-domain">
- User IP address of the target server - mail from: <user@domain> rcpt to: <nobody@recipient_domain@[IP Address]>
- Disparate formatting - mail from: <user@[IP Address]> rcpt to: <@domain:nobody@recipient-domain>
- Disparate formatting2 - mail from: <user@[IP Address]> rcpt to: <recipient_domain!nobody@[IP Address]>
- Examine Configuration Files
-


ASSESSMENT OF THE FUNCTIONING OF MOTORWAY INTERNATIONAL TRANSPORT CORRIDORS OF UKRAINE
ABSTRACT
Kryzhanivskyi Ye.f, Kryshtopa S.L, Kryshtopa L.L, Ph.D., Hnyp M.M., Mykytii І.І. Еxperimental studies of diesel engine indicators working on the mixtures of biodiesel fuels received from blue-green algae. Visnyk National Transport University. Series «Technical sciences». Scientific and Technical Collection. - Kyiv: National Transport University, 2020. - Issue 1 (46).
This article considers usage of blue-green algae as biomaterials for creation of motor biofuels.
The object of the study is effect of blended biodiesel fuels from blue-green algae on the environmental and energy performances for the diesel engine.
The purpose of the work is experimental study of changes of power and ecological characteristics of automobile diesel engines using petroleum diesel and their mixtures with biofuels derived from blue-green algae.
Methods of research are experimental, laboratory ones.
As a result of performed experimental researches dependences of changing of the effective engine power on the use of diesel fuel and a mixture of diesel fuel with the received bioactive supplements based on methyl esters of the lipid fraction of blue-green algae Chroococcfles in the amount of 5, 10 and 20% were established. It has been experimentally established that the effective power of an engine using a mixture of diesel fuel with the derived bioactive compounds based on methyl esters of the lipid fraction of blue-green algae Chroococcfles in the amount of 5, 10 and 20% will decrease by an average of 0,9, 1,8 and 3,5 %. It has been experimentally determined that the content of carbon monoxide in the use of a mixture of diesel fuel with the derived bioactive compounds based on methyl esters of the lipid fraction of blue-green algae Chroococcfles in the amount of 5, 10 and 20 % will decrease by an average of 6,5, 13,9 and 28,7 %.
The obtained results allow to optimize the choice of fuels for power systems of internal combustion engines and to reduce emissions of harmful substances in exhaust gases of automobile diesel engines.
KEY WORDS: BIOFUELS, DIESEL ENGINE, ALGAE, POWERFUL CHARACTERISTICS, ENVIRONMENTAL INDICATORS.
REFERENCES
- Lanoviy O.T. Udoskonalennya funktsionuvannya merezhi avtomobilnih dorig zagalnogo koristuvannya v ediniy transportniy sistemi Ukrayini [Improvement of functioning of the network of public roads of Ukraine] Visnik Natsionalnoho transportnoho universitetu [Bulletin of the National transport university], 2019, issue 1(43), pp84-91.
- Lobanov E.M., Sylianov V.V., Sytnytkov Yu.M., Sapehyn L.N. Propusknaia sposobnost avtomobylnbikh doroh. , Transport, 1970, 152 с.
- Kryilov Yu.S. Rezhim dvizheniya i propusknaya sposobnost avtomobilnyih dorog. Avtomobilnyie dorogi, 1959, № 6.
- Lobanov E.M. Propusknaia sposobnost peresechenyi v odnom urovne. Avtomobylnbe dorohy, 1965, № 12.
- Poliakov A.A. Orhanyzatsyia dvyzhenyia na ulytsakh y dorohakh. , Transport, 1965, 376 с.
- Babkov V.F., Andreev O.V. Proektyrovanye avtomobylnbikh doroh. 1., M., Transport, 1979, 367 с.
- Metodycheskye rekomendatsyy po proektyrovanyiu y oborudovanyiu avtomahistralei dlia obespechenyia bezopasnosty dvyzhenyia. Mynavtodor RSFSR. M., Transport, 1983, 120 с.
- Pravyla dorozhnoho rukhu.
- Stramentov A.E. Horodskye dorohy. Myn-vo komm. khoz., 1950, 505 с.
- ENV 12796 Road transport and traffic telematics - Public transport - Dimensional requirements for variable electronic external signs.
- ENV 13372 DSRC Profiles for RTT Г
- ENV ISO 14814 Road Traffic and Transport Telematics - Automatic Vehicle Identification - Reference Architecture and Terminology.
- ENV ISO 14815 Road Traffic and Transport Telematics - Automatic Vehicle Identification System Specification.
- ENV ISO 14816 Road Traffic and Transport Telematics Automatic Vehicle Identification Numbering and Data Structures.
- ENV ISO 17261 Transport Information and Control Systems - Automatic Vehicle and Equipment Identification - AVT/AEI Intermodal and Multimodal Reference Architecture.
- Road Traffic and Transport Telematics (RTTT) - Automatic Vehicle/Equipment Identification (AVI/AEI) - Intermodal goods transport - Numbering and data structures.
- 4 - 00278096 Short Range communication interface between the Vehicle Device and Detection Means.
- ENV 12253 DSRC Physical Layer using Microwave at 5.8 GHz.
- ENV 12795 DSRC Data link layer.
- ENV 12834 DSRC Application layer.
- ENV 12313-3 Traffic and Traveller Information (TTI) - TTI Messages via Traffic Message Coding - Part 3: Location Referencing for ALERT-C.
- ENV 12313-4 Traffic and Traveller Information (TTI) - TTI Messages via Traffic Message Coding - Part 4: Coding Protocol for Radio Data System - Traffic Message Channel (RDS-TMC) - RDS- TMC nsing ALERT Plus with ALERT'C.
- PrENV ISO 18234-2 Draft prENV ISO 18234-2 Traffic and Travel! Information (TTI) - TTI via Transport Protocol Expert Group (TPEG) data-streams Part 2: Syntax. Sematics and Framing Structure (SSF).
- PrENV ISO 18234-3 raft prENV ISO 18234-3 Traffic and Travel Information (TTI) - TTI via Transport Protocol Expert Group (TPEG) data-streams art3: Service and Network Information (SNT) Application.
- PrENV ISO 18234-4 raft prENV ISO 18234-1 Traffic and Travel Information (TTI) - TTI via Transport Protocol Expert Group (TPEG) data-streams art 4: Road Traffic Message (RTM) Application.
- ENV ISO 14813-6 Reference Architecture(s) for the TICS sector - TICS reference architecture - Data presentation in ASN.l.
- ENV 12313-2 ENV 12313-2: Traffic and Traveller Information (TTI) - TTI Messages via Traffic Message Coding - Part 2: Event and information codes for Radio Data System - Traffic Message Channel ( RDS-TMC).
AUTHOR
Lanovoy О.Т., Doctor of Technical Sciences, Associate Professor, National Transport University, head of the department of Transport systems and traffic safety, e-mail<EMAIL_ADDRESS>tel. +380442804885, Ukraine, 01010, Kyiv, M. Omelianovicha-Pavlenko str. 1, of. 432. orcid.org/0000-0002- 0717-9870
Vyhovska I.A., National Transport University head of laboratory transport systems and traffic safety, e-mail<EMAIL_ADDRESS>tel. +380442804885, Ukraine, 01010, Kyiv, M. Omelianovicha- Pavlenko str. 1, of. 435 orcid.org /0000-0003-1426-9863.
REVIEWER
Vladimir Petrovich Polishchuk, doctor of technical Sciences, Professor, national transport University, head of Department «Transportation systems and traffic safety»
Kiselev Vladimir Borisovich, doctor of technical Sciences, Director of the Educational and Scientific Institute of Municipal Management and Urban Economics of Tavrida National University V.I .Vernadsky
Article language: Ukrainian
Open Access: http://publications.ntu.edu.ua/visnyk/46/163.pdf
Print date: 15.04.2020
Online publication date: 27.10.2020


Perkeep (née Camlistore) is a set of open source formats, protocols, and software for modeling, storing, searching, sharing and synchronizing data in the post-PC era. Data may be files or objects, tweets or 5TB videos, and you can access it via a phone, browser or FUSE filesystem.
Perkeep is under active development.  Many bits and pieces are actively being developed, so be prepared for bugs and unfinished features.
Join the community, consider contributing, or file a bug.
Things Perkeep believes:
The latest release is 0.10 ("Bellingham"), released 2018-05-02.
Follow the download and getting started instructions to set up Perkeep.
LinuxFest Northwest 2018 [slides] [video]:
Or see the other presentations.


Q: Wait...I searched for {{count}} tweets, but {{nFound}} returned. What gives?
A: There is a known difference between results provided by the counts endpoint and the data endpoint. You may see a discrepancy in your results because the counts endpoint is pre-compliance (meaning that it does not account for things like deleted Tweets, scrub geo, etc.) whereas the data endpoint is compliant at the time of delivery and accounts for all compliance events. For further reference, please go to this document on our support site.
Q: I didn't receive a Tweet that should match my query. Why?
A: There are a few different reasons why this might have happened, including:
1) The Tweet you expected to see is from a protected account
2) because the data endpoint accounts for all compliance events (meaning that deleted Tweets, scrubbed geos, etc. will not be included in the response).
Q: Quick question...I still have questions.
A: Good question, I recommend checking out Twitter's official FAQ


Constretto - Reference Manual ver. 1.0
In Constretto all configuration expressions may be tagged in much the same way as we see in web 2.0 tagging of content. These tag is later used to set up a full set of configuration for your application. Each expression may have multiple tags. When starting a Constretto enabled application, you spesify a list of tags that are valid for the given session, in Constretto is called configuration context, and all expressions that are not in that list will be discarded. If an expression has values in more than one of the tags allowed for the current session, the value of the expression found first in the allowed tags will be used.
java -jar myapp.jar MyMain -DCONSTRETTO_TAGS=development,linux,mock
export CONSTRETTO_TAGS=development.linux,mock java -jar myapp.jar MyMain
Example ini file:
[default] key1 = a value key2 = a value [some tag] key1 = other value key2 = other value
Example property file:
key1 = a value key2 = a value @some tag.key1 = other value @some tag.key2 = other value
Example JavaBean:
@ConfigurationSource(basePath = "datasources.customer", tag = "development")
public class DevelopmentCustomerDataSourceConfigurer {
public String getUrl() {
return "development-url";
}
public String getUsername() {
return "development-username";
}
public String getPassword() {
return "development-password";
}
}
@Test public void simpleLookupForExistingKeyUsingDefaultValue() { ConstrettoConfiguration config = prepareTests(); assertEquals("key1-value", config.evaluateTo("key1", "default-key-value")); }
Example builder:


Internship Final Performance Review
Marking matrix
To be marked by the supervisor: This is an ideal opportunity for the supervisor to assess overall performance for the intern and share valuable feedback and help them improve accordingly.. Please select as per below scores
| Organisational Effectiveness Skills | |||||
|---|---|---|---|---|---|
| Seeks to understand and support the organization’s mission/goals | [COMPLIANCE.PRI_FINAL_TERM_UNDERSTAND_GOAL] | ||||
| Fits in with the expectations and culture of the organization | [COMPLIANCE.PRI_FINAL_TERM_FITS_IN] | ||||
| Works within appropriate authority and decision-making channels. | [COMPLIANCE.PRI_FINAL_TERM_WORK_DISCIPLINE] | ||||
| Demonstrates a sense of responsibility and confidentiality | [COMPLIANCE.PRI_FINAL_TERM_RESPONSIBLE] | ||||
| Interacts effectively and appropriately with supervisor | [COMPLIANCE.PRI_FINAL_TERM_EFFECTIVE_INTERACTION] |
| Communication Skills | |||||
|---|---|---|---|---|---|
| Listens to others in an active and attentive manner. | [COMPLIANCE.PRI_FINAL_TERM_ACTIVE_LISTENER] | ||||
| Comprehends and follows verbal instructions. | [COMPLIANCE.PRI_FINAL_TERM_FOLLOW_INSTRUCTION] | ||||
| Effectively participates in meetings or group settings.. | [COMPLIANCE.PRI_FINAL_TERM_PARTICIPANT] | ||||
| Demonstrates effective verbal communication skills | [COMPLIANCE.PRI_FINAL_TERM_VERBAL_COMMUNICATION] |
| Interpersonal and Teamwork Skills | |||||
|---|---|---|---|---|---|
| Relates to co-workers team members effectively | [COMPLIANCE.PRI_FINAL_TERM_RELATE_TO_TEAM] | ||||
| Manages and resolves conflicts in an effective manner | [COMPLIANCE.PRI_FINAL_TERM_CONFLICT_MGMT] | ||||
| Supports and contributes to a team atmosphere | [COMPLIANCE.PRI_FINAL_TERM_SUPPORT_TEAM] | ||||
| Controls emotions in a manner appropriate for work | [COMPLIANCE.PRI_FINAL_TERM_CONTROL_EMOTION] | ||||
| Demonstrates assertive but appropriate behaviour | [COMPLIANCE.PRI_FINAL_TERM_BEHAVIOUR] |
| Creative Thinking and Problem Solving Skills | |||||
|---|---|---|---|---|---|
| Seeks to comprehend and understand the “big picture”. | [COMPLIANCE.PRI_FINAL_TERM_UNDERSTAND_BIG_PIC] | ||||
| Breaks down complex tasks/problems into manageable pieces. | [COMPLIANCE.PRI_FINAL_TERM_TASK_BREAKDOWN] | ||||
| Brainstorms/develops options and ideas | [COMPLIANCE.PRI_FINAL_TERM_BRAINSTORMING] | ||||
| Respects input and ideas from other sources and people | [COMPLIANCE.PRI_FINAL_TERM_RESPECT_IDEAS] | ||||
| Shows interest in determining career direction | [COMPLIANCE.PRI_FINAL_TERM_RESPECT_IDEAS] |
| Professional and Career Development | |||||
|---|---|---|---|---|---|
| Seeks to understand personal strengths and weaknesses. | [COMPLIANCE.PRI_FINAL_TERM_UND_STR_WKN] | ||||
| Exhibits self-motivated approach to work | [COMPLIANCE.PRI_FINAL_TERM_SELF_MOTIVATION] | ||||
| Demonstrates ability to set appropriate priorities/goals. | [COMPLIANCE.PRI_FINAL_TERM_SET_PRIORITIES] | ||||
| Exhibits professional behaviour and attitude | [COMPLIANCE.PRI_FINAL_TERM_PROF_ATTITUDE] | ||||
| Manages personal expectations consistent with work role | [COMPLIANCE.PRI_FINAL_TERM_EXPECT_MGMT] | ||||
| Shows interest in determining career direction | [COMPLIANCE.PRI_FINAL_TERM_INT_IN_PROF_CARRER_DIR] |
Overall Performance
| [COMPLIANCE.PRI_FINAL_REVIEW_OVERALL_PERFORMANCE] |
Supervisor Comment
| [COMPLIANCE.PRI_FINAL_REVIEW_SUPERVISOR_COMMENTS] |
Intern Name: [INTERN.PRI_NAME]
Date: [COMPLIANCE.PRI_INTERN_SIGN_DATE_FINAL_PERFORMANCE_REVIEW.((dd-MM-yyyy))]
Signature:
Supervisor Name: [SUPERVISOR.PRI_NAME]
Date: [COMPLIANCE.PRI_SUPERVISOR_SIGN_DATE_FINAL_PERFORMANCE_REVIEW.((dd-MM-yyyy))]
Signature:


Ping is a versatile notification service that can text event participants effortlessly through our user interface. Designed for tournaments, Ping is suited for informing competitors of time-sensitive information, such as when to show up. Finally, modular schedules are possible—and at your fingertips!
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Steps from Acadia National Park, our guests have easy access to some of the most beautiful natural spaces in the country.
Space to play, space to create.
Our studio provides the facilities you need to focus and relax while you make something beautiful.
With top-drawer gear from brands such as SSL, Chandler, Rupert Neve Designs, Focusrite, Neumann, AEA, AKG, Miktek, Peluso, and more, the Music Mill is equipped to capture every performance with outstanding quality.
We go out of our way to help our artists feel right at home. Your group will have access to 5 bedrooms with en suite baths, a chef's kitchen, and a jacuzzi tub for relaxing when work is done.
State of the art gear is available in a studio that's accessible to our artists in residence 24/7.
Our studio features a beautiful live room, which is great for recording content or hosting a small show during your sessions.
We guarantee a product turnaround time of no more than 4 weeks post-session. We know you're ready to put your work out there.
Bring your projects to life. These guys did.
Jane Magnusson, Cellist - Oct. 2019
"Going to the Music Mill gave me the chance to take an idea I'd had stuck in my head for years and bring it to life. Between the talented engineers and support from the entire staff, my group was able to release our first LP!! Did I mention the jacuzzi?"


Test for buttons
Test for typography
Test for utilities
Palete of colors
Test for flexbox
Test for grid system
Test for components
Test for carousel
Test for forms


Pop star Lizzo: America's spicy poster girl of self-love
Known for her pop-rap blend and classical flute riffs, self-love warrior Lizzo now makes it difficult to envision the music world without her effervescent stage presence
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- Huddle by Miriam Grace Go
- The Newsbreak Agenda by Chay Hofileña
- Sometimes, all you need is video by Lilibeth Frondoso


TransformMesh()
语法
TransformMesh(#Mesh, x, y, z, ScaleX, ScaleY, ScaleZ, RotateX, RotateY, RotateZ [, SubMesh])概要
Transform the Mesh according to the given parameters. Dynamic meshes are not supported for transform (meshes created with the #PB_Mesh_Dynamic flag).
参数
Mesh The mesh to transform. x, y, z New position of the mesh, relative to its node. If the submesh parameter is specified, it specifies the new position of the submesh relative to its parent. ScaleX Applies a scale factor on the X axis to the mesh. If the submesh parameter is specified, the scale is applied the submesh. ScaleY Applies a scale factor on the Y axis to the mesh. If the submesh parameter is specified, the scale is applied the submesh. ScaleZ Applies a scale factor on the Z axis to the mesh. If the submesh parameter is specified, the scale is applied the submesh. RotateX Applies a rotation, in degree, on the X axis to the mesh. If the submesh parameter is specified, the rotation is applied to the submesh. RotateY Applies a rotation, in degree, on the Y axis to the mesh. If the submesh parameter is specified, the rotation is applied to the submesh. RotateZ Applies a rotation, in degree, on the Z axis to the mesh. If the submesh parameter is specified, the rotation is applied to the submesh. SubMesh (optional) If specified, the transformation will be applied only to the submesh. The first submesh index is 0 (main mesh).
返回值
无.
参阅
CreateMesh(), LoadMesh()
已支持操作系统
所有


Shuffle
Order
Waiting List
Settings
Results Delay
Ascending
Descending
Point Priority
Waitlist Cutoff
Import
Choose
play_arrow
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settings


Charity figures show rising number of children born into homelessness
by NewsroomFocus Ireland has revealed that 12% of children in families currently supported by the charity were born into homelessness.
According to the charity, of the 1,215 children in 580 families it supports in Dublin, 143 of these children were born into families who were homeless.
However, due to funding deficiencies, only 9% of the children in those families have access to a child support worker to help them cope with the problems associated with homelessness.
The figures were released today as Focus Ireland launched its annual Christmas appeal.
There are currently 10,400 people homeless in Ireland, including almost 4,000 children.
The charity's president and founder Sr Stan said had "never seen it this bad with many babies now being born into homelessness".
She said: "Being homeless causes terrible trauma to any family or individual but it is hurting children the most.
"Babies are living in tiny hotel rooms where they don’t even have enough room to learn how to crawl properly.
The campaign, which highlights that babies are being born into homelessness, features a mother who was pregnant when the family lost their home.
The woman explained: “I had just found out I was pregnant when our landlord told us he was selling the house we were renting.
"Our world fell apart. We were desperate – searching day and night for somewhere new to stay.
She said while looking for a safe place to stay was exhausting, she always had a "terrible fear" over not knowing where the family would be when the baby was born.
She says the family, including her partner and two children, had to stay in a room in a B&B as there was no affordable accommodation for them.
Once her baby was born in the hospital, she called Focus Ireland.
Sr Stan confirmed that the family were placed in emergency accommodation for a while but then found a home.
Family Centre
Focus Ireland also confirmed today that it is set to launch the first Family Centre for families who are homeless in Dublin before the end of the year.
The charity said it is relying on donations to fund this service as it has not yet has received any State funding.
The space is intended to be a place for families to feed their children, do washing and help with homework, as well as having staff from the charity on hand to provide support to help people out of homelessness.
Sr Stan said: “We have had to set up this centre to help families while they are homeless but the real answer is of course that we urgently need more social housing and better prevention to end this crisis.”
The charity is urging people to donate, as 89 cents of every euro received goes directly to services to support people who are homeless and those at risk.


On this page we have collected information about using the Apache Cordova build system with Evothings Studio. This enables you to build native mobile applications for the Internet of Things (IoT).
Cordova is used to create a native app from an app developed in JavaScript/HTML.
A very useful part of Cordova is the plugin system. Plugins provide access to native device functionality from JavaScript. There are many ready-to-use plugins available. You can also write your own plugins.
Plugins have two parts, a native code implementation (usually written in Objective-C or Swift on iOS and in Java on Android) and a JavaScript library (shared between platforms).
You can use Evothings Studio without Cordova, but if you want to create native apps it is what you want to use.
To build apps with Cordova you need to install Cordova itself and also the mobile SDKs (Software Development Kits) for the mobile platforms you wish to deploy your app on. The main platforms used by Evothings are iOS and Android.
Installing Cordova and the SDKs can be a bit time consuming and requires that you can use command line tools. Once installed Cordova is easy to use, so don’t give up.
To help you in installing and using Cordova the Evothings documentation contains a Cordova Build Guide.
The highlights of this guide are:
To summarize, you need to install Cordova on your desktop/laptop machine, and you also need to install the mobile SDKs for the platforms you wish to build apps for. On OS X you can build apps for both iOS and Android. On Windows and Linux you can build apps for Android, but not for iOS (there is no iOS SDK for Windows/Linux).
If you are new to Evothings Studio, read the Introduction in the documentation to get a basic understanding of the development tools used.
It can be useful to know that Evothings Viewer is itself an app built with Cordova.
Evothings Viewer has a number of plugins included, see the plugin listing in the documentation.
When you build your own Cordova app, you should keep track of which plugins are used by your app so you can add them to the Cordova project (if you are not sure, just ask on the Evothings Forum).
To build Evothings Viewer is easy. Just get the get the source code and follow the instructions given in the GitHub repositort.
The two main tools in Evothings Studio are Evothings Workbench and Evothings Viewer. The Workbench provides the live reload workflow used with Evothings Viewer. You can also use Evothings Workbench and live reload with any Cordova application.
When developing an app with Evothings Studio, you have two options:
Use Evothings Workbench and Evothings Viewer. Very quick to get started, just install Evothings Workbench and Evothings Viewer and you are up and running (no need to install Cordova, SDKs and build a native app). You can readily create a Cordova project when needed and place your JavaScript/HTML files there.
Use Evothings Workbench with your custom Cordova app. This is useful when you want to add Cordova plugins that are not included with Evothings Viewer. If you plan to make a final build and publish your app on the app stores, it can be convenient to create a Cordova project and keep your JavaScript/HTML files in the www folder of the project. Then it is easy to build a native app at any point during the development process. Note that if you use only plugins supported by Evothings Viewer, you can still use Evothings Viewer during development.
An Evothings project is just a folder with HTML/JavaScript files (and other content such as CSS files and images). The minimal project is just one HTML file.
These are the steps to create a Cordova project from an Evothings app, for example one of the example apps that comes with the Evothings Studio download:
Read on in the Cordova Guide to learn the details and see actual command tool examples.
You can use the live reload mechanism and JavaScript tools available in Evothings with your Cordova app.
There are two options:
Develop the app using Evothings Viewer. This works great given that your app does not depend on any additional plugins besides the ones that are included with Evothings Viewer. Just drag index.html into the Workbench and click RUN. When you are ready to test/ship the app, you build it like any Cordova app.
Build a custom version of Evothings Viewer. This is the solution when your app needs a custom set of plugin. Get the source code for Evothings Viewer on GitHub and and follow the instructions given in the repository. Update the file package.json with the plugins you wish to use (you can also remove plugins you don't want to have). Then build and install your custom Viewer and connect to the Workbench. Drag index.html of the Cordova app you are developing into the Workbench, click RUN, and you are up and running. (Yes, it is fully possible to run Evothings Viewer inside Evothings Viewer, that is how we develop the Viewer app!)
An Evothings project is just a folder with HTML/JavaScript files and other web content.
A Cordova project has a special folder structure, and the JavaScript/web files goes into the "www" folder.
Here is an overview of the Cordova directory structure.
The JavaScript files for Cordova plugins are bundled with the app by the Cordova build system. These files should not be copied to the www folder, and they should not be included into the HTML file using a script tag.
You only need to include the "cordova.js" file in a script tag. Including "cordova.js" in turn will include the JavaScript files for all the plugins installed in the app.
However, any JavaScript files or libraries that reference a plugin must be present in the www folder (or subfolder) and be included using a script tag.
This can sometimes be confusing and is good to keep in mind. If you want to read the JavaScript source code for a plugin, you can either look in the plugin folder in your Cordova project or browse the source for the plugin online (usually on GitHub).


Diabetes and Being Overweight
"When an individual predisposed to diabetes has excess weight, the cells in the body become less sensitive to the insulin that is released from the pancreas. There is some evidence that fat cells are more resistant to insulin than muscle cells. Individuals affected by type 2 diabetes, who exercise, appear to reduce the severity of insulin-resistance because the exercising muscles use the extra sugar found in the blood; therefore, the body does not secrete insulin and the sugar is no longer diverted to excess fat cells.
It’s not just how much an individual weighs, but also where they carry the weight that puts them at greater risk for health problems. Individuals carrying more weight around their waist (apple-shaped) are more likely to suffer from obesity-related conditions than someone who carries more weight in their hips and thighs (pear-shaped).
Individuals affected by excess weight, particularly obesity and severe obesity, are more likely to develop type 2 diabetes as a related condition of their excess weight. Obesity and severe obesity greatly increase your risk of having heart disease, type 2 diabetes, certain types of cancer, sleep apnea, osteoarthritis and much more." (from
Obesity Action)


whenActive
(directive in module tri
)
Used to disable the function of link when it is not active based on the class values not including 'c-quiet'. It means the functions called never have to check if they are disabled as the call is never made if the link is deemed inactive.
<A ... when-active='function-to-execute'>


Insight
Co-Founder and Business Administrator of Insight: an internationally award winning Virtual Reality start-up
Co-Founder and Business Administrator of Insight: an internationally award winning Virtual Reality start-up
Secretary-General at one of the largest Model United Nations conferences in the Middle East
My aim with this website is to give you a greater insight into my accomplishments and at the same time show you my growing skills in web design. I learned web development this summer and found it really interesting, so I want to share with you what I've learned to make. Enjoy!


Security researcher experienced on next generation sandboxing technologies for malware analysis. I am interested in hypervisors and their security applications, currently joining an effort to bring Virtual Machine Introspection on KVM.
Master degree (Engineer)
SRS (Systems, Network and Security)


Anitrans
Logistics System
Tour Overview
New Tour
Drivers
Trucks
Animals
Username
Lastname
Firstname
Street
No°
ZIP
City
E-Mail
Phone
Hiring Date
Promote to Admin
Fire


Meet Sonya, a casual user on TikTok
View Her Persona Profile
View her user story
Here's an example of how she uses TikTok


{% extends "base.html" %} {% block content %}
A home in the clouds.
Wrocloud is committed to ensuring your data never goes amiss. Our HPCloud backed infrastructure means that you never have to worry about losing important documents ever again.


{% extends "voterreg/base.html" %} {% block title %}Welcome{% endblock %} {% block extraHtmlTags %}xmlns:fb="http://ogp.me/ns/fb#"{% endblock %} {% block content %}
Don't wait until it is too late. It only takes a couple of minutes to add
your Voter ID number. You can also add details of other voters such as your
family members.
{% if user and user.is_authenticated %} {% else %} {% include "voterreg/facebook-login-button.html" with login_button_text="Login with Facebook and Add Voter Information" %} {% endif %}


ART SOOTHES PAIN! Art wakes up sleepers! ART FIGHTS AGAINST WAR & STUPIDITY! ART SINGS HALLELUJAH!
ART
HALLELUJAH!
Pain
Sleepers
War & Stupidity
Happiness
Awaken
Peace


CONTEST
What you are looking at is the trail of night sky during a total lunar eclipse that took place on the night of January 31, 2018. The picture is a stacking of a time-lapse sequence of 990 pictures spanning nearly 3 hours.
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{% import<EMAIL_ADDRESS>as TestHead %} {% import<EMAIL_ADDRESS>as TestHeader %} {% import<EMAIL_ADDRESS>as Test %} {{ TestHead.utility( 'format' ) }}
{{ TestHeader.utility( 'format' ) }} {% include "letters.html" %} {% include "liststyletype.html" %} {% include "text.html" %}


Type in a word and hit GO! The last 10 results appear below the query window.
To clear previous results type :clear into the input field and hit go
To restore default color theme type :resetcolor into input field and hit go
Relax Y. Y is mostly a vowel, sometimes a consonant, and sometimes something in between. By default the service will not show words with Y consonants unless they are in the user's input. Selecting the Relax Y option relaxes this constraint and shows suggestions with Y regardless of the user input having a Y Try this out with example of "ellow" with and without the option.
Order Not Important When looking for spelling suggestions is the order of letters of important? By default order is important. For example a user input of "spam" returns no results. Selecting Order Not Important will return more results because the service will look through the dictionary for matching letters regardless of order. Try this option on with the user input of "spam" and you will see more suggestions. For example "maps"
Debug this option is not avalible via the web interface. We assume the web user does not have access to the filesytem and the log file.
To use this option add "&debug" to the end of the spelling url. Example http://localhost:8080/spelling?q=example&debug
Toggle switch to change colors between light and dark modes. Choice is preserved by saving to browser's local storage. For this reason the :resetcolor command is provided to clear local storage setting, and reset the user interface to default settings.


Pirate (ARRR) is a cryptocurrency that solves the issue of financial privacy on the blockchain through forced anonymous transactions. Protect your wallet and transactions with Pirate’s completely anonymous network. With forced private transactions, your privacy cannot be compromised by another users’ activity on the network. If you wish to learn more, please join the official Pirate Discord at https://pirate.black/discord/ or message FishyGuts#5085, who will be happy to help out.
100 messages
Before 05-Dec-19 12:00 AM
mrlynch02-Dec-18 07:43 PM
Did you not read the T&C's when signing up and giving your money away?
Or better yet, are you sure you should be trading on an exchange if you did not know that?
DmanXX02-Dec-18 07:44 PM
No I didn’t
Well i usually withdraw right after purchase
mrlynch02-Dec-18 07:46 PM
That's irrelevant to the matter at hand.
You still have funds there
But either way... just stay calm. Funds are safe
DmanXX02-Dec-18 07:47 PM
I am calm lol
All I said that it looks like
mrlynch02-Dec-18 07:48 PM
Someone should let @Skeets know that sapling is coming. He said he'll be back in 3 months. We wouldn't want skeets burn his funds
DmanXX02-Dec-18 07:48 PM
OMG
mrlynch02-Dec-18 07:49 PM
I strongly advise doing a bit of research before making accusations. Saying that "it looks like" is still an accusation
DmanXX02-Dec-18 07:50 PM
Well maybe dp should get back to their customers
We wouldn’t have this problem
mrlynch02-Dec-18 07:51 PM
Well, maybe they made an announcement and their customers ignored it.
@jl777c it is too long indeed, but TripleX announced that he is relocating and he will be mostly off. Not sure if the others picked up on all the tickets they most likely received
@DmanXX also check their #support channel
DmanXX02-Dec-18 07:58 PM
Ok will do, but now I know what is going on I really don’t need them on this
You guys explained everything
mrlynch02-Dec-18 07:59 PM
Happy to help!
Flexatron02-Dec-18 08:07 PM
ComputerGenie 👴👴👴02-Dec-18 09:13 PM
Well maybe dp should get back to their customers
We wouldn’t have this problem
"We"? Do you have a mouse in your pocket or are you a member of the Royal Family?
kp02-Dec-18 10:16 PM
just wanted to give a big thank you to the dumpers
you are making me ARRR-rich
cryptobankz02-Dec-18 11:43 PM
Hi
Please what is the minimum payout threshold?
I’ve been mining on pirtaepool.io I’ve been receiving payments all@of the sudden I can see my balance but no payout for days now.
Which other pools are good with decent hashrate and reward?
Please it will be better to try others. 256 is a lot.
Sure I will.
Where on the homepage can I find the details of other pools?
Many thanks.
Zanzarismo03-Dec-18 12:16 AM
Lol this is hillarious, am I allowed to share gifs here?
Somewhat PG13 xD
My friend Pepe frog just made an awesome DP gif lol
Don King03-Dec-18 12:37 AM
I imported my PIRATE Z priv keys into another wallet, now when I try and send those coins I get this error:
"Error Code: -4
Message: Witness for note commitment is null"
I tried re-index & re-scan, but no change ... any ideas?(edited)
Exile1303-Dec-18 01:00 AM
@Don King what is this another wallet you are seeing
Don King03-Dec-18 01:19 AM
I copied a Z private key to make a paper wallet for mining in September, now I am importing that priv key into another wallet on another PC. I can see my coin balance ok, but When I try and send them I get that error.
polycryptoblog03-Dec-18 01:28 AM
Delete pirate folder. Uninstall and reinstall and resync
Fur em stankin keel-scrapes wut be FUD'n trusted set-up > https://t.co/VGiflIhmtb
$ARRR be only SAPLING EXCLUSIVE chain cum 15 Dec. Doin wut hard n necessary tis why we be worlds most private crypto. Smooth seas nary a skilled $Pirate make. "Let out te reefs'n...
5
5
7
Exile1303-Dec-18 04:24 AM
mmm dangerous places
3
FishyGuts03-Dec-18 04:54 AM
@Seko - Good luck in your surgery Mate! Hope all goes well!
Looking forward to your swift recovery.
FishyGuts03-Dec-18 05:47 AM
I am “back”. Will be working on pirate stuff tomorrow. Excited about what’s coming.
Cryptonians be sumwut carfool o' em galley sponges ye be hangin' aboot wit. Smellier 'n a Royal chambermaid 'n toiter 'n a rope hangin' tree banksters corpse fr'm yardarm. Fallow along wit 'em at yer peril.  We’re all too’fraid to say sum thin

blackbeard03-Dec-18 06:18 AM
Harrr!
wolfgang03-Dec-18 06:51 AM
@Zanzarismo Im continueing a second month from nofap november
why do you do such things to me
Zanzarismo03-Dec-18 08:20 AM
Splendid! Goodness, it's for your own good. ;) Haha And mine, I admit I recently just broke my streak! For the Greater good, We must continue!
If you eat one donut, that doesn't mean you need to finish the whole box!
Flexatron03-Dec-18 08:26 AM
lmao(edited)
Zanzarismo03-Dec-18 08:28 AM
Must harness my chi!
Convert Energy
Polly 🐦03-Dec-18 10:05 AM
caw
kp03-Dec-18 10:45 AM
good day pirates!
i am now filled with ARRR, and stuck on DP looking forward to sapling


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Lorem Ipsum is simply dummy text themes print industry orem psum has been them industry spa also the loep into type setting.
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Lorem Ipsum is simply dummy text themes print industry orem psum has been them industry spa also the loep into type setting.
Lorem Ipsum is simply dummy text themes print industry orem psum has been them industry spa also the loep into type setting.
Lorem Ipsum is simply dummy text themes print industry orem psum has been them industry spa also the loep into type setting.


Musings
Pi Media
16 Jan 2015
Categories: portfolio, blog
Everyday Champions Centre/Church needed a solution to play slideshows/music/video on screens around the building. The media needed to change at various points during the day, and on different days.
Church App
05 Jan 2015
Categories: portfolio
We needed a way to save our selves hours of time in app development. Although the app itself was built to be reproduced, there was a lot of work to do in getting an ready for submissions.
We made a server do it all for us.
Church App
04 Jan 2015
Categories: portfolio
We built a massively reproducible app that works hand-in-hand with the church software we built. Designed to be replicated for each church on the system with custom graphics and theming
Church Software
03 Jan 2015
Categories: portfolio
We built a system to help churches manage their stuff. It ended up being quite big, with lots and lots of parts.
Charity Portal
02 Jan 2015
Categories: portfolio
A simple system that helped a charity collect massive amounts of data about communities for community development programmes.


Distributed applications with BEAM
- @gsantomaggio
->
- RabbitMQ contributor/ supporter
- Co-author of RabbitMQ Cookbook
Erlang/Elixir ?
- Concurrency
- Distribution
- Supervisors
Beam VM
- Message Passing
- Processes
- No Shared Memory
Distributed Erlang - Base concepts
- Nodes (full-mesh)
(example)
- Net Kernel
- epmd
Scaling !! Scaling !!
(nodes)
(cluster)
OTP - Distributed calls
- Synchronous distributed calls
- Replies and/or Bad Nodes
- Asynchronous distributed calls
Distributed calls in this presentation
- gen_server
- gen_server:multi_call
(...)
- gen_server:abcast
(...)
Nodes type family
- Same type
- Standard TCP/UPD connections
- SSL and/or different cookie
Nodes type family - Example
- RabbitMQ
- TCP Connection
- Message:
Send
Ok Cool, but can I use it?
- Elixir is growing
- In Italy is growing the community
- Companies moved/ are moving to BEAM
(...)
Thank you. Questions
- beam-italia.slack.com
- @gsantomaggio / blog
- ESL is hiring ..
Node
Processes
Memory
Active Users
Log Users
Total
Processes
Processes Used
System
Atoms Used


Something like a searchbar perhaps
Shuura is an immensily powerful Ancient that specialises in the art of shadow magic. He is a master of stealth and concealment and took part in the War of the Gods but dissapeard after the Rise of the Ancients. He is currently believed to be roaming the shadowed vale, looking for relics of the gods.
Hashiera is the first and best known Ancient. Her lust for battle and glory has led her to devestate battlefields. She is revered as a god by most warriors, however the other Ancient are not fond of her. Clashes between Hashiera and other Ancients happened frequently in the Rise of the Ancients, earning her the nickname 'Ancient Slayer Hashiera'.
Zeo, named Son of the Sky due to his ability to fly and levitate whatever he touches. He reigns supreme from his Sky seat, floating above the city of Drakanar, the capital of the dragons.


Talk with a random stranger! Talk to people interested in the same things!
(443)-492-2240
Us.
Let others connect to you by your interests!
Just some people coding at MHacks. That's who we are.


Link to a non-confidential document is provided here. Can you find a confidential document on the server? Hint 1 Can you make out anything from how the document is named? Hint 2 Can Decode for fun and profit? Hmm?


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Class These
These
Namespace: DT\DoctoramaBundle\Entity
ORM\Entity
ORM\Entity(repositoryClass="DT\DoctoramaBundle\Repository\TheseRepository")
ORM\Table()
Located at These.php
ORM\Entity
ORM\Entity(repositoryClass="DT\DoctoramaBundle\Repository\TheseRepository")
ORM\Table()
Located at These.php
public
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public
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public
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public
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public
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public
DirecteurDeThese
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public
ArrayCollection
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public
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public
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public
integer
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public
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public
string
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public
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public
string
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public
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public
string
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public
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public
string
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public
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public
string
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public
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public
string
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public
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public
integer
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public
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public
datetime
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public
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public
datetime
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public
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public
string
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protected
mixed
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$dossierDeSuivi |
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protected
mixed
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$encadrants |
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mixed
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$doctorant |
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mixed
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$directeursDeThese |
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protected
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$doctorants |
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