CS140 -- General Information
Grading
The grading break down will be something like 45% homeworks, 4%/5% in-class labs,
50%/51% tests, with each test counting equally.
For an example of how I translate numbers into letters, see my
See the final grades information for last year.
Lab Stuff
Lab attendance is mandatory.
Labs are due at 11:59:59 PM on Tuesdays. That deadline is firm.
The late policy is simple: you lose ten points for each day that
the lab is late. The TA's will get your lab grade back to you
within one week from when you submit it.
There will be a
correctness script for each lab. That is what the TA's will execute
to test the correctness of your code. It will be worth something like
80% of your grade for each lab. These scripts help you in
three ways:
- You will have an easier time testing your code for correctness.
- The TA's turnaround time on grading will be quicker.
- The TA's effort in grading will be less, freeing them up for more
office hours.
You must perform your labs alone. Obviously, you may talk about your
labs with the TA's and with other students, but when it comes time to
code, you must write your own code. Otherwise, it is plagiarism.
A corollary of this is to protect your directories so that no
one can read them. If you do all of your work in ~/cs140,
then right now, do:
UNIX> chmod 0700 ~/cs140
If someone cheats off of you, chances are we cannot determine that,
since file access times can be modified. In the past, when I have discovered
cheating, both parties (cheater and cheatee) get zeros.
Protect yourself.
TA's and Help
The primary place for you to receive help with your labs is during lab time and
during the TA's office hours. There are 25 hours during the week that the TA's
have dedicated to office hours,
so you should be able to get timely help with your questions.
You can also use Piazza for help -- often you get faster answers to your questions
that way, because other students may answer them in addition to the TA's.
Office hour time is time dedicated to you, and one reason that I have grading
scripts for labs is so that TA's have more time to help you. Please make use
of the office hours!
Over the weekend, you're back on your own, and again you should solicit help
and support from your classmates. You may try to email the TA's, but they
may not respond. They have lives too. Again, try Piazza over the weekend --
chances are that many students are working over the weekend!
I shouldn't have to write this, but history requires me to. While I love you,
and the TA's love you, this class is not our only responsibility during the
semester.
Similarly, you are taking other classes, so this class is probably not your
only responsibility. Think about that when you do things. For example, a few
years ago, a student resubmitted a late lab whose score was obviously going to
be lower than his first submission. He submitted it because he was proud of
finishing it, and wanted the TA to know. The TA, who was swamped with other
classes, simply regraded the submission and gave the student the lower score.
The student was outraged -- all he wanted was a pat on the back!! Who was
at fault? Everybody had good intentions. However, the student should have
used the proper channels -- if he wanted an "attaboy," he should have emailed
the TA seperately or gone through office hours. This may seem picky, but a
matter like this cost everyone time and emotional drama. Including me.
The bottom line is to think about your actions before you do them.
Help Each Other!
You are all brothers and sisters in this class. While I'm not the biggest fan
of interpersonal interaction and conversation, even I will admit that you learn
many unexpected and valuable things through interaction. This is both when you
are soliciting help and providing it. I encourage you to try to help each other.
My Pet Peeves
I go over these on the first day of class, but I figure it's time to write them down
so that you have reference material. Every teacher has his/her own style, and after
20+ years of teaching, I know mine pretty well. This list doesn't apply to all
teachers -- just me.
- Crosstalk in class: Evidently many professors don't mind this.  I find it disrespectful, and I will be nasty to
you when I tell you to stop talking. I don't care if
you are talking about your labs or even what I've just talked about in class. Either
ask me, or wait until after class. I don't mind being interrupted with questions -- I
do mind when you talk with each other while I am lecturing.
- Laptops in class: Laptops (and iphones and ipods and ipads)
are distractions. You may tell yourself
that you're following along with my lecture notes, or taking notes yourself, but in
reality your mailbox is showing you that you have new mail, and the browser window
on facebook is simply beckoning you to see what your friends are doing and to reply.
I may ban them. I haven't decided. When your laptop is open in class, though, I
will assume that you're not paying attention.
- Email in the proper format: When you send me email, it should be in the
proper format. That means that is starts with "Dear Dr. Plank", and it ends with "Sincerely, your name."
You should capitalize, punctuate and spell properly. You should treat me as you would
an employer. Frankly, you should do this with all professors.
- "Dr. Plank, will xxx be on the test?":
What's on the test? Everything that's in the lecture notes. You don't need to ask me.
If I don't tell my "what's on the test" story in class, ask me to. It's a good one.
- "How about an extension or more points?":
There are people who believe "It can't hurt to ask,"
and therefore ask me often and gratuitously for lab extensions and points. Saying "no"
wears me out and irritates me. I am very sensitive to your time concerns. I am
especially sensitive to when things disrupt the lab schedule -- especially if it's
due to a mistake by me. I always attempt to make things fair. So don't ask just
because you think it can't hurt -- Pharaoh's heart will harden. Have a good reason.
- Cheating: I shouldn't have to put this down as a pet peeve, since it's so
obvious, but after watching my children go through college and hearing the tales of
cheating that they relay, I will address it.

Does that statement make my views on cheating clear enough? It absolutely disgusts me.
My Non-Pet Peeves
- You are my children: I take a parental view of class. I am your father,
and you are my children. My wife says that this can be construed as being demeaning when
I say it, so I want to let you know that it is not. I take class and teaching very
personally -- I really want you all to work hard and succeed with this material.
Sometimes that requires tough love, but let it be known that I do care and
want you to do well.
- Non-class issues: This extends to computer-science/school issues that don't
directly concern this class. If you need advice about which classes to take, how to
search for jobs, which jobs to search for, how to manage your workload that has gotten
out of control, email me and schedule a meeting. I've been at UT since 1993.
I have a lot of experience and knowledge and am happy to share.
- Class participation: Although I get all bitchy about crosstalk, I very much
like class participation. If you have questions, ask them.  If you're lost and confused, say so.
I also don't mind you being smartasses (so long as you realize that as you give, you may receive).
There are times were I deserve to receive some
jibes from you...
Commenting Your Code
You will be graded on commenting. Something like 15%.
You should
comment your code by blocks of comments at the beginning of your
files, and before subroutines. Variables should be commented
inline. You may also want to comment large blocks of code.
You should not comment with a ``running commentary'' to the right
of your code, because that is often useless, hard to maintain, and
disconcerting. I have seen comments like the following:
if (i == 0) { /* If i equals zero */
return; /* then return */
} else { /* otherwise */
exit(1); /* exit with a value of one */
}
The above is an extreme example, but don't let it happen to you.
Here's an example of what I would consider a well documented program:
#include <stdio.h>
/* sumnsquared.c
Jim Plank
August 23, 1998
This program prompts for and reads a value n from standard
input, and then calculates and prints the sum of squares
from one to n. It uses a for loop instead of using the
closed form expression.
*/
main()
{
int n; /* The value */
int sum; /* The running sum of squares */
int i; /* An induction variable */
/* Prompt for and read in a value of n */
printf("Enter a value n: ");
fflush(stdout);
if (scanf("%d", &n) != 1) {
exit(1);
}
/* Calculate sum for each value of i from one to n */
sum = 0;
for (i = 1; i <= n; i++) sum += (i*i);
/* Print the final summation */
printf("%d\n", sum);
}
Here's a guide on indentation that you may want to follow.


"Last Resort"
Tanya (Dina Korzun) is a pretty Russian émigré who came to England with her 10-year old son, Artiom (Artiom Strelnikov) on the promise of marriage to a British citizen. She is shocked to learn that her would be fiancé has stranded her and the boy and a happy life in London is nothing but a vanished dream. She and Artiom find themselves stuck in a desolate holding center for refugees with no passport, no money and no rights in "Last Resort."
Documentary filmmaker Pawel Pawlikowski makes his first inroad into feature length fiction with a tale (co-written by Rowan Joffe) about a naïve young mother who digs up her Moscow roots with the hope of planting them in prosperous London. Tanya's plans are dashed at the outset, when stranded by the unseen fiancé, and she and Artiom are left in the hands of the immigration authorities. She seeks asylum in England, not knowing it means internment in the rundown, former resort town of Stonehaven - for 12 to 16 months!
Alfie (Paddy Considine), an ex-con who runs the local video arcade, takes a liking to Tanya and Artiom and helps them out with food, a TV and friendship. He even fixes up their dreary flat with a lick of paint here and there. But, it is obvious to Alfie that the penniless woman is desperate to break out of her prison and escape her humiliation. When Tanya agrees to take a job with a cyberspace pornographer named Les (Britain's most famous real life porno king, Lindsay Honey), Alfie realizes this as a frantic cry for help. He makes it his mission to help Tanya and Artiom escape, even as he falls in love with the pretty Russian.
"Last Resort" is a little gem of a movie that captures a world not known to most - a refugee-inhabited land without hope of escape from its daily, desolate grind. But, this setting is a backdrop for the real tale about Tanya and Artiom and the misguided naivete that lands them in the bleak gray hell of Stonehaven. When Alfie comes into their life, things change for the better, but a prison is still a prison and escape is her only hope.
Dina Korzun, who looks like a Slavic Emily Watson, is perfect as Tanya. She is protective of her son, but is at the mercy of the authorities that interned her. Her one failed escape attempt is met with the threat of real incarceration, driving Tanya to even deeper frustration. Korzun gives a subtle performance as she realizes that her choices have put her and Artiom in such dire straits. Complementing Korzun is a truly likable performance by Paddy Considine as Alfie. The affection he feels for Tanya and Artiom is palpable and naturally rendered. Young Artiom Strelnikov makes an impressive debut as the savvy son with his own share of problems coping with the situation.
Helmer Pawlikowski, using a combination of static and hand held camera (by lenser Ryszard Lenczewski), creates a vision that is both cold and intimate. The backdrop of Stonehaven depicts a bleak, unforgiving world where security surveillance camera monitor every corner of the confined world, making escape near impossible. This changes when the film concentrates on the three principles and takes on a warmth that reflects the trio's respective feelings and mood. All in all, "Last Resort" is a little treat of a quality film at a time when Hollywood is releasing mostly dreck.
I give it a B+.
For more Reeling reviews visit www.reelingreviews.com
<EMAIL_ADDRESS><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.
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Related links: index of all rec.arts.movies.reviews reviews


Loading Point Data¶
This section will aid in how to use MONET to load observational datasets available.
First we will import several libraries to aid for in the future.
import numpy as np # numpy
import pandas as pd # pandas
from monet.obs import * # observations from MONET
import matplotlib.pyplot as plt # plotting
import seaborn as sns # better color palettes
import cartopy.crs as ccrs # map projections
import cartopy.feature as cfeature # politcal and geographic features
AirNow¶
AirNow is the near realtime dataset for air composition and meteorology measurements.
“The U.S. EPA AirNow program is the national repository of real time air quality data and forecasts for the United States. AirNow is the vehicle for providing timely Air Quality Index (AQI) information to the public, media outlets, other federal agencies and their applications, and to the research community. The system is managed by the U.S. EPA’s Office of Air Quality Planning and Standards Outreach and Information Division, Information Transfer Group in Research Triangle Park (RTP), North Carolina. AirNow is currently hosted and operated at a contractor facility, known as the AirNow Data Management Center (DMC), which currently resides outside of RTP.” - https://www.airnow.gov/index.cfm?action=ani.airnowUS
AirNow data can be dowloaded from the Amazon S3 server and aggregated using the monet.obs.airnow class. For example,lets say that we want to look at data from 2018-05-01 to 2018-05-05.
Now we need to set the dates. We want hourly data so lets set the hourly flag
dates = pd.date_range(start='2018-05-01', end='2018-05-05', freq='H')
Now a simple one stop command to return the pandas DataFrame
of the aggregated data on the given dates. MONET reads the hourly data from AirNow.
df = airnow.add_data(dates)
This provides a structured DataFrame
.
df.head()
Some users may want to keep a local copy of the data and not have to retrive the data each time they want to access the data. There is a simple kwarg that can be used to download the data, download=True. By default, download is set to False.
df = airnow.add_data(dates,download=True)
This format may be less intuitive. It is the “long” ASCII format found in the files
where each index is a single record with a single variable and value. This may be
incovinient but there are a helper function in monet.utils.tools to
assist in reshaping the pandas DataFrame
so that it can be more convenient.
from monet.utils.tools import unstack
df2 = unstack(df2)
df2.head()
Available Measurements¶
- O3 (OZONE)
- PM2.5
- PM10
- SO2
- NO2
- CO
- NO2
- NOx
- NO
- Wind Speed and Direction (WS, WDIR)
- Temperature (TEMP)
- Relative Humidity (RH)
- Solar Radiation (SRAD)
EPA AQS¶
MONET is able to use the EPA AQS data that is collected and reported on an hourly and daily time scale.
“The Air Quality System (AQS) contains ambient air pollution data collected by EPA, state, local, and tribal air pollution control agencies from over thousands of monitors. AQS also contains meteorological data, descriptive information about each monitoring station (including its geographic location and its operator), and data quality assurance/quality control information. AQS data is used to: assess air quality, evaluate State Implementation Plans for non-attainment areas, prepare reports for Congress as mandated by the Clean Air Act.” - https://www.epa.gov/aqs
We will begin by loading hourly ozone concentrations from 2018. The EPA AQS data is seperated into yearly files and seperate files for hourly and daily data. The files are also seperated by which variable is measured. For instance, hourly ozone files for the entire year of 2018 are found in https://aqs.epa.gov/aqsweb/airdata/hourly_44201_2018.zip. We will first load a single variable and then add multiple later on.
#first determine the dates
dates = pd.date_range(start='2018-01-01', end='2018-12-31', freq='H')
# load the data
df = aqs.add_data(dates, param=['OZONE'])
If you would rather daily data to get the 8HR max ozone concentration or daily maximum concentration you can add the daily kwarg.
df = aqs.add_data(dates, param=['OZONE'], daily=True)
As in AirNow you can download the data to the local disk using the download
df = aqs.add_data(dates, param=['OZONE'], daily=True, download=True)
Available Measurements¶
- O3 (OZONE)
- PM2.5 (PM2.5)
- PM2.5_frm (PM2.5)
- PM10
- SO2
- NO2
- CO
- NONOxNOy
- VOC
- Speciated PM (SPEC)
- Speciated PM10 (PM10SPEC)
- Wind Speed and Direction (WIND, WS, WDIR)
- Temperature (TEMP)
- Relative Humidity and Dew Point Temperature (RHDP)
Loading Multiple Measurements¶
Let’s load variables PM10 and OZONE using hourly data to get an idea of how to get multiple variables:
df = aqs.add_data(dates, param=['OZONE','PM10'])
Loading Specfic Network¶
Sometimes you may want to load a specific network that is available in the AQS data files. For instance, lets load data from the Chemical Speciation Network (CSN; https://www3.epa.gov/ttnamti1/speciepg.html). As of writting this tutorial we will load the 2017 data as it is complete.
dates = pd.date_range(start='2017-01-01', end='2018-01-01', freq='H')
df = aqs.add_data(dates,param=['SPEC'], network='CSN', daily=True )
Available Networks¶
- NCORE (https://www3.epa.gov/ttn/amtic/ncore.html)
- CSN (https://www3.epa.gov/ttnamti1/speciepg.html)
- CASTNET (https://www.epa.gov/castnet)
- IMPROVE (http://vista.cira.colostate.edu/Improve/)
- PAMS (https://www3.epa.gov/ttnamti1/pamsmain.html)
- SCHOOL AIR TOXICS (https://www3.epa.gov/ttnamti1/airtoxschool.html)
- NEAR ROAD (NO2; https://www3.epa.gov/ttn/amtic/nearroad.html)
- NATTS (https://www3.epa.gov/ttnamti1/natts.html)
AERONET¶
“The AERONET (AErosol RObotic NETwork) project is a federation of ground-based remote sensing aerosol networks established by NASA and PHOTONS (PHOtométrie pour le Traitement Opérationnel de Normalisation Satellitaire; Univ. of Lille 1, CNES, and CNRS-INSU) and is greatly expanded by networks (e.g., RIMA, AeroSpan, AEROCAN, and CARSNET) and collaborators from national agencies, institutes, universities, individual scientists, and partners. Fo more than 25 years, the project has provided long-term, continuous and readily accessible public domain database of aerosol optical, microphysical and radiative properties for aerosol research and characterization, validation of satellite retrievals, and synergism with other databases. The network imposes standardization of instruments, calibration, processing and distribution.
AERONET collaboration provides globally distributed observations of spectral aerosol optical depth (AOD), inversion products, and precipitable water in diverse aerosol regimes. Version 3 AOD data are computed for three data quality levels: Level 1.0 (unscreened), Level 1.5 (cloud-screened and quality controlled), and Level 2.0 (quality-assured). Inversions, precipitable water, and other AOD-dependent products are derived from these levels and may implement additional quality checks. ” -https://aeronet.gsfc.nasa.gov
MONET uses the AERONET web services to access data. All data products available through their web service portal is available in MONET except for the raw sky scans. This includes the AOD and SSA as well as the inversion products.
Available Measurements¶
| Product | Explanation |
|---|---|
| AOD10 | Aerosol Optical Depth Level 1.0 |
| AOD15 | Aerosol Optical Depth Level 1.5 |
| AOD20 | Aerosol Optical Depth Level 2.0 |
| AOD15 | Aerosol Optical Depth Level 1.5 |
| SDA10 | SDA Retrieval Level 1.0 |
| SDA15 | SDA Retrieval Level 1.5 |
| SDA20 | SDA Retrieval Level 2.0 |
| TOT10 | Total Optical Depth based on AOD Level 1.0 (all points only) |
| TOT15 | Total Optical Depth based on AOD Level 1.5 (all points only) |
| TOT20 | Total Optical Depth based on AOD Level 2.0 (all points only) |
| Product | Explanation |
|---|---|
| SIZ | Size distribution |
| RIN | Refractive indicies (real and imaginary) |
| CAD | Coincident AOT data with almucantar retrieval |
| VOL | Volume concentration, volume mean radius, effective radius and standard deviation |
| TAB | AOT absorption |
| AOD | AOT extinction |
| SSA | Single scattering albedo |
| ASY | Asymmetry factor |
| FRC | Radiative Forcing |
| LID | Lidar and Depolarization Ratios |
| FLX | Spectral flux |
| ALL | All of the above retrievals (SIZ to FLUX) in one file |
| PFN* | Phase function (available for only all points data format: AVG=10) |
Loading AOD and SDA¶
Aeronet is global data so we are going to look at a single day to speed this along. First we need to create a datetime array
dates = pd.date_range(start='2017-09-25',end='2017-09-26',freq='H')
Now lets assume that we want to read the Aerosol Optical Depth Level 1.5 data that is cloud-screened and quality controlled.
df = aeroent.add_data(dates=dates, product='AOD15')
df.head()
Now sometimes you want only data over a specific region. To do this lets define a latitude longitude box [latmin,lonmin,latmax,lonmax] over northern Africa
df = aeroent.add_data(dates=dates, product='AOD15', latlonbox=[2.,-21,38,37])
df[['latitude','longitude']].describe()
To download inversion products you must supply the inv_type kwarg. It accepts either “ALM15” or “ALM20” from the AERONET web services. Lets get the size distribution from data over northern Africa
df = aeroent.add_data(dates=dates, product='SIZ', latlonbox=[2.,-21,38,37], inv_type='ALM15')
NADP¶
to do…..
OpenAQ¶
to do…..
CEMS¶
to do…..
Climate Reference Network¶
to do…..
Integrated Surface Database¶
to do…..


User Stories
4 stories total.
2 roles defined.
2 priority levels.
By Role
User
- [medium] As a user I want to create an account for myself so that I can start using the system immediately.
- [medium] As a user I want to reset my own password using my email address so that I can log in.
- [medium] As a user I want to complain to the developers so that they can make the system better.
Admin
- [high] As a admin I want to delete all user accounts so that I can go home and be happy.
By Priority
Medium
- [medium] As a user I want to create an account for myself so that I can start using the system immediately.
- [medium] As a user I want to reset my own password using my email address so that I can log in.
- [medium] As a user I want to complain to the developers so that they can make the system better.
High
- [high] As a admin I want to delete all user accounts so that I can go home and be happy.


---
layout: post
title: Aspiring Photographers are Quitting Instagram en Masse and Here's Why
date:
type: post
parent_id: '0'
published: false
password: ''
status: trash
categories: []
tags:
- clickbait
- Flickr
- Instagram
- internet
- photography
- points
- rant
meta:
_wpcom_is_markdown: '1'
_rest_api_published: '1'
_rest_api_client_id: "-1"
_publicize_job_id: '2577622368'
_wp_desired_post_slug: aspiring-photographers-are-quitting-instagram-en-masse-and-heres-why
author:
login: wswld
email<EMAIL_ADDRESS>display_name: wswld
first_name: ''
last_name: ''
---
Full disclaimer: the title is a total clickbait. Still I'm very concerned about the current state of Instagram and the direction the site has taken. Here are some of my grievances:
- I haven't seen anyone but bots in a while. Sure, that's a gross exaggeration, but it certainly feels like actual people are in the minority on the site. Most accounts that like or follow me are spambots or some low-tier SMM guys from developing world.
- My major grievance is lack of posting in official API. Sure, there are unofficial private API wrappers, but why should users jump through the hoops? Limiting access to CRUD operations in public API is walled garden approach at its finest.
- No links. Instagram prohibits adding clickable links and copying in both descriptions and comments. I understand they're doing it to minimize spam, but it's like getting rid of intestines to avoid diarrhea. Also, see the first point. How much should it take before ineffectiveness of this approach is evident? In the meanwhile there is no way for the regular user to share a link to a bigger story.
- Instagram still reduces the quality of pictures and ruins your videos. Sure, it's much better now than it used to be, but it's still far from ideal. Plus, what's up with quality of Instagram pics on Facebook? Is this by design?
- It doesn't cater towards its original target audience - the amateur photographers. Instagram is no longer a network for good phone photography (or attempts at that), most pics one sees today are selfies, which says a lot about the current target audience of the service. Introduction of Stories (which is 100% Snapchat rip-off) cemented this trend.
I'm still using the service for sharing what I deem interesting shots and occasional videos, but I'm also using Flickr as some kind of mirror feed and to be honest Instagram starts to feel like dead weight.


Current Systems/Games include:
https://videogamedatabase.azurewebsites.net/api/games
https://videogamedatabase.azurewebsites.net/api/systems
https://videogamedatabase.azurewebsites.net/api/ratings
https://videogamedatabase.azurewebsites.net/api/publishers
https://videogamedatabase.azurewebsites.net/api/manufacturers
https://videogamedatabase.azurewebsites.net/api/developers
https://videogamedatabase.azurewebsites.net/api/years
https://videogamedatabase.azurewebsites.net/api/publishers/2/games
https://videogamedatabase.azurewebsites.net/api/years/1982/games
For issues please visit https://github.com/JoeEager/VideoGameDBServices
Pipeline is Github->Azure DevOps->Azure Web App


syntax: val = ngx.arg[index]
context: set_by_lua*, body_filter_by_lua*
When this is used in the context of the set_by_lua* directives, this table is read-only and holds the input arguments to the config directives:
```lua
value = ngx.arg[n]
```
Here is an example
```nginx
location /foo { set $a 32; set $b 56;
set_by_lua $sum
'return tonumber(ngx.arg[1]) + tonumber(ngx.arg[2])'
$a $b;
echo $sum;
} ```
that writes out 88
, the sum of 32
and 56
.
When this table is used in the context of body_filter_by_lua*, the first element holds the input data chunk to the output filter code and the second element holds the boolean flag for the "eof" flag indicating the end of the whole output data stream.
The data chunk and "eof" flag passed to the downstream Nginx output filters can also be overridden by assigning values directly to the corresponding table elements. When setting nil
or an empty Lua string value to ngx.arg[1]
, no data chunk will be passed to the downstream Nginx output filters at all.


VSL // EXCERPT: Go Ahead & Like It
* Making lists of the things that we like is a meditative practice of daily gratitude. Here
today’s Very Short List:
lit 8 Apr 2015
Jacqueline Suskin is a writer, performance poet, and artist based in L.A. Known for her ongoing work with a piece she calls “Poem Store,” Suskin composes on-demand poetry, a project that has taken her around the country with her typewriter in tow. The pages linked here are excerpts from her forthcoming book, Go Ahead & Like It
Subscribe
* I want to help people connect with the details that add meaning
* Whether Go Ahead & Like It is used as a writing prompt or a model for self-discovery, I hope readers will end up delving into the simplicities of life
http://link.nyobserver.com/516ca68465217dc6e1b9a3a62gs7g.23tl/TvnrKi0WTdwTHwxwC17d7
delightful e-mail that shares
cultural gems from a
different curator every day.
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NATURAL BORN KILLERS A film review by Michael John Legeros Copyright 1994 Michael John Legeros
Directed by Oliver Stone Written by David Veloz, Richard Rutowski, and Oliver Stone from a story by Quentin Tarantino Cast Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tommy Lee Jones, Tom Sizemore, Rodney Dangerfield MPAA Rating "R" (Duh) Running Time 130 Minutes
==
"Bad! Bad! Bad! Bad!" -Lewis to Harrelson
NATURAL BORN KILLERS is an acquired taste, make no mistake. Good, bad, *and* ugly, Oliver Stone's hilarious satire on media sensationalism is a kaleidoscope portrait of America as seen through the eyes of someone on a bad acid trip.
Expanding upon the narrative techniques employed in JFK, Stone uses every trick in the book to tell the story of Mickey and Mallory (Harrelson and Lewis), two Bonnie-and-Clyde serial killers who capture the hearts of non-victims all across America.
With his crack team of collaborators and a year's worth of editing, Stone has mixed 35mm, Super 8, animation, rear projection, slow-motion, fast-motion, and video with a dazzling array of stock footage, film clips, and other assorted images. The effect is all at once impressive, overpowering, and, well, aimless.
The multimedia tricks are a hallucinatory treat, for sure, but the director uses them on *every* character in the film--not just Mickey and Mallory. The result is sledgehammer saturation, if you will, that weighs the film down by the end. Simply, it gets old.
Acting credits are superb, though, even if the characters (literally) resemble cartoons.
Harrelson and Lewis are a match made in movie heaven, with Woody exhibiting some scary signs of intelligence. Tommy Lee Jones is a riot, sporting slick hair and Carl Perkins sideburns to play a prison warden. Tom Sizemore has a field day overacting as the bad-cop-gone-worse hired by Mr. Jones to arrange an "accident" for Mickey and Mal.
And give some respect to Rodney Dangerfield, perfectly cast as Mallory's father. He gets his in a hilarious flashback staged as a sitcom.
The story was written by Quentin Tarantino (RESERVOIR DOGS, PULP FICTION) and that's obvious. Bullets fly, body parts are eviscerated, and everyone says f*** every other word. Heck, the fact that this orgy of violence came from a major studio, alone is reason enough to see it! Listen for a great exchange between Jones and Sizemore--including a hilarious off-color Oswald joke!--late in the film.
Rewrites came from three others, including Stone who, undoubtedly, was responsible for a slightly strange midsection involving an Indian mystic and his rattlesnakes. Shades of THE DOORS? Rewriting also added the entire commentary that culminates in a short montage of Amy Fisher, O. J. Simpson, and Tonya Harding landing square on her Buttafuoco.
DATE LINE: Take a sensitive soul to see this with you--you'll have twice the fun hearing them recoil in shock and horror.
BOTTOM LINE: Violent as all get-out, it's the best head-trip of the year.
Grade: A-
.
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Grab the build here:
Grab the dependencies (required to run the game!) here.
Microsoft XNA Framework Redistributable 4.0
The world has dimmed. Argo must be overthrown...
In "On With the Show", the player will direct the Magician to explore a grey, dark world, and bring forth joy and color by solving puzzles through teleportation magic. The player will use magic to conjure items back and forth to navigate the level and solve puzzles! The magician will transform the world as he interacts with it. Teleportation is explored as a core element in "On With the Show". The game emphasizes the use of teleportation to change the world around you.
"On With the Show" was developed in C# XNA.
I was a designer on the team. I wrote the backstory and specified the setting of the game, created background art assets, and designed several skills of the Magician. I also organized a sound library of all the audio assets we plugged into the game, and playtested for/reported bugs in the game. The game was awarded 2nd place in the Winter Game Jam of 2014.
Movement: WASD, Arrow Keys
Jump: Space Bar
Hat Trick: Click an item, then the Magician. The item will reappear next to the magician. Magician cannot move while using this ability.
Prestidigitation: Click on an item close to the Magician, then on a location in the level. The item will teleport to the mouse pointer. Magician cannot move while using this ability.
The Switch: Click on a nearby item and another item. They will swap places. Magician cannot move while using this ability.
Cancel Skill: After starting a magic trick/skill, right click anywhere on the stage. The Magician stops the trick and can move again.


Tiny Wood [ba52], forest, in Tenka, peasants: 100
Last updated Turn #136
Tiny Wood [ba52], forest, in Tenka, peasants: 100
------------------------------------------------------------------------
2: Pleasure Sloop [v5n], ship, 30 hulls, 1 rowing port, 90 sails, arrived
2: from Ocean [bb52], owner:
2: Dorothy [v1b], Pen, with one worker, 94 sailors
2: Apollo [b5e], Imperial Empire, with 11 workers, 63 lt. xbowmen,
2: accompanied by:
2: Lutra [a4w], Imperial Empire, with 13 paladins, 40 pikemen
2: Hera [g3f], Imperial Empire, with 20 soldiers, 40 pikemen
2: Thor [r4g], Imperial Empire, with eight soldiers, 41 pikemen
2: Eos [a2t], Imperial Empire, with ten workers, 48 lt. xbowmen
2: Khaki Blazer [w4j], Imperial Empire, with 17 soldiers,
2: seven pikemen, 35 lt. foot
2: Banian [e7n], Imperial Empire, duke, the High Priest of the
2: Church of Eres [151], with five soldiers, ten angels
2: Dunlop [j5s], Mandor Confederacy, prisoner
3: Stack of giant [dr5f], giants, number: 2, went east.
3: Pleasure Sloop [v5n], ship, 30 hulls, 1 rowing port, 90 sails,
3: departed for Ocean [az52].
9: Stack of giant [bi3s], giants, number: 3, arrived from the east.
11: Stack of giant [bi3s], giants, number: 3, went east.
27: Stack of giant [bf1p] loots the countryside.
30: It has stopped raining.
Routes leaving Tiny Wood:
North, to Ocean [az52], The Inner Sea, 2 days
East, mountain, to Dragonrock [ba53], 10 days
South, to Ocean [bb52], Crystal Sea, 2 days
West, to Ocean [ba51], Crystal Sea, 2 days
Seen here:
Stack of giant [bf1p], giants, number: 11


Discuss how understanding the principals of neuroplasticity benefits people
Neuroplasticity is the brains ability to change with exposure to experiences.With practise, new pathways can be created and improved to result in changes. Thinking about something can help practise and improve skill level. Knowing that you can change can help you change.
Discuss how you might engage with the principals of neuroplasticity for your own benefit
Whenever I get stuck or find something hard, knowing that with practise i can make changes because I am exposing my brain to experiences and that can change in the long term. Repeatedly practising will result in changes to my brain - creating a solid roadway for the cars. Without using the pathways, they will begin to disappear.
What are some of the ways to increase your neuroplasticity?
Link to a resource that you found particularly useful or engaging.
Neuroplasticity, Unconscious Bias and Innovation
What is Neuroplasticity? A Psychologist Explains
Growth Mindset : Discuss what it is and why it is relevant
Growth mindset is the thought that you can change yourself through development. Knowing that you’re not stuck that way can encourage attempts to change.Understanding that you can change the way your brain works can help improve learning ability. Growth mindsets allow for growth in a person and how they do things. By looking at things as learning opportunities, the growth of a person can continue. Taking on challenges, sticking with something when it becomes hard or when an obstacle is in the ay, putting in effort - nothing will happen without effort - taking onboard criticism, not personally but identifying it as specific to the task/skill at hand that can be studied/learnt/changed, and looking to others to be inspired by their success not threatened. These actions will help develop a growth mindset in an area.
n this exploration, did anything surprise you? Change for you?
Learning that you can have different mindsets for different things. I think I have a fixed mindset in some areas and growth in others. I can now identify a time when I switched from fixed to growth for one area as I practised and saw small improvements. Learning that the input of others can help develop the growth mindset if I’m willing to take on criticism.
How will you integrate growth mindset into your learning journey?
Being more open to criticism and knowing that even if I take it personally, I can reflect to know that the criticism was about that particular skill that I can improve. Persistence in obstacles, even if I’m struggling because I can reward the small achievements to see success and put in more effort. Be aware that I will become defensive in some situations.
Link to a resource that you found particularly useful or engaging.
Auckland University Developing a growth mindset
What Having a “Growth Mindset” Actually Means
Reflect and discuss how these understandings may shape or influence your learning plan and strategy.
Understanding that the brain is malleable and that each days practise will help can really influence my motivation to keep practising. I think being open to opportunities and seeing the challenges as growth challenges will help me.  I want to be able to remind myself of these concepts at that time.
back to Core Blogs


Welcome to JsonFiles
This site is an on going display of projects I've worked on and personal inspirations in my life. Please feel free to contact me and I'll respond as soon as possible. Thank you for your interest in JsonFiles!
The inspirations in my life
Future projects
Feel free and contact me about any future projects request. New projects are always welcomed and appreciated. Please feel free to contact me anytime.


{% extends 'fyh_emails/base.html' %} {% block content %}
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We hope this email finds you well and that your semester is off to great start! As we experience increased traffic on Hub@Penn platform with the new semester, we are reaching out to all resources to ensure there is an active individual/team in charge of updating all information on your page. If someone on your team needs to be granted access to manage your page, we wanted to be sure you know exactly how to do that!
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Once you have access to the resource, we also suggest taking a minute to look around and try out the tools we provide for managing and editing the resource such as events, mailing lists, FAQs, and analytics.
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What is Hub@Penn?Hub@Penn is a platform to help Penn students find and connect with university support resources. Whether you need help with financial wellness, academic support, healthcare, career and fellowship applications, and more, you can use Hub@Penn to find the resource that meets your needs.
Office of New Student Orientation & Academic Initiatives (NSOAI) Online Learning Initiative (OLI) Penn Labs Vice Provost for University Life (VPUL)


Mathematical Olympiad
问题描述 :
Let S be a finite set of at least two points in the plane. Assume that no three points of S are collinear. A windmill is a process that starts with a line l going through a single point P∈S. The line rotates clockwise about the pivot P until the first time that the line meets some other point belonging to S. This point, Q, takes over as the new pivot, and the line now rotates clockwise about Q, until it next meets a point of S. This process continues indefinitely. Show that we can choose a point P in S and a line l going through P such that the resulting windmill uses each point of as a pivot infinitely many times.
Well… This is not your task. Your task is to determine the expected number of steps we need to run to come back to the original state if we choose the pivot point and the first point we meet at random with equal probability.
输入:
Following are T test cases. For each test case, the first line contains one number, n. Each of the following n lines contains two numbers, X-coordinate and Y-coordinate of one point.
T<=10
3<=n<=1000
Absolute value of all coordinates <= 106
No three points are collinear.
输出:
Following are T test cases. For each test case, the first line contains one number, n. Each of the following n lines contains two numbers, X-coordinate and Y-coordinate of one point.
T<=10
3<=n<=1000
Absolute value of all coordinates <= 106
No three points are collinear.
样例输入:
2 3 0 0 0 1 1 0 4 0 0 0 1 1 0 1 1
样例输出:
3 20/3
应笑笑是女主


38% of homeless children have mental health or behavioural disorders
by By Digital Desk staff38% of homeless children have significant mental health or behavioural disorders.
That is according to a new study by the Royal College of Physicians of Ireland.
It is calling for the government to act now to prevent so many children experiencing homelessness or inadequate housing.
Dr Julie Heslin, the lead author, says this causes a serious impact on children's health
"Research would seem that the type of illness that they experience includes depression anxiety, behavioural problems," said Dr Heslin.
"And then for the younger child, occasionally, developmental delay.
"It impacts on younger children but also up to adolescents."
Meanwhile, St Vincent de Paul said it is expecting more than 60,000 calls for help this winter from families in need.
The charity is launching its annual appeal today ahead of what it says is its busiest time of the year.
It says this year's focus is on helping children, particularly the almost 4,000 in emergency accommodation around the country.


Simple-Terms-of-Service-Banner
This is a web page that your boss says needs a dismissible terms of service banner. To activate it, include the following script anywhere. The script does not have dependencies.
<script src=tos-banner.js></script>


Contains builtin sharing schemes provided by jiff.
- Source:
Methods
(static) shamir_reconstruct(jiff, shares) → {number}
Uses Lagrange polynomials to interpolate the polynomial
described by the given shares (points).
Parameters:
| Name | Type | Description |
|---|---|---|
jiff |
jiff-instance | the jiff instance. |
shares |
Array | an array of objects representing shares to reconstruct, every object has 3 attributes: value, sender_id, Zp. |
- Source:
Returns:
the value of the polynomial at x=0 (the secret value).
- Type
- number
(static) shamir_share(jiff, secret, parties_list, threshold, Zp) → {object}
Default way of computing shares (can be overridden using hooks).
Compute the shares of the secret (as many shares as parties) using Shamir secret sharing:
a polynomial of degree: ceil(parties/2) - 1 (honest majority).
Parameters:
| Name | Type | Description |
|---|---|---|
jiff |
jiff-instance | the jiff instance |
secret |
number | the secret to share. |
parties_list |
Array | array of party ids to share with. |
threshold |
number | the min number of parties needed to reconstruct the secret, defaults to all the receivers. |
Zp |
number | the mod. |
- Source:
Returns:
a map between party number and its share, this means that (party number, share) is a
point from the polynomial.
- Type
- object


Module: Truth::Entity::Associations::ClassMethods
- Included in:
- Truth::Entity
- Defined in:
- lib/truth/entity/associations.rb
Instance Method Summary (collapse)
- - (Object) context(klass, options = {}, &blk)
- - (Object) includes(type, &blk)
-
- (Object) index(type, options = {}, &blk)
defines a cached index, and a simple get_or_create method with the given name.
-
- (Object) key(type, &blk)
a key is a simple property.
- - (Object) type_initializers
Instance Method Details
- (Object) context(klass, options = {}, &blk)
55 56 57 58 59 60 61 62 63 |
# File 'lib/truth/entity/associations.rb', line 55 def context(klass, ={}, &blk) assoc = .delete(:as) || self.name.demodulize.underscore assoc = assoc.to_sym klass.index(assoc, ) do |name, target| inst = new(target, name) yield(inst, target) if block_given? inst end end |
- (Object) includes(type, &blk)
47 48 49 50 51 52 53 |
# File 'lib/truth/entity/associations.rb', line 47 def includes(type, &blk) define_method :on_create do send(type).import(configuration.send(type)) do |obj| !blk || blk.call(self, obj) end end end |
- (Object) index(type, options = {}, &blk)
defines a cached index, and a simple get_or_create method with the given name.
26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 |
# File 'lib/truth/entity/associations.rb', line 26 def index(type, ={}, &blk) type = to_key(type) define_method("#{type}_index") do indices[type] ||= Index.new() end if [:plural] alias_method [:plural], :"#{type}_index" end type_initializers[type] = blk module_eval "def \#{type}(name, &blk)\nindex_get(\#{type.rrepr}, name, &blk)\nend\n", __FILE__, __LINE__ end |
- (Object) key(type, &blk)
a key is a simple property.
7 8 9 10 11 12 13 14 15 16 17 |
# File 'lib/truth/entity/associations.rb', line 7 def key(type, &blk) blk ||= lambda { |x| x } define_method(type) do blk.call(self[type.to_sym]) end define_method :"#{type}=" do |arg| self[type.to_sym] = blk.call(arg) end end |
- (Object) type_initializers
19 20 21 |
# File 'lib/truth/entity/associations.rb', line 19 def type_initializers @type_initializers ||= {} end |


O HAI, I’m a dialog. Click on me to dismiss.
Show dialog
Doner alcatra pastrami pig, strip steak eu in frankfurter occaecat in filet mignon chuck short loin


{% extends "base.html" %} {% block content %}
If you are having issues, contact Aaron Elmore.
{% if error == 'invalid netid' %}That is an invalid StudentID. Why don't you try again?
{% elif error == 'not on roster' %}It doesn't appear that your StudentID was on the class list at this time.
This may be the case if you've recently added the course.
{% elif error == 'failed adding to Students' %}There was a problem adding your GitHub account to the Students team.
{% elif error == 'failed adding to team' %}There was a problem adding your GitHub account to a team.
{% elif error == 'failed creating a team' %}There was a problem creating a Team for you on GitHub.
{% elif error == 'invalid token' %}There was an unknown problem with GitHub.
{% elif error == 'already member' %}It looks like you are already a member. Your repository is here: {{ repo }}.
{% elif error == 'failed checking membership' %}There was a problem checking to see if you belong to the Organization.
{% else %}Something appears to have gone wrong.
{% endif %} {% endblock %}


I don't like the look of this doctor. I bet I've lost more patients than he's even treated!
Degree:
Languages:
Bio:


Hi! Welcome to LearnHowToProgram.com. This site is a step-by-step guide to take you from zero experience to web programmer in a few short months, and contains everything you need, including lessons and practice exercises. The content is the curriculum for Epicodus, a school for people who want to change careers into programming. You're also welcome to go through the site on your own, or use it as a curriculum for another school or class.


Indicates that the given search location could not be disambiguated - that
is, there were multiple possible locations, and the Yelp service which one
you wanted!
Indicates that the given search location could not be disambiguated -
that is, there were multiple possible locations, and the Yelp service
which one you wanted!


meta/main.yml default values should be changed for: author, description, company, license, license
meta/main.yml
author
description
company
license


SLEEPY HOLLOW (M). (Mandalay Entertainment/Paramount/Village Roadshow) Director: Tim Burton Stars: Johnny Depp, Christina Ricci, Miranda Richardson, Michael Gambon, Casper Van Dien, Jeffrey Jones, Richard Griffiths, Ian McDiarmid, Michael Gough, Lisa Marie, Marc Pickering, Steve Waddington, Christopher Walken, Christopher Lee, Alun Armstrong, Martin Landau (uncredited) Running time: 118 minutes.
Enjoyable, atmospherically staged period horror drama about a small upstate New York town terrorised by a headless horseman. Writers Andrew Kevin Walker (Seven, 8MM, etc) and Kevin Yagher bring something of a contemporary flavour, generous doses of black humour, and plenty of gore to Irving Washington's classic story of 19th century horror and spooky happenings.
In this superbly crafted homage to those classic old Hammer horror films from the '60's, director Tim Burton beautifully captures the same atmospheric look and feel, albeit it on a larger budget. Visually, Burton's films have always been quite striking, and Sleepy Hollow is no exception, with solid technical contributions. Rick Heinrichs' suitably gothic production design, Emmanuel Lubezki's evocative cinematography and Danny Elfman's haunting music score combine to effectively create the gloomy, fog shrouded and menacing setting of Sleepy Hollow, a quaint, upstate New York town besieged by supernatural killings and fear.
When a number of citizens of Sleepy Hollow are beheaded, modern thinking New York constable Ichabod Crane (Johnny Depp) is sent to investigate. Crane prefers to use rigorous scientific methods to solve crimes, and doesn't particularly believe in ghouls and goblins, or even the legend of the headless horseman, which has filled the locals with dread. He suspects a human hand at work rather than supernatural forces. But even his beliefs are shaken by the strange events that have possessed this once quiet hamlet, now seemingly in the grip of witchcraft.
In his third collaboration with director Burton (Ed Wood and Edward Scissorhands), Depp gives a fabulous performance, tinged with a hint of ironic humour at his character's expense. Depp marvellously captures the contradictions inherent in Crane, a man who autopsies dead bodies for clues, yet faints at the sight of beheaded corpses and shrinks from the sight of spiders. Christina Ricci vamps it up nicely as the bewitching Katrina Van Tassel, while Miranda Richardson brings a deliciously evil edge to her role as Katrina's step mother.
Christopher Walken contributes a brief appearance as the legendary headless horseman, although most of his fight scenes are doubled by former stunt man Ray Parks (recently seen as Darth Maul in The Phantom Menace). Burton has also filled his cast with an ensemble of British character actors (including Michael Gambon, Michael Gough, Star Wars' Ian McDiarmid, Richard Griffiths), who lend a touch of credence to their roles as the elders of the town who all have secrets to conceal. Even Hammer stalwart Christopher Lee turns up in a brief cameo as New York's intimidating magistrate. Sleepy Hollow is enjoyable enough for most of its length, but it seems to run out of ideas by the end, and its finale is a little messy. There are also one or two decapitations too many. It's a great cinematic trick to begin with, but it starts to lose its novelty value by the third or fourth time.
***1/2 greg king http://www.netau.com.au/gregking
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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Related links: index of all rec.arts.movies.reviews reviews


This repo is designed to house User Experience issues related to the Almighty project.
All information is tracked by the UXD Team.
Pertinent design documents (research, wireframes, mockups, etc.) will be kept in almighty-devdoc. You can also view them at devdoc.almighty.io/ux/ux-overview.html.


| Sets the current drawing color to the color of the pixel designated. |
| x = x coordinate of pixel y = y coordinate of pixel |
Command Description:
| This command works like a 'color picker' in your favorite paint program. By specifying |
Example:
| ; GetColor Example Graphics 320,200 SetBuffer BackBuffer() For t = 1 To 1000 Color Rnd(255), Rnd(255), Rnd(255) Rect Rnd(320),Rnd(200),10,10,1 Next GetColor 100,100 Print "Box at 100,100 is RGB:" + ColorRed() + "," + ColorGreen() + "," + ColorBlue() + "!" Flip While Not KeyHit(1) Wend |


Documentation Overview¶
Kasten's K10 platform is a unique application-centric data management solution for all public and private Kubernetes deployments that balances the needs of operators and developers making it easier to build, deploy, and manage stateful containerized applications at scale.
Through a top-down application focus, K10 provides the right balance and separation of concerns between developers and operators. In particular, the current release of the platform focuses on the following four use cases:
- Test/Dev Environments
- K10 supports the safe and automated export of data from production to test and dev environments with data masking support. In addition, it also provides the ability to clone applications and namespaces to help with debugging and workspace suspend/resume workloads.
- Cloud Migration
- To support disaster-recovery and ultimately cross-cloud portability, K10 allows for the seamless migration of applications with their data across non-federated Kubernetes clusters. These clusters can be under the same account, in different accounts, or even different accounts across different cloud provider regions.
- Backup and Recovery
- The K10 platform supports protecting applications both at the volume level and, through the use of an open-source framework called Kanister, at the application/data-service level. Based on label-based criteria, K10 can protect applications today against accidental and malicious data loss.
- Disaster Recovery
- To assist in the fast recovery from site or cluster outages, K10 supports simple orchestrated recovery that can be full or partial.
Quickstart¶
If you want a high-level introduction to the system, we recommend starting with the Quick Start guide.
If you are using this documentation for our test drive system, we recommend you get started with the Test Drive documentation first.
Guided Walkthrough¶
For a more detailed documentation-driven walkthrough of the system, the recommended sequence of actions is:


Warehouse Keeper Silva:
Customer, please wait a minute! Yes, Mr. Sorint? Would you like a cup of tea? No? Then, customer, please come this way...
 That's why he's so slow...
Did you bring some Jades? Of course, you remember there is a bonus if you bring over 100 at once, right?
Receive reward.
Keep hunting.
Say you want to quit.


PapersPlease!
Welcome, {{user}}!
Dashboard
Read messages
Edit profile
Log off
Events
Ongoing events
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Submit a talk!
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{{output}}


abstract var instructions: MutableList<Instruction<TData>>
The instructions in this Program.
This collection can be modified to modify the behaviour of this Program.


{% load i18n %} {% load staticfiles %}
{% trans "We're sorry, but the requested page could not be found." %}


IN THE HIGH COURT OF PUNJAB AND HARYANA AT CHANDIGARH CWP No. 26286 of 2013 Decided on : 29.11.2013 Darshan Singh . . . Petitioner Versus State of Punjab and others . . . Respondents CORAM: HON'BLE MR. JUSTICE AJAY KUMAR MITTAL HON'BLE MR. JUSTICE MAHAVIR S. CHAUHAN PRESENT: Mr. Vivek Singla, Advocate for the petitioner. **** AJAY KUMAR MITTAL, J. (Oral)
The petitioner has approached this Court by way of present writ petition under Articles 226/227 of the Constitution of India for issuing a writ in the nature of mandamus directing the official respondent Nos. 1 to 4 to take necessary legal action against respondent No.5, who allegedly carrying on the industrial activity of manufacturing of Tractor Parts in the residential area without obtaining any No Objection Certificate or requisite permissions from the competent authorities including consent to operate under the provisions of the Air Act, 1981 and Water Act, 1974.
2. After arguing for some time, learned counsel for the petitioner states that he may be allowed to withdraw the present writ petition with liberty to file afresh one by incorporating better particulars.
3. Dismissed as withdrawn with liberty as prayed for.
(AJAY KUMAR MITTAL) JUDGE (MAHAVIR S. CHAUHAN) November 29, 2013 JUDGE J.Ram Jawala Ram 2013.12.04 15:46 I attest to the accuracy and integrity of this document


--- description: 'Navigation bar' ---
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{{ item.quantity }} × {{ item.price | currency }}
Your cart is empty.


What is Anttris?
Anttris is a cross-platform puzzle solving game. Players work to match colored blocks and remove to reveal the center of the block. Once all blocks have been removed, the puzzle is solved and the game is won!
So what makes Anttris different from another Bejeweled™ clone? Where is the novelty? Where is the challenge? Anttris plays sort of like a mix of Mahjong™ and Bejeweled™, requiring players find the pre-matched paired blocks in order to remove them from the puzzle. Red blocks are always matched to red blocks, and blue to blue. Each block, however, only has one valid pair that must be sought and found. Once both blocks in the pair have been selected, the pair will be removed and the player can continue to try and work their way down to the center. Only one each outer layer of the cube has been removed can players begin to select blocks from the next layer.
Already we have a game that involved players frantically spinning around a cube and trying to find the pair for a block. Besides the regular pair blocks that must be removed, the block will also come with wild blocks. These blocks act like wild cards in card games, being able to be matched to any other block of the same color — for the large price of a cut of their current score!
Anttris was created with both single and multiplayer in mind. A fun, challenging puzzle can be played either alone or head-to-head with a friend! Players can even connect to other players on different devices!
What Devices Can I Run Anttris On?
Special care was taken to ensure that Anttris could be run on any device from a computer to a hand-held smartphone device. What's even cooler is that all multiplayer capabilities are available to you regardless of what device you're currently running on.


${appName} can monitor StarCraft II games, and can perform certain actions when a game starts or ends.
The SC2 Game Monitor works only on Windows Operating Systems!
The current StarCraft II game status is also displayed in the
Status bar
of the ${appName} window.


Rating: * * * * out of * * * *
Rated: R for strong language, sexual dialogue, drug use, crude humor, violence and brief nudity.
Starring: Ben Affleck, Matt Damon, Linda Fiorentino, Salma Hayek, Alan Rickman, Chris Rock, Kevin Smith, Jason Mewes, Jason Lee, George Carlin, Alanis Morissette.
Running Time: 130 minutes
Being a huge fan of Kevin Smith, I was expecting a lot out of his newest project 'Dogma'. It might just be Kevin's best work to date. It's very funny with smart and foul-mouthed dialogue while unexpectedly it has a serious undertone to it and besides going against God and Jesus Christ, it actually tries to tell people that there is such a thing rather than that there isn't. In 1994 a little $27,000 movie premiered at Sundance.  You really can't meet a person on this green Earth who has not seen 'Clerks'. It was hailed by critics as one of the best movies of the year and soon a sequel is coming. In 1995 Kevin made another movie 'MallRats' that flopped horribly, thought it was not the best movie ever made it was a pretty good little flick. It was panned by critics but hailed by audiences and in 1997 'Chasing Amy' came out and was Kevin's biggest success to date. Now in 1999 we get a great little movie by the name of 'Dogma'.
Wow! What a cast. Ok here is the plot in this movie: Linda Fiorentino plays a regular woman who works at an abortion clinic. One day at her house Metatron (the voice of God) appears at her house much to her surprise and tells her that she must stop two fallen angels (Matt Damon and Ben Affleck) from getting back into Heaven by ways of a church. Ok now get this, she is told to find two prophets: One who talks a lot and one who doesn't, however she gets Jay and Silent Bob instead (who give us great performances). Now on her way to New Jersey with Jay and Silent Bob to try and stop the two angels the 13th Apostle falls out of the sky (Chris Rock) and helps guide her to find these angels. Salma Hayek plays Serendipity who also helps her out along her way. Azrael (Jason Lee) who is a demon is trying to help the two angels out so that they can win. Bethany (Linda Fiorentino) has to now use the help of all these people to try and stop the angels before they cheat their way back to Heaven leading to a violent and bloody end that will make you think twice about your faith.
What a movie, it is everything rolled into one: An offensive, offbeat, smart and sassy comedy that surprisingly has a great message at the end, and ends up being a feel-good movie. Who would have known Kevin had such a soft side on him that could make us know that he is a faithful person himself. Now for those of you who get offended with this movie really should not take it to heart. Yes it may target the Catholic community and bash them a lot, but it also seems to rather than go against God and Heaven, it actually goes with God and Kevin gives a message that there is a God. This review may sound confusing at first but really the only way to understand it is to see this excellent movie.
Kevin goes to new lengths in this hilarious comedy and gives us some great characters with not too much background or study and rather we start to know the characters as we watch the movie. Of course the best (and funniest) of them all is the only duo in history that have made me fall out of my chair laughing and that my friends are Jay and Silent Bob. Probably the best characters in movies that I like. The star-studded cast is amazing and has some other cameos by George Carlin, Jeanne Garafolo and so may more that we start to lose track after a while. The script was written by Kevin Smith with many f'words in there of course and a strong emphasis on sexual talk but he also seems to concentrate on what is important rather that what isn't and makes us laugh at the same time as we think.
Chris Rock gives a hilarious performance and gets into his character very well, with some classic lines. Linda Fiorentino is just perfect for her role and makes us believe that she really is who she is. Of course Jason Mewes and Kevin Smith do a great job as Jay and Silent Bob with some priceless lines from Jay (as well as Silent Bob). Alan Rickman, Jason Lee, Salma Hayek round out the cast with Matt Damon and Ben Affleck in the starring roles. Being Oscar Winners for the classic 'Good Will Hunting' they give great performances here again but Matt Damon seems just a little held back and to me did not give it all he could. Ben however was all out and got very much into his character as well as the story.
The movie's only big flaw is that it has a few unfunny lines and some slow parts to go along with it. However the direction by Kevin and the script by Kevin as well as the priceless performance by many of the cast members, 'Dogma' stands as a new classic and I think I can safely compare it to 'Clerks'. While being funny at times, in the end it becomes a serious movie with an important message that some may not agree with but can't deny it. 'Dogma' will offend people, especially deeply religious people, but for those of you who are open minded and want to see some very funny material then this is the movie for you. All Kevin Smith Fans MUST SEE!!
Reviewed by Brandon Herring November 13, 1999.
Brandon Herring Http://www.geocities.com/hollywood/movie/3160/moviereviewheaven.html
"He Came Home"- Halloween "I don't know if anyone can stop him!"- H4 "Im so scared!"- Blair Witch " "- Silent Bob
The review above was posted to the
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Notable changes
Known issues
- Regression since 42.3.2: "cursor does not exist" when using ResultSet.setFetchSize from CallableStatement, fixed in 42.3.6 (see PG #2377)
Changed
- fix: change name of build cache PR 2471
- feat: add support for ResultSet#getObject(OffsetTime.class) and PreparedStatement#setObject(OffsetTime.class) PR 2467
- fix: Use non-synchronized getTimeZone in TimestampUtils PR 2451
- docs: Fix CHANGELOG.md misformatted markdown headings PR 2461
- docs: remove loggerLevel and loggerFile from docs and issues #2489
- feat: use direct wire format -> LocalDate conversion without resorting to java.util.Date, java.util.Calendar,
and default timezones PR 2464 fixes Issue #2221
Added
Fixed
- docs: Update testing documentation PR 2446
- fix: Throw an exception if the driver cannot parse the URL instead of returning NULL fixes Issue #2421 PR 2441
- fix: Use PGProperty instead of the property names directly PR 2444
- docs: update changelog, missing links at bottom and formatting PR 2460
- fix: Remove isDeprecated from PGProperty. It was originally intended to help produce automated docs. Fixes #Issue 2479 PR 2480
- fix: change PGInterval parseISO8601Format to support fractional second PR 2457
- fix: More test and fix for issues discovered by PR #2476 PR #2488
Commits by author
Dave Cramer (8):
- docs: Update testing documentation PR 2446
- fix: Throw an exception if the driver cannot parse the URL instead of returning NULL fixes Issue PR 2421 (#2441)
- fix: Use PGProperty instead of the property names directly PR 2444
- docs: update changelog, missing links at bottom and formatting PR 2460
- added post for 42.2.25 PR 2466
- change name of build cache PR 2471
- Remove isDeprecated from PGProperty. It was originally intended to help produce automated docs. Fixes #Issue 2479 PR 2480
Fabio Cechinel Veronez (1):
- docs: Fix CHANGELOG.md misformatted markdown headings PR 2461
Uwe Schindler (2):
- feat: add support for ResultSet#getObject(OffsetTime.class) and PreparedStatement#setObject(OffsetTime.class) PR 2467
Wei Su (1):
* GSS login to use TGT from keytab fixes Issue 2469 PR 2470
paulo-kluh (1):
- fix: change PGInterval parseISO8601Format to support fractional second PR 2457
吴伟杰 (1):
- Use non-synchronized getTimeZone in TimestampUtils PR 2451
Contributors to this release
We thank the following people for their contributions to this release.
Uwe Schindler
Wei Su
Fabio Cechinel Veronez
paulo-kluh
吴伟杰


Smartphone that you hold in your hand has billions of transistors embedded in a single tiny chip. Can you imagine how these tiny transistors are built and packed within a single chip? It is all because of a special component in Electronics called MOSFET (Metal Oxide Semiconductor Field Effect Transistor). What happens inside this tiny little device must be studied to understand how a chip (ASIC) work.
Objectives
1 2 3 4 5 | After reading this tutorial, we will understand * The basic structure of a MOSFET. * The three main operating regions of a MOSFET. * How MOSFET behaves as a Voltage-Controlled Current Source? |
MOSFET-Basic structure
MOSFET is an active electronic device which has the ability to produce current provided a voltage. Think of voltage and current analogous to a water pump.
If water molecules are considered as electrons and the flow of water is considered as current, then how much you open the water pump is considered as voltage, so that the water molecules (coming out of the pump) flows faster or slower.
The force or the push that makes electrons flow in a circuit is voltage.
MOSFET is an active device because it can control the flow of electrons i.e. current. Passive devices such as resistors, capacitors or inductors normally won’t do this.
A typical MOSFET that is hidden inside your smartphone processor has a structure shown in Fig 1. Basically, this representation is for our understanding purposes only. In real-world, the fabrication process will look a lot different than this.
As you can see from the above figure, MOSFET is a four terminal device. The four terminals are -
- Source
- Gate
- Drain
- Bulk - Normally, Bulk and Source are connected to each other, and so, in many text books, MOSFET is shown as a three terminal device.
Additionally, there are five important parts that combine along with these four terminals in a MOSFET. They are -
- P-substrate
- Isolation region
- n+ Diffusion region
- Poly-silicon or Metal Electrode
- SiO2 or Metal Oxide
P-substrate
Every chip is made of Silicon as it is the most abundant material available in this planet. And undoubtedly, p-substrate is nothing but Silicon doped with p-type material such as Boron. Doping means to add impurities to a semi-conductor so that its conducting behaviour is changed. This is mainly done to increase the conductivity of a semi-conductor material such as Silicon or Germanium. One key point to remember here is that, p-substrate mainly have holes as the majority carriers.
Isolation region
As your smartphone chip contains millions of transistors sitting next to each other, we need isolation to protect each of these transistors so that there isn’t any damage due to short-circuit or EMI. Because of this, we typically have isolation regions in every MOSFET sitting close to each other. Commonly used isolation material is Silicon dioxide (SiO2) which you find in Glass.
n+ Diffusion region
After providing isolation, we diffuse/add n+ impurities inside the p-type substrate, mainly along the top-left and top-right regions, leaving a defined amount of space in the middle. This is done with the help of lithographic techniques that are specific to the fabrication industry. Mainly, the Source and Drain terminals of a MOSFET are taken from these n+ diffusion regions.
SiO2 or Metal Oxide
Above the space left by n+ diffusion regions, we keep a metal-oxide layer normally built using SiO2. This acts as an insulator that does not allow current to pass through. The main reason behind adding this metal-oxide layer will be explained shortly. But, the key take away is that because of this layer, we add Oxide in a MOSFET.
Poly-silicon or Metal Electrode
Above the metal-oxide layer, we introduce a metal-layer that will be used to take the Gate terminal.
Thus, in a MOSFET -
- M stands for Metal, which refers to the Metal electrode.
- O stands for Oxide, which refers to the Metal Oxide (SiO2).
- S stands for Semi-conductor, which refers to the p-substrate.
MOSFET-Working
There are two modes of operation in a MOSFET namely -
- Depletion mode - Channel present between drain and source.
- Enhancement mode - Channel absent between drain and source.
In this tutorial, we will strictly focus on Enhancement mode MOSFET. We will also consider n-channel enhancement mode MOSFET which means we have p-substrate as the body. In contrast, a p-channel enhancement mode MOSFET will have n-substrate as the body.
A n-channel enhancement mode MOSFET acts as a voltage-controlled current source - meaning if you provide voltage at the gate-source terminal, you create a channel between source and drain region that allows current to pass through. The symbols of enhancement mode MOSFET used while working with circuit diagrams is shown in Fig 7.
In short, this type of MOSFET typically works like this -
You give me some voltage and I will produce current.
MOSFET-Regions of operation
Based on the amount of gate-source voltage \( V_{GS} \) and drain-source voltage \( V_{DS} \) applied, there are three regions of operation in a MOSFET namely -
- Cutoff region
- Linear or Triode region
- Saturation region
1. Cutoff region
If you don’t apply any voltage to the gate-source terminal, you don’t create any channel from drain to source, and there is no flow of current. This is what cutoff region mean. If \( V_{GS} \) (gate-to-source voltage) is 0, then \( i_D \) (current flowing from drain to source) is 0.
In addition, to turn on the MOSFET, we need to cross a minimal amount of voltage. This is typically in the range 0.7 - 1.1 V.
The minimum voltage required to turn on the MOSFET is called Threshold Voltage \(V_T \)
Thus, in cutoff region of a MOSFET, the voltage between gate and source must be in between 0 and the threshold voltage (\(V_T \)).
2. Linear or Triode region
In linear or triode region, the MOSFET creates a channel in between drain to source. So, you must be asking yourself, how this channel is created?
The answer is CAPACITOR. Look at the figure given below.
If you could recall the working of a capacitor (from your high school), you should know that when two parallel metal plates with a dielectric in between are kept in contact with a voltage source, the plates gets charged. If these two plates have same charge (instead of different charge as shown in the figure), then they typically act as magnet, causing repulsion of charges. This is ultimately the principle behind working of a MOSFET.
The metal electrode and p-substrate are the parallel plates and SiO2 oxide layer is the dielectric which together makes a MOS capacitor.
If you slightly increase the gate-source voltage \( V_{GS} \), the metal electrode gets charged positively. The creation of positive charges in the metal electrode causes the holes (positive charges) present in the space between n+ diffusion regions to repel. This repulsion of positive charges accumulates negative ions towards the semi-conductor surface. If \( V_{GS} \) is increased to a point at which the semi-conductor surface becomes negatively charged, then that \( V_{GS} \) voltage is called as the threshold voltage. The overall phenomenon is referred as Strong Inversion.
Thus, by controlling the amount of push that we provide through \( V_{GS} \), we essentially control the width of the channel that is created between drain and source. Figure 9 shows the application of gate-source voltage and the corresponding channel creation between drain and source. Note that, we make the source and drain terminals grounded so that the resistance between them is high initially (meaning zero current).
The channel created between drain and source allows current to pass through which is governed by the equation shown below in linear region. Note that, we have included the effect of channel length modulation here, which is a second-order effect.
Here,
- \(i_D \) - is the drain current flowing through the channel.
- \(u_n \) - is the mobility of electrons in the inversion layer.
- \(C_{OX} \) - is the gate-oxide capacitance per unit area.
- \(\frac{W}{L} \) - is the ratio of width and length of the semi-conductor.
- \(V_{GS} \) - is the gate-source voltage or input voltage applied to the MOSFET.
- \(V_T \) - is the threshold voltage of the MOSFET.
Thus, the three most important equations to keep in mind for an n-channel Enhancement mode MOSFET in linear or triode region are -
$$\ V_{DS} < (V_{GS} - V_T)$$
$$\ i_D = \frac{1}{2} u_n C_{OX} \frac{W}{L} ((V_{GS} - V_T)V_{DS}- \frac{V_{DS}^2}{2})(1 + \lambda V_{DS})$$
You might be wondered to look at the second equation. The voltage between drain and source must be lesser than the difference in voltage between source and gate, and the threshold voltage. If not, the MOSFET enters into the saturation region, which means the drain current won’t increase further (saturates) even if you apply more \(V_{GS} \). This is because of \(V_{DS} \) (drain-source voltage) which increases the resistance between drain and source. If this voltage exceeds \(V_{GS} - V_T \), then the MOSFET enters the saturation region.
3. Saturation region
If we keep on increasing the drain-source voltage \(V_{DS} \), the resistance between source and drain gets increased and the channel is pinched off. As a result, the drain current begins to saturate at this point.
Why does \(i_{D} \) gets saturated if \(V_{DS} \) increases?
Case 1
When \(V_{DS} \) is small, there is presence of electric field \(E \) in the channel which gets increased as -
This increase in electric field increases the drift velocity \(V_{drift} \) and current density \(J \) of the charge carriers, thereby resulting in rise of drain current \(i_{D} \).
where -
- \(A \) is the area of the conductor.
- \(n \) is the free electron density.
- \(e \) is the charge of the electron.
- \(V_{drift} \) is the drift velocity.
where \(J \) is the current density. Also,
Thus, we can bring the relation between electric field and drift velocity as -
and
The above equations are valid only if mobility of charge carriers (\(\mu \)) is maintained constant. This is due to the relation -
Thus, if \(\mu \) is constant, then \(V_{drift} \) increases with \(E \) as they are directly proportional.
Case 2
If \(\mu \) is not constant, then there are three cases to be considered -
If \(V_{DS} \) increases so much, then electric field \(E \) increases beyond \(10^4 \frac{V}{cm} \). Thus, due to the relation - \(V_{drift} = \mu E \) and as \(\mu = \frac{1}{E}\), even if a larger electric field is produced, the mobility of charge carriers gets decreased, making the drift velocity constant. As drift velocity is constant, current density \(J \) remain constant and thus, the drain current \(i_D \) remain constant.
In the saturation region, the equations that run behind the scenes are shown below -
$$\ V_{DS} > (V_{GS} - V_T)$$
$$\ i_D = \frac{1}{2} u_n C_{OX} \frac{W}{L} ((V_{GS} - V_T)^2)(1 + \lambda V_{DS})$$
All the three operating regions of MOSFET are shown below.
Summary
In this tutorial, we have learnt the internal structure of an n-channel enhancement mode MOSFET and understood the different parts of a MOSFET. Then, we saw the working of a MOSFET and the regions of operations of a MOSFET. Thus, we have learnt the fundamentals of a MOSFET.
In case if you found something useful to add to this article or you found a bug in the code or would like to improve some points mentioned, feel free to write it down in the comments. Hope you found something useful here.
Happy learning!


{# Licensed to the Apache Software Foundation (ASF) under one or more contributor license agreements. See the NOTICE file distributed with this work for additional information regarding copyright ownership. The ASF licenses this file to you under the Apache License, Version 2.0 (the "License"); you may not use this file except in compliance with the License. You may obtain a copy of the License at http://www.apache.org/licenses/LICENSE-2.0 Unless required by applicable law or agreed to in writing, software distributed under the License is distributed on an "AS IS" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. See the License for the specific language governing permissions and limitations under the License. #} {% extends "airflow/task_instance.html" %} {% block title %}Airflow - DAGs{% endblock %} {% block content %} {{ super() }}


This is definitely the best project in the history of Minecraft servers. Here you can see a variety of mini-games, a great development team, great friendly players and a whole world of adventure. You have probably heard about this project many times.
Up to 50,000 players are online every day on the MineCreeperUK! In total, tens or even hundreds of millions of users are registered on the project. Can you imagine the scope of the project? You will always find here someone to chat with - be it foreign players or our compatriots.
Also on MineCreeperUK you will find chic maps and magnificent buildings. If you want to enjoy the beauty of the cubic world, you need to do it here. The project employs a specialized team of designers and architects who put their souls into each cube, carefully selecting the colors, shape and filling of buildings.


Our Story
It all started on the 4th of July...
For years, one of Harsh's best friends, Jinesh, had asked Harsh to visit him in LA. 7 years later, in 2013, Harsh finally decided to make the trip. That weekend, Jinesh was invited to a family get-together to celebrate the 4th of July so he decided to bring Harsh along (with no intention of setting him up!). Most of Jinesh's cousins had already arrived, including Ami. As soon as Harsh walked through the door, Ami got very giggly and nervous (she would've been blushing if she weren't brown!) After a night of food, games, fireworks, and of course playful flirting, Harsh reached out to Ami to see if there was more to the spark (spoiler alert: there is!)
After 6 months of long distance dating, Harsh eventually made the big move... to LA! It was at that point Harsh and Ami knew they wanted to spend the rest of their lives together. Since that time, they enjoyed getting to know each other better and have truly become best friends.
In October 2015, Ami was upset she thought Harsh had forgotten her birthday as he didn't plan anything for the big day. The day after Ami's birthday, Harsh surprised her with a picnic at their favorite park overlooking the LA skyline. It was that day Harsh got down on one knee and asked Ami to spend the rest of her life with him. She said yes! He later brought her to tears by hosting a surprise party at her favorite restaurant with their family and friends.
This is just the beginning of our story. We have many more laughs to be had, memories to be made, and chapters to be written. We look forward to sharing this next step in our journey with our beloved family and friends. See you all in November!


--- layout: post title: '#DBHangOps 7/10/13 -- Plugins, Kernel Settings, and THP!' categories: - computing - database - linux - mysql tags: - '#DBHangOps' - computing - database - HangOps - linux - mysql - mysql_planet status: publish type: post published: true meta: _edit_last: '1' _wpas_done_all: '1' _wpas_skip_3039720: '1' _wpas_skip_3039727: '1' _wpas_skip_3039731: '1' _wpas_skip_3039741: '1' --- All set, here's the recording! Hey there everyone! Another informative and fun-filled #DBHangOps coming up this Wednesday, July 10th, 2013 at 12:00pm pacific (19:00 GMT). Join the discussion and contribute your experience on the following topics!


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Number baseball game is by guessing each digit from 0 to 9 that
specify a different 3-digit number.
If you match the digit number and order, that is a strike.
If you only match the number but not the order, it’s a ball.
specify a different 3-digit number.
<Example>
Answer : 378
Your guess: 389
This would result in one strike, one ball since '3' is in the correct
position and although '8' is included in the answer it is not in the
correct position.
Try to guess the number with the least amount of tries
Good Luck!


Box Office Records > Domestic > All Movies > Cumulative > All Time Domestic
All Time Domestic Box Office (Rank 301-400)
See also: All Time Domestic Limited Release - All Time International - All Time Worldwide - All Time Domestic (Inf. Adj.) - Top 2016 Domestic - Top 2017 Domestic
This chart contains the top 100 movies based on the cumulative domestic box office.
Please see our All-Time Top Grossing Films Comparison for a comparison of the daily performance of all films released since 1980 that have earned more than $450 million at the domestic box office.
| Rank | Released | Movie | Domestic Box Office |
International Box Office |
Worldwide Box Office |
|---|---|---|---|---|---|
| 301 | 1987 | Fatal Attraction | $156,645,693 | $163,454,307 | $320,100,000 |
| 302 | 2000 | What Lies Beneath | $155,464,351 | $133,229,638 | $288,693,989 |
| 303 | 2016 | X-Men: Apocalypse | $155,442,489 | $387,300,000 | $542,742,489 |
| 304 | 1999 | The Mummy | $155,385,488 | $261,000,000 | $416,385,488 |
| 305 | 2015 | San Andreas | $155,190,832 | $314,400,000 | $469,590,832 |
| 306 | 2012 | Snow White and the Huntsman | $155,136,755 | $245,884,991 | $401,021,746 |
| 307 | 2009 | Fast & Furious | $155,064,265 | $208,000,000 | $363,064,265 |
| 308 | 2006 | Over the Hedge | $155,019,340 | $188,377,907 | $343,397,247 |
| 309 | 2005 | Fantastic Four | $154,696,080 | $176,021,000 | $330,717,080 |
| 310 | 2008 | Horton Hears a Who | $154,529,439 | $144,948,447 | $299,477,886 |
| 311 | 1988 | Who Framed Roger Rabbit? | $154,112,492 | $197,387,508 | $351,500,000 |
| 312 | 1996 | Jerry Maguire | $153,952,592 | $120,047,408 | $274,000,000 |
| 313 | 2016 | Trolls | $153,707,064 | $191,072,982 | $344,780,046 |
| 314 | 1987 | Beverly Hills Cop II | $153,665,036 | $123,000,000 | $276,665,036 |
| 315 | 2015 | Mad Max: Fury Road | $153,636,354 | $217,105,812 | $370,742,166 |
| 316 | 2002 | Scooby-Doo | $153,294,164 | $123,000,000 | $276,294,164 |
| 317 | 1961 | 101 Dalmatians | $153,000,000 | $0 | $153,000,000 |
| 318 | 2008 | Sex and the City | $152,647,258 | $262,600,000 | $415,247,258 |
| 319 | 1999 | Runaway Bride | $152,257,509 | $157,880,669 | $310,138,178 |
| 320 | 2016 | La La Land | $151,101,803 | $282,707,470 | $433,809,273 |
| 321 | 2014 | Divergent | $150,947,895 | $125,067,070 | $276,014,965 |
| 322 | 1985 | Rambo: First Blood Part II | $150,415,432 | $149,984,568 | $300,400,000 |
| 323 | 2013 | We're the Millers | $150,394,119 | $117,422,157 | $267,816,276 |
| 324 | 2003 | Terminator 3: Rise of the Machines | $150,358,296 | $282,700,000 | $433,058,296 |
| 325 | 2015 | Daddy’s Home | $150,357,137 | $88,400,000 | $238,757,137 |
| 326 | 2009 | G.I. Joe: The Rise of Cobra | $150,201,498 | $152,267,519 | $302,469,017 |
| 327 | 2013 | American Hustle | $150,117,807 | $107,760,487 | $257,878,294 |
| 328 | 2014 | Neighbors | $150,086,800 | $120,857,628 | $270,944,428 |
| 329 | 2011 | Puss in Boots | $149,260,504 | $405,726,973 | $554,987,477 |
| 330 | 2012 | Les Miserables | $148,809,770 | $293,359,282 | $442,169,052 |
| 331 | 2007 | Knocked Up | $148,761,765 | $70,504,187 | $219,265,952 |
| 332 | 1997 | As Good as it Gets | $148,478,011 | $165,633,912 | $314,111,923 |
| 333 | 2010 | Little Fockers | $148,438,600 | $162,211,974 | $310,650,574 |
| 334 | 2010 | Megamind | $148,415,853 | $173,471,355 | $321,887,208 |
| 335 | 2012 | Hotel Transylvania | $148,313,048 | $230,192,764 | $378,505,812 |
| 336 | 2006 | Talladega Nights: The Ballad of Ricky Bobby | $148,213,377 | $14,657,148 | $162,870,525 |
| 337 | 1984 | Gremlins | $148,168,459 | $0 | $148,168,459 |
| 338 | 2008 | Gran Torino | $148,095,302 | $126,447,783 | $274,543,085 |
| 339 | 1989 | Lethal Weapon 2 | $147,253,986 | $80,046,014 | $227,300,000 |
| 340 | 2011 | X-Men: First Class | $146,408,305 | $209,000,000 | $355,408,305 |
| 341 | 2009 | Paul Blart: Mall Cop | $146,336,178 | $39,568,572 | $185,904,750 |
| 342 | 1994 | True Lies | $146,282,411 | $219,017,589 | $365,300,000 |
| 343 | 2002 | Lilo & Stitch | $145,771,527 | $100,028,473 | $245,800,000 |
| 344 | 2001 | American Pie 2 | $145,096,820 | $141,403,180 | $286,500,000 |
| 345 | 2009 | Taken | $145,000,989 | $81,940,596 | $226,941,585 |
| 346 | 2013 | The Great Gatsby | $144,840,419 | $206,200,000 | $351,040,419 |
| 347 | 1994 | The Santa Clause | $144,833,357 | $44,966,643 | $189,800,000 |
| 348 | 2004 | I, Robot | $144,801,023 | $203,828,562 | $348,629,585 |
| 349 | 1992 | Lethal Weapon 3 | $144,731,527 | $174,968,473 | $319,700,000 |
| 350 | 2001 | The Fast and the Furious | $144,512,310 | $62,000,000 | $206,512,310 |
| 351 | 2017 | Cars 3 | $144,391,201 | $105,900,000 | $250,291,201 |
| 352 | 1998 | Doctor Dolittle | $144,156,605 | $150,000,000 | $294,156,605 |
| 353 | 2008 | Mamma Mia! | $144,130,063 | $471,618,814 | $615,748,877 |
| 354 | 2011 | Rio | $143,619,809 | $343,900,000 | $487,519,809 |
| 355 | 2016 | Kung Fu Panda 3 | $143,528,619 | $375,085,765 | $518,614,384 |
| 356 | 2007 | Juno | $143,495,265 | $87,954,837 | $231,450,102 |
| 357 | 2008 | Marley & Me | $143,153,751 | $104,658,260 | $247,812,011 |
| 358 | 2011 | The Smurfs | $142,614,158 | $421,135,165 | $563,749,323 |
| 359 | 2002 | xXx | $141,930,000 | $125,270,000 | $267,200,000 |
| 360 | 1967 | The Jungle Book | $141,843,000 | $0 | $141,843,000 |
| 361 | 2008 | The Chronicles of Narnia: Prince Caspian | $141,621,490 | $275,719,798 | $417,341,288 |
| 362 | 1978 | National Lampoon's Animal House | $141,600,000 | $0 | $141,600,000 |
| 363 | 1995 | Pocahontas | $141,579,773 | $205,520,227 | $347,100,000 |
| 364 | 1992 | A Few Good Men | $141,340,178 | $95,159,822 | $236,500,000 |
| 365 | 2008 | Slumdog Millionaire | $141,319,928 | $243,199,737 | $384,519,665 |
| 366 | 1998 | Rush Hour | $141,186,864 | $104,113,136 | $245,300,000 |
| 367 | 1999 | The Blair Witch Project | $140,539,099 | $107,760,901 | $248,300,000 |
| 368 | 1975 | The Rocky Horror Picture Show | $140,510,017 | $46,644 | $140,556,661 |
| 369 | 1998 | Deep Impact | $140,464,664 | $209,000,000 | $349,464,664 |
| 370 | 2007 | Rush Hour 3 | $140,125,968 | $116,459,914 | $256,585,882 |
| 371 | 1989 | Look Who's Talking | $140,088,813 | $157,011,187 | $297,100,000 |
| 372 | 1999 | Stuart Little | $140,015,224 | $158,800,000 | $298,815,224 |
| 373 | 2012 | Taken 2 | $139,854,287 | $237,953,117 | $377,807,404 |
| 374 | 1992 | Sister Act | $139,605,150 | $91,994,850 | $231,600,000 |
| 375 | 1977 | Saturday Night Fever | $139,486,124 | $142,913,876 | $282,400,000 |
| 376 | 2003 | The Matrix Revolutions | $139,270,910 | $288,029,350 | $427,300,260 |
| 377 | 2002 | The Santa Clause 2 | $139,225,854 | $33,600,000 | $172,825,854 |
| 378 | 2010 | The King’s Speech | $138,797,449 | $292,023,719 | $430,821,168 |
| 379 | 2003 | Cheaper by the Dozen | $138,614,544 | $51,597,569 | $190,212,113 |
| 380 | 2003 | Bad Boys II | $138,540,870 | $134,731,112 | $273,271,982 |
| 381 | 2012 | 21 Jump Street | $138,447,667 | $64,364,762 | $202,812,429 |
| 382 | 1997 | Good Will Hunting | $138,433,435 | $87,500,000 | $225,933,435 |
| 383 | 2017 | Split | $138,141,585 | $138,700,000 | $276,841,585 |
| 384 | 1986 | Platoon | $137,963,328 | $0 | $137,963,328 |
| 385 | 2009 | Disney's A Christmas Carol | $137,855,863 | $177,853,834 | $315,709,697 |
| 386 | 2000 | Dinosaur | $137,748,063 | $218,400,000 | $356,148,063 |
| 387 | 2013 | The Conjuring | $137,400,141 | $180,600,000 | $318,000,141 |
| 388 | 2006 | Click | $137,355,633 | $100,329,456 | $237,685,089 |
| 389 | 1999 | The Green Mile | $136,801,374 | $153,900,000 | $290,701,374 |
| 390 | 1996 | Ransom | $136,492,681 | $172,207,319 | $308,700,000 |
| 391 | 1998 | Godzilla | $136,314,294 | $239,685,706 | $376,000,000 |
| 392 | 1996 | 101 Dalmatians | $136,189,294 | $168,010,706 | $304,200,000 |
| 393 | 2012 | Argo | $136,025,503 | $91,115,254 | $227,140,757 |
| 394 | 2003 | Anger Management | $135,560,942 | $60,100,000 | $195,660,942 |
| 395 | 2005 | Chicken Little | $135,386,665 | $174,657,158 | $310,043,823 |
| 396 | 1990 | Teenage Mutant Ninja Turtles | $135,265,915 | $66,734,085 | $202,000,000 |
| 397 | 1998 | Patch Adams | $135,014,968 | $67,158,032 | $202,173,000 |
| 398 | 1972 | The Godfather | $134,966,411 | $133,533,589 | $268,500,000 |
| 399 | 2008 | The Incredible Hulk | $134,806,913 | $128,611,000 | $263,417,913 |
| 400 | 2007 | Live Free or Die Hard | $134,529,403 | $247,758,744 | $382,288,147 |
The Domestic Market is defined as the North American movie territory (consisting of the United States, Canada, Puerto Rico and Guam).
This table is updated daily to reflect the latest studio reports.
Note: This chart is not adjusted for inflation.


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|
ObjectAL
2.1
ObjectAL API Reference (iOS) for www.kobold2d.com developers
|
| ALBuffer | A buffer for audio data that will be played via a SoundSource |
| ALCaptureDevice | UNIMPLEMENTED FOR IOS An OpenAL device for capturing sound data |
| ALChannelSource | A Sound source composed of other sources |
| ALContext | A context encompasses a single listener and a series of sources |
| ALDevice | A device is a logical mapping to an audio device through the OpenAL implementation |
| ALListener | The listener represents the user who is listening to sounds in 3D space |
| ALOrientation | Represents an orientation, consisting of an "at" vector (representing the "forward" direction), and the "up" vector (representing "up" for the subject) |
| ALPoint | Represents a 3-dimensional point for certain ObjectAL properties |
| <ALSoundSource> | Manages all properties relating to an OpenAL sound source |
| ALSoundSourcePool | A pool of sound sources, which can be fetched based on availability |
| ALSource | A source represents an object that emits sound which can be heard by a listener |
| ALVector | Represents a 3-dimensional vector for certain ObjectAL properties |
| ALWrapper | A thin wrapper around the C OpenAL API, with a few convenience methods thrown in |
| IOSVersion | Reports the version of iOS being run on the current device |
| OALAction | Represents an action that can be performed on an object |
| OALActionManager | Manages all ObjectAL actions |
| OALAudioFile | Maintains an open audio file and allows loading data from that file into new ALBuffer objects |
| OALAudioSession | Handles the audio session and interrupts |
| OALAudioTrack | Plays an audio track via AVAudioPlayer |
| OALAudioTracks | Keeps track of all AudioTrack objects |
| OALCallAction | Calls a selector on a target |
| OALConcurrentActions | A set of actions that get run concurrently |
| OALExponentialFunction | Changes slowly at the start, and quickly at the end |
| <OALFunction> | A function takes a value from 0.0 to 1.0 and returns another value from 0.0 to 1.0 |
| OALFunctionAction | An action that applies a function to the proportionComplete parameter in [update] before applying the result to the target |
| OALGainAction | A function-based action that modifies the target's gain |
| OALLinearFunction | Function that changes at a constant rate |
| OALLogarithmicFunction | Changes quickly at the start, and slowly at the end |
| OALMoveByAction | Moves the target from its current position by the specified delta over time in 3D space |
| OALMoveToAction | Moves the target from its current position to the specified position over time in 3D space |
| OALPanAction | A function-based action that modifies the target's pan |
| OALPitchAction | A function-based action that modifies the target's pitch |
| OALPlaceAction | Places the target at the specified position |
| OALReverseFunction | Returns the reverse of another function |
| OALSCurveFunction | Changes slowly at the start, quickly at the midpoint, then slowly again at the end |
| OALSequentialActions | A set of actions that get run in sequence |
| OALSimpleAudio | A simpler interface to the ObjectAL sound library |
| OALSuspendHandler | Provides two controls (interrupted and manuallySuspended) for suspending a slave object, and also propagates such control messages to interested listeners |
| <OALSuspendListener> | Allows an object to participate in interrupt and suspend operations |
| <OALSuspendManager> | A suspend manager is a listener that also allows other objects to subscribe to receive events as the manager receives them |
| OALTargetedAction | Ignores whatever target it was invoked upon and applies the specified action on the target specified at creation time |
| OALTools | Miscellaneous tools used by ObjectAL |
| ObjectAL | |
| OpenALManager | Manager class for OpenAL objects (ObjectAL) |