Open Source Contributions
React, Next.js, & Django
Contributions made to Open Source Projects ranging from markdown to added features. As an Intern at Mozilla with Outreachy I was able to work on the Pontoon project for an extended period of time adding the ability for users to change the source locale to their preference. I am currently working on adding the ability to leave comments within the translation UX.


--- layout: post title: bambu bike ride through sunnyvale and santa clara date: '2014-05-26T22:17:05-07:00' tags: - IFTTT - Instagram image: /tumblr_files/tumblr_n67w0hlOKD1sob777o1_640.jpg tumblr_url: https://nils.schimmelmann.us/post/86975223432/bambu-bike-ride-through-sunnyvale-and-santa-clara ---
Bambu Bike ride through Sunnyvale and Santa Clara http://ift.tt/1nsyDun


How the Space Age Imagined 2014: Asimov’s Predictions, Revisited
Earlier this year, you may have come across a dispatch from the New York World’s Fair that Isaac Asimov wrote in 1964 but which went viral fifty years later, appearing on NPR, Slate, and countless Facebook pages in the days following New Year’s Eve. With the launch of our seventh issue, “Futures of the Past,” it seemed like a good time to revisit Asimov’s remarkable essay, which you can read in full here. After all, our issue’s cover hails from the very displays that Asimov gazed at with rapt attention in the summer of ’64. It shows a General Motors diorama of an advanced colony of climate scientists who monitor the planet’s weather from their station in Antarctica. To modern eyes, it looks a bit like Devo conducting a space launch:
But for Asimov and the hundreds of thousands of visitors who thronged to these displays, they weren’t retro curiosities: they were harbingers of a future that seemed very real. It’s one that we’re still waiting for.
Isaac Asimov was especially thrilled by the General Electric pavilion, with its “cheerful, lifelike dummies” inhabiting model homes filled with twenty-first century conveniences. Asimov professed admiration for the historical dioramas that opened the display—“the scenes set in 1900, 1920, 1940 and 1960 [which] show the advances of electrical appliances and the changes they are bringing to living.” Altered versions of these dioramas still exist at Disney World, and they offer an interesting glimpse into how the World’s Fair cast its glance backwards as well as forwards. (They’re also super creepy in an uncanny valley sort of way).
Why not carry the “Carousel of Progress” into the future, Asimov wondered? “What will the World’s Fair of 2014 be like?” he asked in his August 16 New York Times op-ed, and proceeded to answer his own question with a series of surprisingly thoughtful predictions:
One thought that occurs to me is that men will continue to withdraw from nature in order to create an environment that will suit them better. By 2014, electroluminescent panels will be in common use. Ceilings and walls will glow softly, and in a variety of colors that will change at the touch of a push button.
Asimov’s fixation on home technology has a distinctly contemporary ring to it, given recent announcements by Apple and Google signaling their entry into the so-called “smart home” market. (Matt Novak of the excellent blog Paleofuture walked his readers through Asimov’s “shockingly conservative” predictions on this score.)
Windows need be no more than an archaic touch, and even when present will be polarized to block out the harsh sunlight. The degree of opacity of the glass may even be made to alter automatically in accordance with the intensity of the light falling upon it. There is an underground house at the fair which is a sign of the future. If its windows are not polarized, they can nevertheless alter the “scenery” by changes in lighting.
Asimov believed that “robots will neither be common nor very good in 2014,” but that gadgets will have proliferated: food replicators that can be pre-programmed to serve up coffee and toast on demand, wireless appliances powered by nuclear batteries, self-driving cars with what Asimov calls “robot brains,” moving sidewalks, and the like.
“As for television, wall screens will have replaced the ordinary set,” Asimov wrote, anticipating both LED flat screens and emerging glasses-free 3-D technology, “but transparent cubes will be making their appearance in which three-dimensional viewing will be possible.” And his predictions about space turn out to be accurately pessimistic (aside from the assumption of a lunar colony): “by 2014, only unmanned ships will have landed on Mars, though a manned expedition will be in the works.”
Asimov even anticipates the rise of vegan favorites like Tofurkey: “the 2014 fair will feature an Algae Bar at which ‘mock turkey’ and ‘pseudosteak’ will be served. It won’t be bad at all (if you can dig up those premium prices).”
The only point at which Asimov’s predictive skills really fail him, crucially, is in predicting the future of labor. By 2014, he believes, the human race will “have become largely a race of machine tenders,” living lives of “enforced leisure” as machines take care of virtually all mechanical tasks. Granted, there’s something to this—Asimov’s prediction of a future classroom oriented around machine learning rather than live human instruction is the flipped classroom, avant la lettre.
Yet as we point out in our editorial letter, thinking about the future can often lead us into restrictive binaries: we’ll live in either a utopia or a dystopia, a work-free wonderland of gadgets or a post-apocalyptic, nuked-out hellscape. The articles in “Futures of the Past” engage with both of these imagined futures, from Rebecca Onion writing about how 1980s kids grappled with fears of nuclear annihilation to Anna Marie Roos on the optimistic predictions of the 17th century scientist Robert Boyle, who hoped for everything from new drugs and scratch ’n sniff technology (“Varnishes perfumable by Rubbing”) to “A perpetuall Light.”
As Brian Merchant, writing for Motherboard, has pointed out, it’s fun to pick and choose the bits of predictions that end up being unexpectedly right (Asimov’s inspired guess that world population would be 6.5 billion in 2014, or his anticipation of smartphones) or wildly wrong (the life of robot-enforced leisure stuff). I agree with Merchant that
picking apart Asimov’s predictions and tallying up the wrongs and the rights is missing the point. To treat Asimov’s essay as a spate of Nostradamus-style prophecies is to misunderstand its aim; as with most good sci-fi, the important part is how it reflects on the present in which it was written.
But it’s also worth pausing to think about how these predictions reflect the present in which they’re read. Dreams of the future are always reshaped to fit what their readers demand of them. Asimov went viral not just because he seemed to predict Google Cars and LED lights, but because his utopian dreams of these gadgets validated our own yearning for them.
After all, who wouldn’t want to live in someone else’s utopia?
Yet as we point out in our editorial letter, “predictions are always political acts.” We pick and choose from retro curiosities and nostalgic futures to find the bits that make us feel okay about the trajectory of the past and the future that we’re hurtling into. But sometimes confronting those pasts and imagined futures can bring some uncomfortable realities to the fore.
Just the other day, my mother forwarded me a chain email called “Old Memories…” that her octagenarian friend had sent her. It started out with the typical scenes of Space Age nostalgia, seas of smiling faces wearing 3D glasses, an X-Ray beauty pageant from 1956, and the like. And then I hit this picture:
It was a harsh reminder of the dangers of historical nostalgia, and of seeing both the past and future alike through rosy spectacles. Did the dioramas and futuristic sets that Asimov saw that day in August include similar scenes of segregation? I’ve looked through dozens of photos from the Futurama II exhibits and have yet to see anything but a sea of white faces. As Yale PhD candidate Erin Pineda reminds us in her upcoming Appendix article about how the Brooklyn chapter of the Congress of Racial Equality attempted to block the opening of the 1964 World’s Fair, sometimes dreams of a utopian future can obscure harsh present-day realities.
At its core, the World’s Fair was entertainment, and entertaining it was. But there is always a cost that comes along with creating and selling a pristine version of past, present, and future; there is a cost that comes with being seduced by it, believing we can simply buy a better future or trust in technological innovation to invent one for us, in spite of the evidence of the troubled present and the wreckage of the past.
Today we can look back at Asimov’s predictions with the 20/20 vision of hindsight. But with predictions of miraculous technological advances growing more confident with every passing year, is it possible that we’re falling into the same trap?


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| PREV PACKAGE NEXT PACKAGE | FRAMES NO FRAMES |
See:
Description
| Interface Summary | |
|---|---|
| SpellChecker | The SpellChecker interface specifies a single method
for first-best spelling correction. |
| Class Summary | |
|---|---|
| AutoCompleter | An AutoCompleter maintains a dictionary of phrases with
counts and provides suggested completions based on prefix matching
by weighted edit distance and phrase likelihood. |
| CompiledSpellChecker | The CompiledSpellChecker class implements a first-best
spell checker based on models of what users are likely to mean and
what errors they are likely to make in expressing their meaning. |
| EditDistance | The EditDistance class implements the standard notion
of edit distance, with or without transposition. |
| FixedWeightEditDistance | A FixedWeightEditDistance sets constant weights for
the edit operations for weighted edit distance. |
| JaccardDistance | The JaccardDistance class implements a notion of
distance based on token overlap. |
| JaroWinklerDistance | The JaroWinklerDistance class implements the original
Jaro string comparison as well as Winkler's modifications. |
| SpellEvaluator | The SpellEvaluator provides an evaluation harness for
spell checkers. |
| TfIdfDistance | The TfIdfDistance class provides a string distance
based on term frequency (TF) and inverse document frequency (IDF). |
| TokenizedDistance | The TokenizedDistance class provides an underlying
implementation of string distance based on comparing sets of
tokens. |
| TrainSpellChecker | A TrainSpellChecker instance provides a mechanism for
collecting training data for a compiled spell checker. |
| WeightedEditDistance | The WeightedEditDistance class implements both the
proximity and distance interfaces based on the negative proximity
weights assigned to independent atomic edit operations. |
Classes for spelling correction and edit distance.
|
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| PREV PACKAGE NEXT PACKAGE | FRAMES NO FRAMES |


| Test Case | PERFORMANCE-0010 |
| Title | App displays and can play all podcasts in the podcasts directory |
| Objective | This test case is intended to verify the following implied or specified requirements:
When the user starts the app, all of the podcasts in the podcast directory of the phone should be displayed and they should be available to play. This test case illustrates that and verifies that the audio sounds normal. |
| Setup |
|
| Actions |
|
| Expected | Five podcasts will be displayed and all five will be available for play and will sound normal. |
| Results | FAILED |
| Cleanup |
|
| Requirements | SFWIAUDIO-PERF-010, SFWIAUDIO-PERF-020 |


Brute Force RDS (if enabled):
Check if RDS is enabled
Brute Force admin interfaces
Main page salts, but other pages don't
CFIDE/componentutils/login.cfm
No account lockouts
Sometimes, no username required


You should be automatically prompted to add the calendar subscription to your calendar application.
If you are not automatically prompted then try clicking here.
If that doesn't work, you can manually subscribe to the calendar with the appropriate instructions and URL for your platform:
Calendar Subscription URL (Webcal):webcal://jordanbpeterson.community/calendar.ics
https://jordanbpeterson.community/calendar.ics


Lieutenant Joseph R. Dotseth
Administration and Support Services
<EMAIL_ADDRESS>Lieutenant Dotseth is responsible for the operational and capital budgets, grant writing, grant project management, and
Homeland Security initiatives. He also oversees the property and evidence unit, procurements, payroll administration,
records unit, and the administrative support staff. He is a 19-year veteran of law enforcement and has served a variety
of roles with MTPD to include: patrol officer, beat officer, field training officer, patrol Sergeant, and most recently
an Internal Affairs Investigator. Lieutenant Dotseth holds a M.A. in Public Safety Administration from Saint Mary’s
University of Minnesota and will be attending the Northwest School of Police Staff and Command during 2020.


MEBENDAZOLE- mebendazole tablet, chewable
Bryant Ranch Prepack
Mebendazole is a (synthetic) broad-spectrum anthelmintic available as chewable tablets, each containing 100 mg of mebendazole. Inactive ingredients are: anhydrous lactose NF, corn starch, magnesium stearate, microcrystalline cellulose, sodium lauryl sulfate, sodium saccharin, sodium starch glycolate, stearic acid, and FD&C Yellow #6.
Mebendazole is methyl 5-benzoylbenzimidazole-2-carbamate and has the following structural formula:
Molecular Formula: C16H13N3O3
Mebendazole is a white to slightly yellow powder with a molecular weight of 295.29. It is less than 0.05% soluble in water, dilute mineral acid solutions, alcohol, ether and chloroform, but is soluble in formic acid.
Following administration of 100 mg twice daily for three consecutive days, plasma levels of mebendazole and its primary metabolite, the 2-amine, do not exceed 0.03 mcg/mL and 0.09 mcg/mL, respectively. All metabolites are devoid of anthelmintic activity. In man, approximately 2% of administered mebendazole is excreted in urine and the remainder in the feces as unchanged drug or a primary metabolite.
Mebendazole tablets are indicated for the treatment of Enterobius vermicularis (pinworm), Trichuris trichiura (whipworm), Ascaris lumbricoides (common roundworm), Ancylostoma duodenale (common hookworm), Necator americanus (American hookworm) in single or mixed infections.
Efficacy varies as a function of such factors as preexisting diarrhea and gastrointestinal transit time, degree of infection, and helminth strains. Efficacy rates derived from various studies are shown in the table below:
| Pinworm (enterobiasis) | Whipworm (trichuriasis) | Common Roundworm (ascariasis) | Hookworm | |
| Cure rates mean | 95% | 68% | 98% | 96% |
| Egg reduction mean | — | 93% | 99% | 99% |
Mebendazole is contraindicated in persons who have shown hypersensitivity to the drug.
There is no evidence that mebendazole, even at high doses, is effective for hydatid disease. There have been rare reports of neutropenia and agranulocytosis when mebendazole was taken for prolonged periods and at dosages substantially above those recommended.
Periodic assessment of organ system functions, including hematopoietic and hepatic, is advisable during prolonged therapy.
Patients should be informed of the potential risk to the fetus in women taking mebendazole during pregnancy, especially during the first trimester (See Pregnancy).
Patients should also be informed that cleanliness is important to prevent reinfection and transmission of the infection.
Preliminary evidence suggests that cimetidine inhibits mebendazole metabolism and may result in an increase in plasma concentrations of mebendazole.
In carcinogenicity tests of mebendazole in mice and rats, no carcinogenic effects were seen at doses as high as 40 mg/kg (one to two times the human dose, based on mg/m2) given daily over two years. Dominant lethal mutation tests in mice showed no mutagenicity at single doses as high as 640 mg/kg (18 times the human dose, based on mg/m2). Neither the spermatocyte test, the F1 translocation test, nor the Ames test indicated mutagenic properties. Doses up to 40 mg/kg in mice (equal to the human dose, based on mg/m2), given to males for 60 days and to females for 14 days prior to gestation, had no effect upon fetuses and offspring, though there was slight maternal toxicity.
Mebendazole has shown embryotoxic and teratogenic activity in pregnant rats at single oral doses as low as 10 mg/kg (approximately equal to the human dose, based on mg/m2). In view of these findings the use of mebendazole is not recommended in pregnant women. Although there are no adequate and well-controlled studies in pregnant women, a postmarketing survey has been done of a limited number of women who inadvertently had consumed mebendazole during the first trimester of pregnancy. The incidence of spontaneous abortion and malformation did not exceed that in the general population. In 170 deliveries on term, no teratogenic risk of mebendazole was identified.
Transient symptoms of abdominal pain and diarrhea in cases of massive infection and expulsion of worms.
In the event of accidental overdosage, gastrointestinal complaints lasting up to a few hours may occur. Vomiting and purging should be induced.
The same dosage schedule applies to children and adults. The tablet may be chewed, swallowed, or crushed and mixed with food.
| Pinworm (enterobiasis) | Whipworm (trichuriasis) | Common Roundworm (ascariasis) | Hookworm | |
| Dose | 1 tablet, once | 1 tablet morning and evening for 3 consecutive days | 1 tablet morning and evening for 3 consecutive days | 1 tablet morning and evening for 3 consecutive days |
If the patient is not cured three weeks after treatment, a second course of treatment is advised. No special procedures, such as fasting or purging, are required.
CHEWABLE TABLET
100 mg
Your doctor has prescribed this medicine to treat an infection caused by an intestinal worm. Follow your doctor’s instructions carefully. In addition to your doctor’s treatment, you can help prevent reinfection and infection of other people by understanding a few simple facts about worms.
 Usually at night, they travel to the rectal opening and lay eggs on the outside skin. This sometimes causes itching which may be very annoying. That is why restless sleep is a frequent sign of pinworms, especially in children. Scratching will cause pinworm eggs to stick to the fingers. Reinfection will result if the fingers are placed in the mouth.
The eggs, which are too small to see, contaminate whatever they come in contact with: bedclothes, underwear, hands, and food touched by contaminated hands. Even eggs floating in the air can be swallowed and cause infection. Pinworms are highly contagious. Even the cleanest and most careful people can get them.
To help prevent reinfection follow these rules:
HOOKWORM, WHIPWORM AND ROUNDWORM: These worms also live in the bowel.
Eggs from the worms are deposited in the soil if an infected person fails to use a toilet or bathroom. Since the eggs can live only in warm soil, they are found most often where the soil never freezes in winter. People living or traveling in areas with warm winters may have these infections. The eggs in the soil are usually carried to the mouth on food or by contact with dirty hands. In the case of hookworms a pre-adult form of the worm actually penetrates the skin (usually the foot) and burrows its way into the bloodstream. Once inside the body, they grow and breed inside the bowel. New eggs are released in the feces.
Therefore, poor sewage disposal or the use of human waste for fertilizer can contaminate the ground with new eggs, which can then reinfect people.
The medication used to treat these worms causes them to be expelled from the body. Hookworms and whipworms may be seen and resemble small white threads. Roundworms are much larger and easily seen.
To help prevent reinfection follow these rules:
Follow your doctor’s advice, take the medication he gives you and follow the rules mentioned here. If you have other questions about worms, be sure to ask your doctor.
WARNING: Do not take this medication if you are pregnant or think you may be pregnant. Consult your physician.
Manufactured By:
TEVA PHARMACEUTICALS USA
Sellersville, PA 18960
Rev. D 9/2007
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MEBENDAZOLE
mebendazole tablet, chewable | ||||||||||||||||||||||||||||||
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| Labeler - Bryant Ranch Prepack (171714327) |
| Registrant - Bryant Ranch Prepack (171714327) |
| Establishment | |||
| Name | Address | ID/FEI | Business Operations |
|---|---|---|---|
| Bryant Ranch Prepack | 171714327 | REPACK(63629-1528), RELABEL(63629-1528) |


| Types | 6 AaB- | 3 AAB- | 3 Ab | 4 (aB+ab) | Total |
| Obs. | |||||
| Exp. |
| Value | Agree? | |
| X^2 Ind. (df=3) = |
The same trait is controlled by two independent loci (A, a and B, b). However, the interactions among the alleles of the loci A, a and B, b are different and the segregation observed in the F2 is 6:3:3:4.


Heavy (1996) A film review by David Cowen Copyright 1996 David Cowen
There's a sad magic in the feelings one experiences in the simple act of touching another. A strange feeling of electricity or a thick feeling of ennui can seem to pulse or flow from one body to another, independant it seems, of our other senses. The true magic of viewing a movie is that should a film engulf the viewer completely into the lives and minds of the characters and the situations at hand, the viewer can truly feel as though they were experiencing firsthand the chemistry or emotions between the characters.
In a scene mid-way through HEAVY, Victor (Pruitt Taylor Vince) approaches his co-worker Callie (Liv Tyler) who is buckled over in sadness from a comment made by another co-worker, Delores (Debbie Harry). Victor moves to Callie slowly and cautiously, and then holds his hand to the side of her forehead. Callie reaches up to hold his hand. Soon after, as Victor leaves the room, he is grabbed by Delores who reaches out and holds him in a very similar way. The difference is, we can _feel_ the longing and sadness of Victor and Callie pulse through the brief moment of contact that they make: but when Dolores reaches out to Victor, we feel nothing but the cold contact of flesh on flesh. This is due to the fine direction and acting at the heart of HEAVY.
Victor is a "mama's boy" who works as a chef in the restaurant owned by his mother Dollie (Shelley Winters). Callie has been recently hired as a waitress, something that makes Dolores, the restaurant's other waitress, extremely upset -- Dolores believes Callie's hiring is intended as punishment for sleeping with Dollie's husband years ago. The tensions between Dollie, Dolores and Callie escalate as Victor is caught inbetween the three women: devoted to his mother, yet silently desiring Callie, and actively rejecting the advances of the flirtatious and slutty Dolores. When Victor's mother dies, Victor can't bear to make the changes necessary to continue his life, flirting with his many options and rarely choosing to do anything.
While HEAVY is a film short on dialogue and plot it is unspeakably rich in the development and portrayal of the characters within it. James Mangold infuses HEAVY with subtle visual cues to express the characters' emotions, and paces the film deliberately lugubriously. Taylor Vince gives his character a wonderful, bittersweet air of repression, love and uncertainty -- nearly always having a facial expression that seems to not know whether it is a smile or a frown, and eyes that dart back and forth indicating uncomfort. Liv Tyler and Shelley Winters both give authentic performances, and Debbie Harry does a spectacular job in a film much more demanding than the kind of drek she's typically present in.
HEAVY often feels so doused in emotional anguish that it feels like a fever dream, the kind that can awaken you in a cold sweat and a panic. Victor, when at the hospital visiting his mother, goes down to the lunchroom and tries to get a hot dog.  When the nightmarish aspects break, the viewer is left with emotionally agonizing scenes such as one where Callie appears at Victor's house unexpectedly and notices a picture of her face that Victor had stolen hanging on his refrigerator. Nothing captures the feel of HEAVY better than when the viewer watches Callie scan the kitchen with her eyes, not knowing the picture is there, and anticipating how she'll negatively react when she finally sees her picture hanging on the refrigerator, and what the impact of her seeing the picture (and the realization of Victor's longings) will be on Victor. Victor's repression is expressed brilliantly in one of the final scenes where he finally reveals the anger that has welled up in him throughout the movie -- only after an extremely long shot of him looking bewildered, as if he had suddenly come to the realization that he is allowed to express his anger and not hide it in his wince of a grin.
Certainly, HEAVY isn't a film for everybody -- understandably, not everbody enjoys going to a theater to see a film which portrays the sadness and longing of its characters and how they react to tragedies in life both big and small. In a movie season of detached and dull films, however, the way that first-time director James Mangold sends these character's emotions beyond the screen and into the audience is nothing short of magic -- a magic unmatched by any other film I've seen this year.
-- signed: ESCHATFISCHE, david h t t p : / /w w w . f i s c h e . c o m<EMAIL_ADDRESS>------------------------------------------------------
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Mary Poppins (1964)
Grade: 66
"Mary Poppins" is a Disney musical comedy, intended to entertain both children and adults. Although the movie is overlong and loses its focus towards the end, considerable charm remains.
The story features a well-to-do British family in the early 1900s. Mother is busy fighting for women's right to vote, no-nonsense Father makes his living at the bank, and the two young children need a Nanny. To the rescue comes Mary Poppins (Julie Andrews). She is "practically perfect in every way", and is magic as well. Dick Van Dyke, a street merchant and chimney sweep, shows up now and then to help entertain the kids.
"Mary Poppins" has a nifty sequence that combines animation and live action. This fantasy may be the best part of the movie. There is similarity between this film and "Peter Pan", another Disney film where the children are entertained by a magic figure who is only temporarily in their lives.
If "Mary Poppins" is lacking anything, it is dramatic tension. The only resistance to Mary comes from Father, who wants to prepare the children for the "real" world of work and drudgery. With Father being so tiresome, Van Dyke serves as a surrogate, more friendly and free-spirited. Father does have a character transformation by the end of the film, which could alternately be considered a nervous breakdown.
The musical numbers have contagious melodies and clever lyrics. They work well until a chimney sweep sequence that goes on for too long and features synchronized dancing and singing by every chimney sweep in London.
http://members.tripod.com/~Brian_Koller/movies.html
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Comedy, Drama |
Asa Butterfield, Rafe Spall, Sally Hawkins |
Morgan Matthews |
English |
| 5.1 |
46,729 |
The Hills Have Eyes II
|
2007 |
Horror, Thriller |
Daniella Alonso, Jacob Vargas, Michael Bailey Smith |
Martin Weisz |
English |
| 4.3 |
30,976 |
In the Land of Blood and Honey
|
2011 |
Drama, Romance, War |
Zana Marjanovic, Goran Kostic, Rade Serbedzija |
Angelina Jolie |
Bosnian, Serbian |
| 7.7 |
213,535 |
The Theory of Everything
|
2014 |
Biography, Drama, Romance |
Eddie Redmayne, Felicity Jones, Tom Prior |
James Marsh |
English, French, Latin, Italian |
| 6.1 |
112,004 |
13 Going on 30
|
2004 |
Comedy, Fantasy, Romance |
Jennifer Garner, Mark Ruffalo, Judy Greer |
Gary Winick |
English, Portuguese |
| 8.2 |
235,631 |
The Thing
|
1982 |
Horror, Sci-Fi |
Kurt Russell, Wilford Brimley, Keith David |
John Carpenter |
English, Norwegian |
| 7.0 |
224,585 |
Mean Girls
|
2004 |
Comedy |
Lindsay Lohan, Jonathan Bennett, Rachel McAdams |
Mark Waters |
English, German, Vietnamese, Swahili |
| 7.2 |
186,147 |
GoldenEye
|
1995 |
Action, Adventure, Sci-Fi |
Pierce Brosnan, Sean Bean, Izabella Scorupco |
Martin Campbell |
English, Russian, Spanish |
| 6.6 |
73,460 |
Jackass Presents: Bad Grandpa
|
2013 |
Comedy |
Johnny Knoxville, Jackson Nicoll, Greg Harris |
Jeff Tremaine |
English |
| 5.3 |
6,181 |
Sublime
|
2007 |
Horror, Thriller |
Tom Cavanagh, Kathleen York, Lawrence Hilton-Jacobs |
Erik Jendresen |
English |
| 7.2 |
20,337 |
Black Christmas
|
1974 |
Horror |
Olivia Hussey, Keir Dullea, Margot Kidder |
Roy Moore |
English |
| 8.2 |
651,141 |
The Sixth Sense
|
1999 |
Drama, Mystery, Thriller |
Bruce Willis, Haley Joel Osment, Toni Collette |
M. Night Shyamalan |
English, Latin, Spanish |
| 6.3 |
23,022 |
True Story
|
2015 |
Crime, Drama, Mystery |
James Franco, Jonah Hill, Felicity Jones |
Rupert Goold |
English, Ibo |
| 6.5 |
74,984 |
The Giver
|
2014 |
Drama, Sci-Fi |
Brenton Thwaites, Jeff Bridges, Meryl Streep |
Phillip Noyce |
English |
| 7.0 |
28,316 |
Bully
|
2001 |
Crime, Drama |
Brad Renfro, Nick Stahl, Bijou Phillips |
Larry Clark |
English |
| 7.3 |
482,978 |
Pirates of the Caribbean: Dead Man's Chest
|
2006 |
Action, Adventure, Fantasy |
Johnny Depp, Orlando Bloom, Keira Knightley |
Gore Verbinski |
English, Turkish, Greek, Mandarin, French |
| 6.6 |
39,615 |
Arbitrage
|
2012 |
Drama, Thriller |
Richard Gere, Susan Sarandon, Brit Marling |
Nicholas Jarecki |
English |
| 7.2 |
24,387 |
The Big Chill
|
1983 |
Comedy, Drama |
Tom Berenger, Glenn Close, Jeff Goldblum |
Lawrence Kasdan |
English |
| 7.1 |
97,147 |
Flags of Our Fathers
|
2006 |
Drama, History, War |
Ryan Phillippe, Barry Pepper, Joseph Cross |
Clint Eastwood |
English |
| 6.8 |
114,844 |
Pandorum
|
2009 |
Action, Horror, Mystery |
Dennis Quaid, Ben Foster, Cam Gigandet |
Christian Alvart |
English, Vietnamese, German |
| 7.2 |
126,994 |
The Ghost Writer
|
2010 |
Crime, Drama, Mystery |
Ewan McGregor, Pierce Brosnan, Olivia Williams |
Roman Polanski |
English |
| 5.1 |
47,414 |
American Pie Presents The Naked Mile
|
2006 |
Comedy |
John White, Eugene Levy, Jessy Schram |
Adam Herz |
English |
| 6.5 |
42,147 |
Grudge Match
|
2013 |
Comedy, Sport |
Robert De Niro, Sylvester Stallone, Kim Basinger |
Peter Segal |
English |
| 8.3 |
491,727 |
Scarface
|
1983 |
Crime, Drama |
Al Pacino, Michelle Pfeiffer, Steven Bauer |
Brian De Palma |
English, Spanish |
| 8.3 |
145,193 |
The Hunt
|
2012 |
Drama |
Mads Mikkelsen, Thomas Bo Larsen, Annika Wedderkopp |
Thomas Vinterberg |
Danish, English, Polish |
| 7.2 |
128,676 |
The Darjeeling Limited
|
2007 |
Adventure, Comedy, Drama |
Owen Wilson, Adrien Brody, Jason Schwartzman |
Wes Anderson |
English, Hindi, German, Tibetan |
| 7.6 |
168,703 |
Munich
|
2005 |
Drama, History, Thriller |
Eric Bana, Daniel Craig, Marie-Josée Croze |
Steven Spielberg |
English, German, French, Hebrew, Arabic, Italian, Greek, Russian |
| 7.5 |
24,466 |
This Film Is Not Yet Rated
|
2006 |
Documentary |
Kirby Dick, Kimberly Peirce, Darren Aronofsky |
Kirby Dick |
English |
| 6.5 |
131,657 |
The Woman in Black
|
2012 |
Drama, Horror, Thriller |
Daniel Radcliffe, Janet McTeer, Ciarán Hinds |
James Watkins |
English |
| 7.6 |
142,162 |
Sideways
|
2004 |
Comedy, Drama, Romance |
Paul Giamatti, Thomas Haden Church, Virginia Madsen |
Alexander Payne |
English, Armenian |
| 7.2 |
119 |
The Making of 'The X Files: Fight the Future'
|
1998 |
Documentary, Sci-Fi, Short |
Mitch Pileggi, Chris Carter, Rob Bowman |
Mitch Pileggi |
English |
| 5.6 |
33,491 |
A Nightmare on Elm Street 4: The Dream Master
|
1988 |
Horror, Thriller |
Robert Englund, Rodney Eastman, John Beckman |
Renny Harlin |
English |
| 7.1 |
270,513 |
Super 8
|
2011 |
Mystery, Sci-Fi, Thriller |
Elle Fanning, AJ Michalka, Kyle Chandler |
J.J. Abrams |
English |
| 7.7 |
279,252 |
Midnight in Paris
|
2011 |
Comedy, Fantasy, Romance |
Owen Wilson, Rachel McAdams, Kathy Bates |
Woody Allen |
English, French, Spanish, German |
| 7.7 |
86,090 |
Star Trek II: The Wrath of Khan
|
1982 |
Action, Adventure, Drama |
William Shatner, Leonard Nimoy, DeForest Kelley |
Nicholas Meyer |
English |
| 7.4 |
133,323 |
The English Patient
|
1996 |
Drama, Romance, War |
Ralph Fiennes, Juliette Binoche, Willem Dafoe |
Anthony Minghella |
English, German, Italian, Arabic |
| 7.8 |
155,122 |
Run Lola Run
|
1998 |
Crime, Thriller |
Franka Potente, Moritz Bleibtreu, Herbert Knaup |
Tom Tykwer |
German, English, Japanese |
| 7.8 |
367,012 |
Star Trek Into Darkness
|
2013 |
Action, Adventure, Sci-Fi |
Chris Pine, Zachary Quinto, Zoe Saldana |
J.J. Abrams |
English, Klingon |
| 8.2 |
363,287 |
Mad Max: Fury Road
|
2015 |
Action, Adventure, Sci-Fi |
Tom Hardy, Charlize Theron, Nicholas Hoult |
George Miller |
English, Russian |
| 4.8 |
67,052 |
Elektra
|
2005 |
Action, Crime, Fantasy |
Jennifer Garner, Goran Visnjic, Will Yun Lee |
Rob Bowman |
English, Japanese |
| 7.4 |
12,223 |
A Passage to India
|
1984 |
Adventure, Drama, History |
Judy Davis, Victor Banerjee, Peggy Ashcroft |
David Lean |
English, Hindi |
| 7.5 |
406,937 |
Harry Potter and the Sorcerer's Stone
|
2001 |
Adventure, Family, Fantasy |
Daniel Radcliffe, Rupert Grint, Richard Harris |
Chris Columbus |
English |
| 6.7 |
307,263 |
Elysium
|
2013 |
Action, Drama, Sci-Fi |
Matt Damon, Jodie Foster, Sharlto Copley |
Neill Blomkamp |
English, Spanish, French, Afrikaans |
| 8.1 |
101,796 |
Dogville
|
2003 |
Crime, Drama |
Nicole Kidman, Paul Bettany, Lauren Bacall |
Lars von Trier |
English |
| 6.4 |
118,816 |
Anchorman 2: The Legend Continues
|
2013 |
Comedy |
Will Ferrell, Christina Applegate, Paul Rudd |
Adam McKay |
English |
| 7.1 |
119,875 |
Rocky II
|
1979 |
Drama, Sport |
Sylvester Stallone, Talia Shire, Burt Young |
Sylvester Stallone |
English, Italian |
| 5.8 |
82,213 |
Saw V
|
2008 |
Horror, Mystery |
Scott Patterson, Costas Mandylor, Tobin Bell |
David Hackl |
English |
| 6.7 |
53,787 |
The Guest
|
2014 |
Mystery, Thriller |
Dan Stevens, Sheila Kelley, Maika Monroe |
Adam Wingard |
English |
| 7.9 |
23,968 |
Confessions
|
2010 |
Drama, Thriller |
Takako Matsu, Yoshino Kimura, Masaki Okada |
Kanae Minato |
Japanese |
| 6.4 |
140,789 |
The Taking of Pelham 1 2 3
|
2009 |
Action, Crime, Thriller |
Denzel Washington, John Travolta, Luis Guzmán |
Tony Scott |
English |
| 6.1 |
229,630 |
Jumper
|
2008 |
Action, Adventure, Sci-Fi |
Hayden Christensen, Samuel L. Jackson, Jamie Bell |
Doug Liman |
English, Italian, Japanese, Mandarin |
| 8.1 |
399,329 |
The Grand Budapest Hotel
|
2014 |
Adventure, Comedy, Drama |
Ralph Fiennes, F. Murray Abraham, Mathieu Amalric |
Wes Anderson |
English, French |
| 7.6 |
132,804 |
Mission: Impossible - Rogue Nation
|
2015 |
Action, Adventure, Thriller |
Tom Cruise, Rebecca Ferguson, Jeremy Renner |
Christopher McQuarrie |
English, Swedish, German |
| 8.6 |
249,724 |
It's a Wonderful Life
|
1946 |
Drama, Family, Fantasy |
James Stewart, Donna Reed, Lionel Barrymore |
Frank Capra |
English |
| 7.2 |
47,222 |
Everybody's Fine
|
2009 |
Adventure, Drama |
Robert De Niro, Kate Beckinsale, Sam Rockwell |
Kirk Jones |
English |
| 7.1 |
22,233 |
Sid and Nancy
|
1986 |
Biography, Drama, Music |
Gary Oldman, Chloe Webb, David Hayman |
Alex Cox |
English |
| 7.2 |
72,664 |
Born on the Fourth of July
|
1989 |
Biography, Drama, War |
Tom Cruise, Raymond J. Barry, Caroline Kava |
Oliver Stone |
English, Spanish |
| 7.9 |
327,672 |
Hot Fuzz
|
2007 |
Action, Comedy |
Simon Pegg, Nick Frost, Martin Freeman |
Edgar Wright |
English |
| 6.7 |
133,069 |
Love & Other Drugs
|
2010 |
Comedy, Drama, Romance |
Jake Gyllenhaal, Anne Hathaway, Judy Greer |
Edward Zwick |
English |
| 8.4 |
199,670 |
Princess Mononoke
|
1997 |
Animation, Adventure, Fantasy |
Yôji Matsuda, Yuriko Ishida, Yûko Tanaka |
Hayao Miyazaki |
Japanese |
| 7.9 |
23,384 |
5 Centimeters Per Second
|
2007 |
Animation, Drama, Romance |
Kenji Mizuhashi, Yoshimi Kondou, Satomi Hanamura |
Makoto Shinkai |
Japanese |
| 7.4 |
152,171 |
A Walk to Remember
|
2002 |
Drama, Romance |
Mandy Moore, Shane West, Peter Coyote |
Adam Shankman |
English |
| 5.8 |
175,182 |
2 Fast 2 Furious
|
2003 |
Action, Crime, Thriller |
Paul Walker, Tyrese Gibson, Cole Hauser |
John Singleton |
English, Spanish |
| 7.8 |
36,330 |
The Wind Rises
|
2013 |
Animation, Biography, Drama |
Hideaki Anno, Hidetoshi Nishijima, Miori Takimoto |
Hayao Miyazaki |
Japanese, German, Italian, French |
| 7.1 |
85,197 |
A Scanner Darkly
|
2006 |
Animation, Sci-Fi, Thriller |
Keanu Reeves, Winona Ryder, Robert Downey Jr. |
Richard Linklater |
English |
| 8.0 |
369,225 |
Shaun of the Dead
|
2004 |
Comedy, Horror |
Simon Pegg, Nick Frost, Kate Ashfield |
Edgar Wright |
English |
| 7.1 |
104,482 |
9
|
2009 |
Animation, Action, Adventure |
Elijah Wood, Jennifer Connelly, Crispin Glover |
Shane Acker |
English |
| 7.4 |
216,182 |
The Secret Life of Walter Mitty
|
2013 |
Adventure, Comedy, Drama |
Ben Stiller, Kristen Wiig, Jon Daly |
Ben Stiller |
English, Spanish, Icelandic |
| 8.0 |
67,337 |
All the President's Men
|
1976 |
Biography, Drama, History |
Dustin Hoffman, Robert Redford, Jack Warden |
Alan J. Pakula |
English, Spanish |
| 7.0 |
172,627 |
Austin Powers: International Man of Mystery
|
1997 |
Comedy |
Mike Myers, Elizabeth Hurley, Michael York |
Jay Roach |
English |
| 7.6 |
306,558 |
The Hurt Locker
|
2008 |
Drama, History, Thriller |
Jeremy Renner, Anthony Mackie, Brian Geraghty |
Kathryn Bigelow |
English, Arabic |
| 5.8 |
45,793 |
Oldboy
|
2013 |
Action, Drama, Mystery |
Josh Brolin, Elizabeth Olsen, Samuel L. Jackson |
Spike Lee |
English |
| 8.2 |
387,301 |
Into the Wild
|
2007 |
Adventure, Biography, Drama |
Emile Hirsch, Vince Vaughn, Catherine Keener |
Sean Penn |
English, Danish |
| 7.1 |
290,832 |
We're the Millers
|
2013 |
Action, Adventure, Comedy |
Jason Sudeikis, Jennifer Aniston, Emma Roberts |
Rawson Marshall Thurber |
English, Spanish |
| 6.7 |
147,018 |
Blade II
|
2002 |
Action, Horror, Sci-Fi |
Wesley Snipes, Kris Kristofferson, Ron Perlman |
Guillermo del Toro |
English, Romanian, Czech |
| 4.5 |
53,559 |
The Human Centipede (First Sequence)
|
2009 |
Horror |
Dieter Laser, Ashley C. Williams, Ashlynn Yennie |
Tom Six |
English, German, Japanese |
| 8.0 |
199,848 |
The Graduate
|
1967 |
Comedy, Drama, Romance |
Dustin Hoffman, Anne Bancroft, Katharine Ross |
Mike Nichols |
English |
| 7.2 |
102,644 |
Never Let Me Go
|
2010 |
Drama, Romance, Sci-Fi |
Keira Knightley, Carey Mulligan, Andrew Garfield |
Mark Romanek |
English |
| 6.9 |
123,257 |
Jay and Silent Bob Strike Back
|
2001 |
Comedy |
Jason Mewes, Kevin Smith, Ben Affleck |
Kevin Smith |
English |
| 5.6 |
7,143 |
Love
|
2011 |
Drama, Sci-Fi |
Gunner Wright, Corey Richardson, Bradley Horne |
William Eubank |
English |
| 5.8 |
18,288 |
Last Days
|
2005 |
Biography, Drama, Music |
Michael Pitt, Lukas Haas, Asia Argento |
Gus Van Sant |
English |
| 6.3 |
191,627 |
Total Recall
|
2012 |
Action, Adventure, Mystery |
Colin Farrell, Bokeem Woodbine, Bryan Cranston |
Len Wiseman |
English |
| 7.7 |
27,216 |
Sophie's Choice
|
1982 |
Drama, Romance |
Meryl Streep, Kevin Kline, Peter MacNicol |
Alan J. Pakula |
English, Polish, German, French, Russian |
| 8.2 |
61,613 |
Stalker
|
1979 |
Drama, Sci-Fi |
Alisa Freyndlikh, Aleksandr Kaydanovskiy, Anatoliy Solonitsyn |
Andrei Tarkovsky |
Russian |
| 5.0 |
33,007 |
When a Stranger Calls
|
2006 |
Horror, Thriller |
Camilla Belle, Tommy Flanagan, Katie Cassidy |
Simon West |
English |
| 6.0 |
36,526 |
Friday the 13th Part 2
|
1981 |
Horror, Mystery, Thriller |
Betsy Palmer, Amy Steel, John Furey |
Steve Miner |
English |
| 6.7 |
98,825 |
Last Vegas
|
2013 |
Comedy |
Robert De Niro, Michael Douglas, Morgan Freeman |
Jon Turteltaub |
English |
| 6.3 |
306,845 |
Transformers: Dark of the Moon
|
2011 |
Action, Adventure, Sci-Fi |
Shia LaBeouf, Rosie Huntington-Whiteley, Tyrese Gibson |
Michael Bay |
English |
| 6.6 |
54,945 |
Star Trek III: The Search for Spock
|
1984 |
Action, Adventure, Sci-Fi |
William Shatner, Leonard Nimoy, DeForest Kelley |
Leonard Nimoy |
English, Klingon, Russian, French |
| 6.3 |
75,947 |
Land of the Dead
|
2005 |
Horror |
John Leguizamo, Asia Argento, Simon Baker |
George A. Romero |
English, Spanish, Italian, Polish, French |
| 6.5 |
5,983 |
Gone in 60 Seconds
|
1974 |
Action, Crime, Drama |
H.B. Halicki, Marion Busia, Jerry Daugirda |
H.B. Halicki |
English |
| 6.8 |
192,463 |
The Grey
|
2011 |
Action, Adventure, Drama |
Liam Neeson, Dermot Mulroney, Frank Grillo |
Joe Carnahan |
English |
| 6.9 |
100,384 |
Horton Hears a Who!
|
2008 |
Animation, Adventure, Comedy |
Jim Carrey, Steve Carell, Carol Burnett |
Jimmy Hayward |
English |
| 7.5 |
108,962 |
Fahrenheit 9/11
|
2004 |
Documentary |
Michael Moore, George W. Bush, Ben Affleck |
Michael Moore |
English, Arabic |
| 3.5 |
26,459 |
Jaws 3-D
|
1983 |
Horror |
Dennis Quaid, Bess Armstrong, Simon MacCorkindale |
Joe Alves |
English |
| 6.7 |
174,868 |
The Chronicles of Riddick
|
2004 |
Action, Adventure, Sci-Fi |
Vin Diesel, Judi Dench, Colm Feore |
David Twohy |
English |
| 8.1 |
894,885 |
The Avengers
|
2012 |
Action, Adventure, Sci-Fi |
Robert Downey Jr., Chris Evans, Scarlett Johansson |
Joss Whedon |
English, Russian |
| 7.2 |
47,234 |
Manhunter
|
1986 |
Crime, Mystery, Thriller |
William Petersen, Kim Greist, Joan Allen |
Michael Mann |
English |
| 7.7 |
131,460 |
Battle Royale
|
2000 |
Action, Drama, Sci-Fi |
Tatsuya Fujiwara, Aki Maeda, Tarô Yamamoto |
Kinji Fukasaku |
Japanese |
| 5.7 |
199,244 |
Hulk
|
2003 |
Action, Sci-Fi |
Eric Bana, Jennifer Connelly, Sam Elliott |
Ang Lee |
English, Spanish |
| 2.7 |
48,371 |
Date Movie
|
2006 |
Comedy, Romance |
Alyson Hannigan, Fred Willard, Jennifer Coolidge |
Jason Friedberg |
English |
| 7.1 |
484,516 |
Transformers
|
2007 |
Action, Adventure, Sci-Fi |
Shia LaBeouf, Megan Fox, Josh Duhamel |
Michael Bay |
English, Spanish |
| 7.3 |
248,459 |
Flight
|
2012 |
Drama, Thriller |
Denzel Washington, Nadine Velazquez, Don Cheadle |
Robert Zemeckis |
English |
| 6.3 |
137,236 |
Beowulf
|
2007 |
Animation, Action, Adventure |
Ray Winstone, Crispin Glover, Angelina Jolie |
Robert Zemeckis |
English, Old English |
| 6.0 |
164,085 |
The Tourist
|
2010 |
Action, Romance, Thriller |
Johnny Depp, Angelina Jolie, Paul Bettany |
Florian Henckel von Donnersmarck |
English, French, Italian, Russian, Spanish |
| 8.6 |
659,106 |
Léon: The Professional
|
1994 |
Crime, Drama, Thriller |
Jean Reno, Gary Oldman, Natalie Portman |
Luc Besson |
English, Italian, French |
| 8.0 |
153,277 |
True Romance
|
1993 |
Crime, Drama, Thriller |
Christian Slater, Patricia Arquette, Dennis Hopper |
Tony Scott |
English, Italian |
| 7.1 |
194,114 |
Phone Booth
|
2002 |
Thriller |
Colin Farrell, Kiefer Sutherland, Forest Whitaker |
Joel Schumacher |
English, Swahili |
| 6.8 |
66,744 |
For Your Eyes Only
|
1981 |
Action, Adventure, Sci-Fi |
Roger Moore, Carole Bouquet, Topol |
John Glen |
English, Greek, Italian |
| 6.8 |
11,047 |
Creation
|
2009 |
Biography, Drama |
Paul Bettany, Jennifer Connelly, Ian Kelly |
John Collee |
English |
| 6.2 |
104,552 |
Tower Heist
|
2011 |
Action, Comedy, Crime |
Eddie Murphy, Ben Stiller, Casey Affleck |
Brett Ratner |
English, Spanish, Chinese |
| 7.2 |
51,028 |
Twin Peaks: Fire Walk with Me
|
1992 |
Horror, Mystery, Thriller |
Sheryl Lee, Ray Wise, Mädchen Amick |
David Lynch |
English |
| 6.2 |
133,333 |
Saw III
|
2006 |
Horror, Mystery |
Tobin Bell, Shawnee Smith, Angus Macfadyen |
Darren Lynn Bousman |
English |
| 6.8 |
140,731 |
Unstoppable
|
2010 |
Action, Thriller |
Denzel Washington, Chris Pine, Rosario Dawson |
Tony Scott |
English |
| 8.2 |
724,398 |
V for Vendetta
|
2005 |
Action, Drama, Thriller |
Hugo Weaving, Natalie Portman, Rupert Graves |
James McTeigue |
English |
| 5.1 |
88,004 |
Jennifer's Body
|
2009 |
Comedy, Horror |
Megan Fox, Amanda Seyfried, Adam Brody |
Karyn Kusama |
English, Spanish |
| 6.4 |
130,353 |
The Change-Up
|
2011 |
Comedy |
Jason Bateman, Ryan Reynolds, Olivia Wilde |
David Dobkin |
English |
| 7.3 |
166,700 |
The Road
|
2009 |
Adventure, Drama |
Viggo Mortensen, Charlize Theron, Kodi Smit-McPhee |
John Hillcoat |
English |
| 6.1 |
14,637 |
Swing Vote
|
2008 |
Comedy, Drama |
Kevin Costner, Paula Patton, Kelsey Grammer |
Jason Richman |
English |
| 6.5 |
101,216 |
Accepted
|
2006 |
Comedy |
Justin Long, Jonah Hill, Blake Lively |
Steve Pink |
English |
| 8.0 |
43,457 |
Waltz with Bashir
|
2008 |
Animation, Biography, Drama |
Ari Folman, Ron Ben-Yishai, Ronny Dayag |
Ari Folman |
Hebrew, Arabic, German, English |
| 7.2 |
125,843 |
Hard Candy
|
2005 |
Crime, Drama, Thriller |
Patrick Wilson, Ellen Page, Sandra Oh |
David Slade |
English |
| 7.4 |
46,852 |
Final Fantasy VII: Advent Children
|
2005 |
Animation, Action, Adventure |
Takahiro Sakurai, Ayumi Itô, Shotaro Morikubo |
Kazushige Nojima |
Japanese |
| 7.6 |
5,560 |
Samurai I: Musashi Miyamoto
|
1954 |
Action, Adventure, Biography |
Toshirô Mifune, Mariko Okada, Rentarô Mikuni |
Hideji Hôjô |
Japanese |
| 8.0 |
448,810 |
Catch Me If You Can
|
2002 |
Biography, Crime, Drama |
Leonardo DiCaprio, Tom Hanks, Christopher Walken |
Steven Spielberg |
English, French |
| 7.1 |
35,004 |
Blue Ruin
|
2013 |
Crime, Drama, Thriller |
Macon Blair, Devin Ratray, Amy Hargreaves |
Jeremy Saulnier |
English |
| 7.8 |
149,055 |
Airplane!
|
1980 |
Comedy |
Robert Hays, Julie Hagerty, Leslie Nielsen |
Jim Abrahams |
English |
| 7.8 |
62,060 |
Mississippi Burning
|
1988 |
Crime, Drama, Mystery |
Gene Hackman, Willem Dafoe, Frances McDormand |
Alan Parker |
English |
| 7.7 |
21,235 |
Gettysburg
|
1993 |
Drama, History, War |
Tom Berenger, Martin Sheen, Stephen Lang |
Ron Maxwell |
English |
| 7.8 |
403,398 |
Drive
|
2011 |
Crime, Drama |
Ryan Gosling, Carey Mulligan, Bryan Cranston |
Nicolas Winding Refn |
English, Spanish |
| 4.4 |
27,927 |
The Butterfly Effect 2
|
2006 |
Drama, Sci-Fi, Thriller |
Eric Lively, Erica Durance, Dustin Milligan |
John Frankenheimer |
English |
| 6.2 |
32,601 |
Idle Hands
|
1999 |
Comedy, Horror, Thriller |
Devon Sawa, Seth Green, Elden Henson |
Rodman Flender |
English |
| 8.4 |
600,573 |
Reservoir Dogs
|
1992 |
Crime, Drama |
Harvey Keitel, Tim Roth, Michael Madsen |
Quentin Tarantino |
English |
| 6.7 |
198,367 |
Hannibal
|
2001 |
Crime, Drama, Thriller |
Anthony Hopkins, Julianne Moore, Gary Oldman |
Ridley Scott |
English, Italian, Japanese |
| 7.8 |
241,882 |
The Game
|
1997 |
Drama, Mystery, Thriller |
Michael Douglas, Deborah Kara Unger, Sean Penn |
David Fincher |
English, Cantonese, German |


Blurrel is a strong man because he has several super powers he could use and he is also talented in martial arts so he can protect himself from the danger and is qualified to save people outside. However, since he has grown up by so many accidents and lost a lot of people near him, he got sensitive and often get emotional at night time. He has trauma of the emergency siren sound and he will think of the bad memories he had in that moment.


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Swift
public class Question: Post


In 1290, the Welshman William Cragh was captured by William de Briouze, the Anglo-Norman Lord of Gower, for his part in a rebellion and attack on Oystermouth Castle, in Mumbles. The night before his execution, Cragh was held here in the dungeons of Swansea Castle, where he received visions of the Virgin Mary and St Thomas de Cantilupe, a popular saint.


Cananimate is a css animation library that is designed to be very light and easy to use. Cananimate was created with the aim of beautifying websites by adding stunning animation effects and spoiling the eyes, thus making the website more dynamic and interactive. Cananimate was created by Wahyu Krisna Aji, an IT practitioner and website developer from Pacitan, East Java, Indonesia.
Copyright © Cananimate 2019


|
SBF
Super bloody fast messaging transport
|
This file declares the interface for handling queues. More...
#include "sbfCommon.h"
Go to the source code of this file.
Typedefs | |
| typedef struct sbfQueueImpl * | sbfQueue |
| Declaration of the queue handler. More... | |
| typedef struct sbfQueueItemImpl * | sbfQueueItem |
| Declaration of the queue item handler. More... | |
| typedef void(* | sbfQueueCb) (sbfQueueItem item, void *closure) |
| callback invoked when item needs to be processed. More... | |
Functions | |
| sbfQueue | sbfQueue_create (struct sbfMwImpl *mw, const char *name) |
| Returns a queue handler for the given name. More... | |
| void | sbfQueue_destroy (sbfQueue queue) |
| Releases the memory allocated to the given queue handler. More... | |
| const char * | sbfQueue_getName (sbfQueue queue) |
| Returns the name of the topic assigned to the queue. More... | |
| void | sbfQueue_enqueue (sbfQueue queue, sbfQueueCb cb, void *closure) |
| Adds an item to the queue. More... | |
| void | sbfQueue_dispatch (sbfQueue queue) |
| Dispatch all of the items that belongs to the given queue handler. More... | |
| sbfQueueItem | sbfQueue_getItem (sbfQueue queue, sbfQueueCb cb, void *closure) |
| returns the item from the queue by adding the callback and user data. More... | |
| void | sbfQueue_enqueueItem (sbfQueue queue, sbfQueueItem item) |
| void * | sbfQueue_getItemData (sbfQueueItem item) |
| Returns the data associated to the given queue item. More... | |
| size_t | sbfQueue_getItemDataSize (sbfQueueItem item) |
| Returns the size of the given queue item. More... | |
This file declares the interface for handling queues.
Definition in file sbfQueue.h.
| typedef struct sbfQueueImpl* sbfQueue |
Declaration of the queue handler.
Definition at line 16 of file sbfQueue.h.
| typedef void(* sbfQueueCb) (sbfQueueItem item, void *closure) |
callback invoked when item needs to be processed.
| item | the item handler. |
| closure | the user data associated to the queue item. |
Definition at line 26 of file sbfQueue.h.
| typedef struct sbfQueueItemImpl* sbfQueueItem |
Declaration of the queue item handler.
Definition at line 19 of file sbfQueue.h.
| sbfQueue sbfQueue_create | ( | struct sbfMwImpl * | mw, |
| const char * | name | ||
| ) |
Returns a queue handler for the given name.
| mw | middleware handler. |
| name | the name of the topic assigned to the queue. |
| void sbfQueue_destroy | ( | sbfQueue | queue | ) |
Releases the memory allocated to the given queue handler.
| queue | the queue handler. |
| void sbfQueue_dispatch | ( | sbfQueue | queue | ) |
Dispatch all of the items that belongs to the given queue handler.
| queue | the queue handler. |
| void sbfQueue_enqueue | ( | sbfQueue | queue, |
| sbfQueueCb | cb, | ||
| void * | closure | ||
| ) |
Adds an item to the queue.
| queue | the queue handler. |
| cb | the callback indicating the item has been queued. |
| closure | the user data associated to the queue item. |
| void sbfQueue_enqueueItem | ( | sbfQueue | queue, |
| sbfQueueItem | item | ||
| ) |
| sbfQueueItem sbfQueue_getItem | ( | sbfQueue | queue, |
| sbfQueueCb | cb, | ||
| void * | closure | ||
| ) |
returns the item from the queue by adding the callback and user data.
| queue | the queue handler. |
| cb | the callback indicating the item has been queued. |
| closure | the user data associated to the queue item. |
| void* sbfQueue_getItemData | ( | sbfQueueItem | item | ) |
Returns the data associated to the given queue item.
| item | the queue item handler. |
| size_t sbfQueue_getItemDataSize | ( | sbfQueueItem | item | ) |
Returns the size of the given queue item.
| item | the queue item handler. |
| const char* sbfQueue_getName | ( | sbfQueue | queue | ) |
Returns the name of the topic assigned to the queue.
| queue | the queue handler. |


${settings.get('stats_name', 'Stats')}
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Stats can only be accessed if you install psutil on your system. See Psutil website.
| Mount Point | Location | File System | Free | Used | Total | Bar | % |
|---|
| Name | Pid | Status | User | Memory % | Memory usage | Time | CPU % |
|---|
WARNING! What is written here is passed to the shell! Dont come crying if you delete your hardrive


The remote system (Basecamp) requires you to grant access before proceeding.
Post Activity: on off
Project:


By: Jos de Jong, Almende B.V.
Homepage: http://www.almende.com
License: Apache License, Version 2.0
Links Network is an interactive chart to visualize networks. It allows creating nodes, links between the nodes, and interactive packages moving between nodes. Interaction can be real time or can be animated from a set of historical data. The visualization supports custom styles, colors, sizes, images, and more.
The network visualization works smooth on any modern browser for up to a few hundred nodes and connections.
Network is developed as a Google Visualization Chart in javascript, but can also be used without the Google libraries. There is a GWT wrapper available to use the Network in GWT (Google Web Toolkit). It runs on all modern browsers without additional requirements. Network is tested on Firefox 3.6+, Safari 5.0+, Chrome 6.0+, Opera 10.6+, Internet Explorer 9+.
To get started with Network, download network.zip, and unzip the contents in a subfolder network on your site. Examples can be found in the examples directory.
Here a basic network example. More examples can be found in the examples directory.
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">   <title>Links Network demo</title>

The Network can be used with or without using Google Javascript libraries. The Google libraries provided classes such as DataTable, DataView, and eventlisteners. But the Google libraries cannot be used in an offline environment.
Download the file
network.zip
,
and unzip it in your html page such that the files are located in a subfolder network.
Include the google API and the following files in the head of your html code:

If you use the google visualization API needs to be loaded in order to use DataTable. If no Google visualization API is used, the network can be drawn after the page has been loaded.
google.load("visualization", "1"); google.setOnLoadCallback(drawVisualization); function drawVisualization() { // load data and create the network here }The class name of the Network is
links.Network
var network = new links.Network(container);After being loaded, the network can be drawn via the function
draw()
,
provided with data and options.
network.draw(nodes, links, packages, options);where
nodes
, links
, and packages
are
a DataTable
, and options
is a name-value map in the
JSON format. Both links
and packages
are optional.
Network requires two tables with three data tables:
The tables with Links and Packages are optional. The Timeline supports two data types for each of the tables: a Javascript Array or a Google DataTable. Note that the Google API is only available online and cannot be used in an offline environment.
Note that the column labels must match the names listed below, though the order of the columns may differ.
The node table is required for the network visualization.
The table must contain at least a column id
.
The table can have extra columns, used to define the type and style of
individual nodes. Values in optional columns can be left undefined
for individual nodes. In that case, the default value will be applied.
A Google DataTable with nodes is constructed as:
var nodesTable = new google.visualization.DataTable(); nodesTable.addColumn('number', 'id'); nodesTable.addColumn('string', 'text'); // optional // ... optionally add more columns nodesTable.addRow([1, 'Node 1']); // ... more data
A JavaScript Array with nodes is constructed as:
var nodesTable = [ ]; nodesTable.push({ 'id': 1, 'text': 'Node 1' }); // ... more data
The data columns are defined as:
| Name | Type | Required | Description |
|---|---|---|---|
| group | anytype | no | A group number or name. The type can be number ,
string , or an other type. All nodes with the same group get
the same color schema. |
| id | anytype | yes | A unique id for this node. Nodes may not have duplicate id's. Id's do not need to be consecutive. An id is normally a number, but may be any type. |
| image | string | no | Url of an image. Only applicable when the style of the node is
image . |
| radius | number | no | Radius for the node. Applicable for all styles except rect ,
circle , and database .
The value of radius will override a value in
column value . |
| style | string | no | Define a drawing style for the node.
Choose from rect (default), circle ,
database , image , text ,
dot , star , triangle ,
triangleDown , and square .
In case of image , a column with name image must
be provided, containing image urls.
The shapes dot , star , triangle ,
triangleDown , and square , are scalable.
The size is determined by the columns radius or
value .
When a column text is provided,
this text will be displayed inside the shape in case of styles
rect , circle , and database .
For all other shapes, the text will be displayed right below the shape.
|
| text | string | no | Text to be displayed in the node or under the image of the node.
Multiple lines can be separated by a newline character \n . |
| title | string | no | Title to be displayed when the user hovers over the node. The title can contain HTML code. |
| value | number | no | A value for the node.
The radius of the nodes will be scaled automatically from minimum to
maximum value.
Only applicable when the style of the node is dot .
If a radius is provided for the node too, it will override the
radius calculated from the value. |
| x | number | no | Horizontal position in pixels. The horizontal position of the node will be fixed. The vertical position y may remain undefined. |
| y | number | no | Vertical position in pixels. The vertical position of the node will be fixed. The horizontal position x may remain undefined. |
The table with links must at least contain columns from
and
to
.
The table can have extra columns, used to define the type and style of
individual links. Values in optional columns can be left undefined
for individual nodes. In that case, the default value will be applied.
A Google DataTable with links is constructed as:
var linksTable = new google.visualization.DataTable(); linksTable.addColumn('number', 'from'); linksTable.addColumn('number', 'to'); // ... optionally add more columns linksTable.addRow([1, 3]); // ... more data
A JavaScript Array with links is constructed as:
var linksTable = []; linksTable.addRow({ 'from': 1, 'to': 3 }); // ... more data
The data columns are defined as:
| Name | Type | Required | Description |
|---|---|---|---|
| color | string | no | A HTML color for the link. |
| from | anytype | yes | The id of a node where the link starts. The type must correspond with the type of the node id's. This is normally a number, but can be any type. |
| length | number | no | The length of the link in pixels. |
| style | string | no | Define a drawing style for the link.
Choose from line (default), arrow ,
moving-arrows .
|
| title | string | no | Title to be displayed when the user hovers over the link. The title can contain HTML code. |
| to | anytype | yes | The id of a node where the link ends. The type must correspond with the type of the node id's. This is normally a number, but can be any type. |
| value | number | no | A value for the link.
The width of the links will be scaled automatically from minimum to
maximum value.
If a width is provided for the link too, it will override the
width calculated from the value. |
| width | number | no | Width of the line in pixels. The width will
override a specified value , if a value is
specified too. |
The table with packages must at least contain columns from
and
to
.
The table can have extra columns, used to define the type and style of
individual packages. Values in optional columns can be left undefined
for individual nodes. In that case, the default value will be applied.
There are two types of packages:
progress
is provided,
the package is automatically moved from start node to end node, and deleted
once it has reached the end node. The duration can be customized by setting
a value for duration
.progress
is provided,
the package is positioned at the given progress between start and end node.
The progress can be updated dynamically via the method addPackages
,
and can be deleted via the method deletePackage
. Manual packages
must have an id specified, in order to be able to update and delete them lateron.
A Google DataTable with automatically animated packages is constructed as:
var packagesTable = new google.visualization.DataTable(); packagesTable.addColumn('number', 'from'); packagesTable.addColumn('number', 'to'); // ... optionally add more columns packagesTable.addRow([1, 3]); // ... more data
A Google DataTable with manually animated packages is constructed as:
var packagesTable = new google.visualization.DataTable(); packagesTable.addColumn('number', 'id'); packagesTable.addColumn('number', 'from'); packagesTable.addColumn('number', 'to'); packagesTable.addColumn('number', 'progress'); // ... optionally add more columns var id = 1; var progress = 0.2; packagesTable.addRow([id, 1, 3, progress]); // ... more data
A JavaScript Array with packages is constructed as:
var packagesTable = []; packagesTable.addRow({ 'from': 1, 'to': 3 }); // ... more data
The data columns are defined as:
| Name | Type | Required | Description |
|---|---|---|---|
| action | string | no | By specifying action , a package can be created or deleted.
Available values are: create (default) or delete .
When a package is created with an id which already exists, the existing
package will be updated. The action property can be used in
combination with timestamp to animate history.
|
| color | string | no | A HTML color for the package. |
| duration | number | no | Duration in seconds the animation of the package moving from start to end node. Only applicable when progress is not provided. |
| from | anytype | yes | The id of a node where the link starts. The type must correspond with the type of the node id's. This is normally a number, but can be any type. |
| id | anytype | yes | A unique id for the package. Packages cannot have duplicate id's. An id is required for packages with manually defined progress, in order to be able to update or delete them lateron. |
| image | string | no | Url of an image. Only applicable when style is image . |
| progress | number | no | A number between 0 and 1 which determines the progress of the package between the start and end node. If progress is defined, the package must also have an id defined. |
| radius | number | no | The radius of the package. Only applicable when style is dot . |
| style | string | no | Define a drawing style for the package.
Choose from dot (default), image ,
star , triangle , triangleDown , or
square .
In case of an image, a column with image url must be provided in the table.
|
| title | string | no | Title to be displayed when the user hovers over the package. The title can contain HTML code. |
| to | anytype | yes | The id of a node where the link ends. The type must correspond with the type of the node id's. This is normally a number, but can be any type. |
| timestamp | Date or number | no | The time on which this package is added or removed.
Only applicable in combination with the column action .
When timestamp is provided, a slider with start and stop button is created
to enable playing history.
|
| value | number | no | A value for the package.
The radius of the packages will be scaled automatically from minimum to
maximum value.
Only applicable when the style of the node is dot .
If a parameter radius is provided for the node too,
this will override the radius calculated from the value. |
Options can be used to customize the network. Options are defined as a JSON object. All options are optional.
var options = { 'width': '100%', 'height': '400px', 'links': { 'color': 'red', 'width': 2 } };
The following options are available.
| Name | Type | Default | Description |
|---|---|---|---|
| backgroundColor | String or Object | "white" | The background color for the main area of the chart. Can be either a simple HTML color string, for example: 'red' or '#00cc00', or an object with the following properties. |
| backgroundColor.stroke | String | "#666" | The color of the chart border, as an HTML color string. |
| backgroundColor.strokeWidth | Number | 1 | The border width, in pixels. |
| backgroundColor.fill | String | "white" | The chart fill color, as an HTML color string. |
| groups | Object | none | It is possible to specify custom styles for groups. Each node assigned a group gets the specified style. See Groups for an overview of the available styles and an example. |
| height | String | "400px" | The height of the network in pixels or as a percentage. |
| links.color | String | "#2B7CE9" | The default color of a link. |
| links.length | Number | 100 | The default length of a link. |
| links.style | String | "line" | The default style of a link.
Choose from line (default), arrow ,
moving-arrows. |
| links.width | Number | 1 | The default width of a link. |
| nodes.borderColor | String | "#2B7CE9" | Default border color of the nodes |
| nodes.backgroundColor | String | "#97C2FC" | Default background color of the nodes |
| nodes.highlightColor | String | "#D2E5FF" | Default background color of the node when the node is selected. |
| nodes.fontColor | String | "black" | Default font color for text in the nodes. |
| nodes.fontFace | String | "sans" | Default font face for text in the nodes, for example "verdana" or "arial". |
| nodes.fontSize | Number | 14 | Default font size in pixels for text in the nodes. |
| nodes.group | String | none | Default group for the nodes. |
| nodes.image | String | none | Default image url for the nodes. only applicable with style image . |
| nodes.widthMin | Number | 16 | The minimum width for a scaled image. Only applicable with style image . |
| nodes.widthMax | Number | 64 | The maximum width for a scaled image. Only applicable with style image . |
| nodes.style | String | "rect" | The default style for all nodes.
Choose from rect (default), circle ,
database , image , text , dot .
This style can be overridden by a group style, or by a style of an individual node. |
| nodes.radius | Number | 5 | The default radius for a node. Only applicable with style dot . |
| nodes.radiusMin | Number | 5 | The minimum radius for a scaled node. Only applicable with style dot . |
| nodes.radiusMax | Number | 20 | The maximum radius for a scaled node. Only applicable with style dot . |
| packages.color | String | "#2B7CE9" | Default color for all packages |
| packages.duration | Number | 1.0 | Default duration of animated packages in seconds. |
| packages.image | String | none | Default image for all packages.
Style of the packages must be set to image |
| packages.widthMin | Number | 16 | The minimum width for a scaled package. Only applicable with style image . |
| packages.widthMax | Number | 64 | The maximum width for a scaled package. Only applicable with style image . |
| packages.radius | Number | 5 | Default radius for all packages. |
| packages.radiusMin | Number | 5 | The minimum radius for a scaled package. Only applicable with style dot . |
| packages.radiusMax | Number | 20 | The maximum radius for a scaled package. Only applicable with style dot . |
| packages.style | String | "dot" | Default style for all packages.
Choose from dot (default) or image .
In case of an image, a column with image url must be provided in the table. |
| selectable | Boolean | true | If true, nodes in the network can be selected by clicking them, or
by keeping the Shift key down and dragging a selection area around them.
When the Ctrl key is down, the new selection is appended to the
previous selection. If not, the new selection replaces the previous selection. |
| stabilize | Boolean | true | If true, the network is stabilized before displaying it. If false, the nodes move to a stabe position visibly in an animated way. |
| width | String | "400px" | The width of the network in pixels or as a percentage. |
It is possible to specify custom styles for groups of nodes.
Each node having assigned to this group gets the specified style.
The options groups
is an object containing one or multiple groups,
identified by a unique string, the groupname.
A group can have the following styles:
var options = { // ... 'groups': { 'mygroup': { 'style': 'circle', 'borderColor': 'black', 'backgroundColor': 'white', 'fontColor': 'red', 'fontSize': 18, 'highlightColor': 'yellow' } // add more groups here } }; var nodesTable = new google.visualization.DataTable(); nodesTable.addColumn('number', 'id'); nodesTable.addColumn('string', 'text'); nodesTable.addColumn('string', 'group'); // ... optionally add more columns nodesTable.addRow([1, 'Node 1', undefined]); // will get the default style nodesTable.addRow([2, 'Node 2', 'mygroup']); // will get the style from 'mygroup' // ... more data
The following styles are available for groups:
| Name | Type | Default | Description |
|---|---|---|---|
| borderColor | String | "#2B7CE9" | Border color of the node |
| backgroundColor | String | "#97C2FC" | Background color of the node |
| highlightColor | String | "#D2E5FF" | Background color of the node when the node is selected. |
| image | String | none | Default image for the nodes. Only applicable in combination with
style image . |
| fontColor | String | "black" | Font color of the node. |
| fontFace | String | "sans" | Font name of the node, for example "verdana" or "arial". |
| fontSize | Number | 14 | Font size for the node in pixels. |
| style | String | "rect" | Choose from rect (default), circle ,
database , image , text ,
dot .
In case of image, a column with name image must be provided, containing
image urls. |
| radius | Number | 5 | Default radius for the node. Only applicable in combination with
styles rect and dot . |
Network supports the following methods.
| Method | Return Type | Description |
|---|---|---|
| addPackages(packages) | none | Dynamically appends packages to the network. Parameter packages contains
a DataTable. Packages can be removed by specifying a value "delete" in
the action column. |
| animationSetAcceleration(acceleration) | none | Set the time acceleration for animation of history. Only applicable when packages with a timestamp are available. When acceleration is 1, history is played in real time. And for example acceleration of 10 will play history then times the speed of real time. |
| animationSetDuration(duration) | none | Duration of the animation in seconds. Only applicable when packages with a timestamp are available. The animation speed is scaled such that the total duration of playing the history equals the set duration. |
| animationSetFramerate(framerate) | none | Set the framerate in frames per second for animation of history. Only applicable when packages with a timestamp are available. |
| animationStart() | none | Start animation of history. Only applicable when packages with a timestamp are available. |
| animationStop() | none | Stop animation of history. Only applicable when packages with a timestamp are available. |
| draw(nodes, links, packages, options) | none | Loads data, sets the provided options, and draws the network. Parameters nodes, links, and packages are a DataTable, and options is a name-value map in the JSON format. Both links and packages are optional and can be left undefined. |
| getSelection() | Array of selection elements | Standard getSelection() implementation.
Returns an array with one or multiple selections. Each selection contains
the property row . The selections are not ordered.
|
| redraw() | none | Redraw the network. Useful after the camera position is changed externally, when data is changed, or when the layout of the webpage changed. |
| setSelection(selection) | none | Standard setSelection(selection) implementation.
selection is an array with selection elements. The visualization
accepts one or multiple selection elements, which must have the property row .
Example usage: network.setSelection([{"row": 3}]); .
|
| setSize(width, height) | none | Parameters width and height are strings,
containing a new size for the visualization. Size can be provided in pixels
or in percentages. |
| start() | none | Start animation. Only applicable when there are animated links or nodes, or when the nodes are not yet moved to a stable position. |
| stop() | none | Stop animation. Only applicable when there are animated links or nodes. |
Network fires events after one or multiple nodes are selected. The event can be catched by creating a listener. Listeners can be registered using the event messages from the Google API or event messages from the CHAP Links library.
Here an example on how to catch a select
event.
function onselect() { var sel = network.getSelection(); var info = 'selected row(s): '; for (var i = 0; i < sel.length; i++) { info += sel[i].row + ' '; } alert(info); } google.visualization.events.addListener(network, 'select', onselect); // Or, when not using the Google API: // links.events.addListener(network, 'select', onselect);
The following events are available.
| name | Description | Properties |
|---|---|---|
| select | Fired after the user selects or unselects a node by clicking it,
or when selecting a number of nodes by dragging a selection area
around them. Not fired when the method setSelection
is executed. The corresponding rows in the data table are selected.
The selected rows can be retrieved via the method getSelection .
|
none |
| ready | The network is loaded and ready for external method calls. If you want to interact with the network, and call methods after you draw it, you should set up a listener for this event before you call the draw method, and call them only after the event was fired. | none |
All code and data are processed and rendered in the browser. No data is sent to any server.


The following table describes functions that are treated specially when defined in the IDE.
Algorithms are required to implement one method: Initialize(self).
An optional scheduled event can be defined to behave like before_trading_start(). OnData() is also optional but is treated especially if defined.
| Quantopian | QuantConnect |
|---|---|
initialize (context) |
Initialize (self) |
| Required function called once at the start of a backtest. | |
before_trading_start (context, data) |
self.Schedule.On(self.DateRules.EveryDay(), self.TimeRules.AfterMarketOpen(symbol, 10), self.before_trading_start) |
| Optional function called prior to market open on every trading day. | |
handle_data (context, data) |
OnData (self, slice) |
| Optional function called at the end of each market minute. |


|
FPC / C++ Borland VCL
1.0.0
|
TObject is the base of all classes TObject encapsulates fundamental behavior common to objects by introducing methods that: More...
#include <TObject.h>
Public Member Functions | |
| TObject () | |
| Default constructor of TObject. More... | |
| ~TObject () | |
| destructor of TObject. More... | |
TObject is the base of all classes TObject encapsulates fundamental behavior common to objects by introducing methods that:
Use TObject as an immediate base class when declaring simple objects that do not need to persist (are not saved and reloaded) and that do not need to be assigned to other objects.
Much of the capability of objects is established by methods that TObject introduces. Many of these methods are used internaly by IDEs and are not intended for users to call directly. Others are overridden in descendant objects that have more complex behavior.
Although TObject is the based object of a component framework, not all objects are components. All component classes descend from TComponent.
| TObject::TObject | ( | ) |
Default constructor of TObject.
| none |
Example:
| TObject::~TObject | ( | ) |


Contributing to the documentation is simple. The files are hosted on https://github.com/cakephp/docs. Feel free to fork the repo, add your changes/improvements/translations and give back by issuing a pull request. You can even edit the docs online with GitHub, without ever downloading the files – the “Improve this Doc” button on any given page will direct you to GitHub’s online editor for that page.
CakePHP documentation is continuously integrated, and deployed after each pull request is merged.
Email the docs team (docs at cakephp dot org) or hop on IRC (#cakephp on freenode) to discuss any translation efforts you would like to participate in.
We want to provide translations that are as complete as possible. However, there may be times where a translation file is not up-to-date. You should always consider the English version as the authoritative version.
If your language is not in the current languages, please contact us through Github and we will consider creating a skeleton folder for it. The following sections are the first one you should consider translating as these files don’t change often:
The structure of all language folders should mirror the English folder structure. If the structure changes for the English version, we should apply those changes in the other languages.
For example, if a new English file is created in en/file.rst, we should:
Add the file in all other languages : fr/file.rst, zh/file.rst, ...
Delete the content, but keeping the title
, meta
information and
eventual toc-tree
elements. The following note will be added while nobody
has translated the file:
File Title
##########
.. note::
The documentation is not currently supported in XX language for this
page.
Please feel free to send us a pull request on
`Github <https://github.com/cakephp/docs>`_ or use the **Improve This Doc**
button to directly propose your changes.
You can refer to the English version in the select top menu to have
information about this page's topic.
// If toc-tree elements are in the English version
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New in version 2.6.3: This awesome feature was added on version 2.6.3
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JEEPNEY ROUTES & FARE ASSISTANCE
List of Routes
If you know the exact route
Alternate Routing
If you don't know
how to get to your destination


!Great Master Lawrence:
Let me read the prayer quietly..
The Emperor's Key!! Hmm... Back then the emperor of Elmore-Aden started the holy war. A winged messenger of Einhasad appeared, turning the tides of battle...
The 6 catacombs became graves to followers of darkness.. The 7 Necropolis turned to battlefields for the army of death... This is how the divine Einhasad tells the tale.
Hm..
Right... Now I've got it. It couldn't be simpler. Ha ha ha!
[Quest _197_SevenSignsTheSacredBookofSeal lawrence_q197_3b.htm|"Please tell me as well."]


--- layout: layout title: "Posts" ---
I'm James Shakespeare. I build websites and write things. I live in New York and I work to make the internet a better place at Big Human.


Welcome to Vinnie's Pizza
How many pizza's would you like to order?
0
1
2
3
4
5
6
7
8
9
10
Select Options For:
Pizza 1
Size:
Small
Regular
Large
Extra Large
Pizza cost:
$
Pizzas:
Show Order Summary
Total Price:
$


GitHub source
This tool is to test the receiver app with nearby devices. For detailed usage of the standalone application see the README
Click the icon to select a Chromecast:
URL: load
URL must be https and must not deny framing.


{% extends "base.html" %}
{% import "_macros.html" as macros %}
{% import "bootstrap/wtf.html" as wtf %}
{% block title %} Contact {% endblock %}
{% block page_content %}
Contact
Thank you for your message. We'll get back to you shortly.
{% endif %}


This plot displays the average amount of views trending videos recieved on a given day (Sunday to Saturday). We created this chart to see if there is a relationship between average viewership and the day of the week.
This graph shows the variation of the time it takes a video to reach
the trending page after it was published. The graph provides us with
the mean, median, min, and max values of how long it took a video to
trend and is grouped by category.
Most of the data is concentrated between the 0 to 5 day range, while
there are some outliers above 10 days for most categories. Interestingly
enough, the data also included values with negative values. This is
because the published date includes the full date and time, whereas the
trending date only includes the month and day. For videos to have a
negative value of days it took to reach the trending page, it means that
the video was wildly popular enough to be trending on the same date it
was uploaded. When plotting the graph, we decided that it was best to
replace the negative time values with a 0 in order to keep consistency
because negative time values are not technically correct.
Based on the information provided by the graph, the Music category seems to have an overwhelming amount of outliers that began trending far after the video was published. This is most likely due to the fact that new music takes time to circulate around before it becomes popular on mainstream media.


Coding Projects
Smaller code projects, 2016 - Present
These are a selection of programming projects I built while at the Nashville Software School. If you want to see more of my code, check out my Github Profile
Harry Potter Game
Game built using prototypal inheritance in Javascript and JQuery with Grunt and Browersify. Convinced my teammates to make it Harry Potter theme after I got a hedgehog as my patronus on Pottermore. Users get sorted into Hogwart Houses and can select a patronus.
They then can battle Voldemort and the Death Eaters, using spells and getting help from magical friends.
You can play the game here or check out the github repo here
Freddy VS JSON
A movie rating and saving app built in Javascript and JQuery with Materialize. You can search for movies using the OMDB API, and save them and rate them.
You can create an account and try it out here, or view the github repo here.
NSS Cohort 16 Website
Built the majority of my cohort’s website in Javascript, JQuery, Materialize, and Grunt. Came up with the theme of having a professional version and then switching to Sweet 16 Party mode on a button click.


--- title: Transit author: display_name: JP email<EMAIL_ADDRESS>tags: - bus - commuter - light rail - stations - transit - transportation - uta categories: [] date: 2011-11-23 14:16:26 -0700 UTABusRoutesStops: downloads: - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mXy0wcENfR0NWN0k&export=download label: 'Bus Routes: File Geodatabase' - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mRU9XR3FuTWhDMzA&export=download label: 'Bus Routes: Shapefile' - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mRTJwVU52c1VCNDA&export=download label: 'Bus Stops: File Geodatabase' - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mMF9ZUkdiMEpsb3M&export=download label: 'Bus Stops: Shapefile' updates: - December, 2019 UTACommuterRailRoutes: downloads: - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mUWczdHRhRkRSbVk&export=download label: 'Commuter Rail Routes: File Geodatabase' - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mOTdYaXkxMWNtYzA&export=download label: 'Commuter Rail Routes: Shapefile' updates: - May, 2013 UTACommuterRailStations: downloads: - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mYzUtd3BFcE5LN3M&export=download label: 'Commuter Rail Stations: File Geodatabase' - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mSmhydGg1NjVBSXM&export=download label: 'Commuter Rail Stations: Shapefile' updates: - May, 2013 UTALightRail: downloads: - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mX0FGNGZDeTd0cXM&export=download label: 'Light Rail: File Geodatabase' - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mNGN4aGNicnNEX3M&export=download label: 'Light Rail: Shapefile' updates: - January, 2017 UTALightRailStations: downloads: - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mVzU3THJ4aDdrSTQ&export=download label: 'Light Rail Stations: File Geodatabase' - url: https://drive.google.com/a/utah.gov/uc?id=0ByStJjVZ7c7mNGpwWExjY1IwTkE&export=download label: 'Light Rail Staions: Shapefile' updates: - May 12, 2013 --- {% include abstract.html download="https://drive.google.com/drive/folders/0ByStJjVZ7c7mcV8wS0otTmRRMWM" name="Bus, Commuter, and Light Rail" stewards="Utah Transit Authority (UTA)" abstract="This dataset contains the UTA bus route and stop locations, commuter rail route and stop locations, and light rail route and stop locations. The extent of these data is primarily along the Wasatch Front." %}
Transportation.BusRoutes_UTA includes bus stops along streets, at TRAX stations, and park & ride lots serviced by UTA buses. Transportation.BusStops_UTA includes redesigned bus routes that have been adjusted for internal monitoring purposes and ski bus routes to the Cottonwood Canyons and Sundance Ski Resort.
The UTA Bus Stops dataset was digitized to the Wasatch Front counties' street base maps and then exported from Trapeze (scheduling software) in shapefile format.
{% include contact.html subject=page.title contact=site.data.contacts.uta %}
Transportation.CommuterRailRoutes_UTA depicts the route of Utah Transit Authority's FrontRunner North and South commuter rail tracks as received from UTA May of 2013.
{% include contact.html subject=page.title contact=site.data.contacts.uta %}
Transportation.CommuterRailStations_UTA depicts the locations of Utah Transit Authority's FrontRunner North and South commuter rail stations as received from UTA.
These data include an attribute of the address where the rail station is located.
{% include contact.html subject=page.title contact=site.data.contacts.uta %}
Transportation.LightRail_UTA represents the light rail system for the main North-South (Downtown to Sandy), University/Medical Center, West Valley, Daybreak, and Airport lines. It also depicts the Sugar House trolley extension currently under construction.
LightRail_UTA was digitized from aerial photographs dated August, 2016.
The native spatial reference for this dataset is UTM Zone 12N, NAD83 (0.01 coordinate precision).
{% include contact.html subject=page.title contact=site.data.contacts.uta %}
Transportation.LightRailStations_UTA represents the center of the platform at all UTA light rail stations.
LightRailStations_UTA locations were digitized from aerial photographs dated 2012. The 900 South station and Sandy Expo station locations were obtained by GPS.
The native spatial reference for this dataset is UTM Zone 12N, NAD83 (0.01 coordinate precision).
{% include contact.html subject=page.title contact=site.data.contacts.uta %}