Fajri Abdillah
<EMAIL_ADDRESS>serverless.id, myedisi.com]
AWS Pop-Up Loft Jakarta 29 oktober 2019
About SQS
Performance
Cost
Management & Security
Amazon Simple Queue Service (Amazon SQS) offers a secure, durable, and available hosted queue that lets you integrate and decouple distributed software systems and components.
Serverless - No need to think about server, battle tested since 2006
Unlimited Throughput - Standard queues support a nearly unlimited number of transactions per second
Security - Control who can send messages to and receive messages from an Amazon SQS queue
Durability - Make use of dead letter queue, no data is missing, up to 14 days data retention.
Event Source - Lambda can process message in SQS
Single Consumer - once a consumer processed a message then message is removed
Tricky pricing - Billed per transaction, chunked per 64 KB, but still cheap
Limited payload size - 256 KB, can use S3 for bigger payload, up to 2 GB, but more expensive
Delay queue - Maximum 15 minutes
FIFO Queue - 300 messages per second (without batch)
7.5 million messages in SQS
11 million messages in SQS
How big is 10 million messages?
100 KB * 10 = 1,000 KB = 1 MB
100 KB * 100 = 10,000 KB = 10 MB
100 KB * 1,000 = 100,000 KB = 100 MB
100 KB * 10,000 = 1,000,000 KB = 1,000 MB = 1 GB
100 KB * 100,000 = 10,000,000 KB = 10,000 MB = 10 GB
100 KB * 1,000,000 = 100,000,000 KB
= 100,000 MB = 100 GB
100 KB * 10,000,000 = 1,000,000,000 KB
= 1,000,000 MB = 1,000 GB
= 1 TB
Messages in Flight
Processing ~2000 Messages / second
100 KB * 2,000 = 200,000 KB = 200 MB / second
How to scale to 10 million?
How many shard needed? replica?
How to autoscale?
How many nodes needed for 1TB of data? Type?
How much is it?
| Dev (cache.t2.micro) | Staging (cache.t2.small) | Prod (cache.r4.large) |
|---|---|---|
| Dev | Staging | Prod |
|---|---|---|
| Price per 1 Million Requests after Free Tier (Monthly) | |
|---|---|
| Standard Queue | $0.40 ($0.00000040 per request) |
| FIFO Queue | $0.50 ($0.00000050 per request) |
Daily Request = 40 million
Total Pricing = 40 * 31 * $0.40
Monthly Pricing = $496
| Reserved instance - No Upfront 1 year (Monthly) | |
|---|---|
| cache.m5.large | $97.09 |
| cache.r5.large | $129.21 |
Avoid using IAM user with AdministratorAccess Policy
Use IAM Role when possible
Limit the policy (IAM or SQS )
Use STS service for temporary access
Use Server-Side Encryption when needed
Use VPC Endpoints when needed
Join our Facebook Group : Serverless Indonesia
Our Medium Publications : Serverless Indonesia
Our u(n)pdated Blog : blog.serverless.id


Hi! I'm Siobhan Niess
Software Developer-student - customer focused programmer
training to work for you and bring you custom web sites and applications.
Portfolio
I am a software developer who is excited to help you create custom web sites and applications that will meet all of your needs and requirements. I specialize in working from a range of clients, small to large companies, and to idividuals. I want to build software for you that is going to help improve your life or your company.
About Me
I am a Software Developer looking to create helpful web sites and/or applications for all ranges of clients. My passion is to work with your vision and make it a usable and fun product. I specialize in all aspects of the software development aspect that will go into your web site or application. Though truly enjoy the front-end deisgn that will really "WOW" you and impress your clients.
Contact
If you have checked out the work that I have done and like what you have seen, please contact me. Nothing would make me happier than to build you or your company the application that you are visioning.


Lawsuit: US border officers questioned journalists at length
by Elliot Spagat, The Associated PressSAN DIEGO — Five American journalists have sued the U.S. government, saying border authorities interfered with their First Amendment right to report on a caravan of Central American migrants last year.
The lawsuit filed Wednesday by the American Civil Liberties Union recounts the experiences of freelance photographers, all U.S. citizens.
They say inspectors demanded they share photos, questioned them extensively about their work in Mexico and asked them to identify caravan leaders.
All five were named and pictured in a U.S. Customs and Border Protection secret dossier linking 59 people to the caravan, including journalists, organizers and “instigators.”
The KNSD TV station in San Diego reported on the existence of the dossier in March. The journalists have never shared such detailed accounts of how they were treated by U.S. and Mexican officials.
Elliot Spagat, The Associated Press


Class Manager
Class Manager
- Cygnite\Common\SessionManager\AbstractPacket
- Cygnite\Common\SessionManager\Manager implements Cygnite\Common\SessionManager\PacketInterface
Direct known subclasses
Cygnite\Common\SessionManager\Native\Session
Namespace: Cygnite\Common\SessionManager
Package: Cygnite\Common\SessionManager
Located at Common/SessionManager/Manager.php
Package: Cygnite\Common\SessionManager
Located at Common/SessionManager/Manager.php
public
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public
mixed
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public
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public
null
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public
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public
mixed
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public
boolean
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public
mixed
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public
array
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protected
mixed
&
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protected
string
&
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#
getStackReference( array & $array, array $keys, mixed $default = null )
Returns array element matching key |
protected
mixed
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count(),
current(),
key(),
next(),
offsetExists(),
offsetGet(),
offsetSet(),
offsetUnset(),
reset(),
rewind(),
valid()
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SEPARATOR
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protected
array
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$storage | [] |


Your Team!
a
Manager
ID: 1
Email<EMAIL_ADDRESS>Office Number: 12
,
c
Engineer
ID: 2
Email<EMAIL_ADDRESS>Github:
Github


|
All of the large, commercial online service providers such as America Online and the Microsoft Network offer access to the Internet. If you are accessing the Internet from home, you will probably access it from one of these servers. Or, you may have broadband access through a provider such as Roadrunner.
Most corporations provide broadband Internet access directly via an ISP (Internet Service Provider) and a T1 connection. If this is the case, you will not have to set yourself up with an online service. The best way to find out whether your corporation has an ISP is to do some snooping. Ask your Help Desk, DBA, or manager whether your company is hooked up to the Internet. If so, all you will need is a TCP/IP connection and some basic software to begin surfing the Net for DB2 nuggets! |


|
facebook360_dep
Facebook360 Depth Estimation Pipeline
|
Classes | |
| class | Handler |
| class | Watcher |
Functions | |
| def | sigterm_handler (signal, frame) |
| def | rename (fn) |
| def | resize (fn) |
| def | main (argv) |
Variables | |
| FLAGS = flags.FLAGS | |
| bool | is_working = False |
| def scripts.render.rename_and_resize_frames.main | ( | argv | ) |
Validates CLI flags and sets up a Watchdog to monitor an input directory to rename and resize files as they arrive. Inputs are assumed to have the naming scheme: path/to/file/prefix.000000.tif. Args: argv (list[str]): List of arguments (used interally by abseil).
| def scripts.render.rename_and_resize_frames.rename | ( | fn | ) |
Renames the file to the expected format: path/to/file/prefix.000000.tif -> path/to/file/000000.tif Args: fn (str): Original filename (path/to/file/prefix.000000.tif). Returns: str: Expected filename (path/to/file/000000.tif).
| def scripts.render.rename_and_resize_frames.resize | ( | fn | ) |
Resizes the image to the appropriate level sizes and saves them. Args: fn (str): Image filename.
| def scripts.render.rename_and_resize_frames.sigterm_handler | ( | signal, | |
| frame | |||
| ) |
Handler for any catchable signal that terminates the program. Finishes resizing if ongoing. Args: signal (signal.signal): Type of signal. frame (frame): Stack frame.
| scripts.render.rename_and_resize_frames.FLAGS = flags.FLAGS |
| bool scripts.render.rename_and_resize_frames.is_working = False |


Blacklist Checker
This is a nice little php script that you can run in the background via cron to constantly check your mail servers (or any server you have that deals with mail) and alert you via slack
I know there are things out there like mxtoolbox that can do this for you, and include a larger list of blacklists, but I wanted something I could run on our own infrastructure that did what I wanted, and alerted me via slack (much cooler then email alerts). Eventually I will also add in bulk email alerts (like a weekly update of whats happened) and maybe, just maybe SMS alerts via twilio or SMScentral
I have been using mxtoolbox, but was finding the email alerts not helpful, as I don’t often check my emails during the day, and they started going to my spam folder. I wrote this so I could be in control of what I checked and when, and then post it to Slack when there was an issue. As at work I always have a slack windows open because use it heavily.
This alerts you when things clear up for a particular server too
You can check it out here
Here is what the notifications look like:
The git repo includes setup instructions in the README, but I will include here too
Usage
To use this you will need
- A slack API token
- A slack webhook to the channel you want to post to
- PHP (of course)
- Download this repo
- open
blacklist-cron.php
and edit settings at the top of the script to include slack specific stuff - edit
servers.txt
to add in your mail servers (can be IP or domain name) - edit
dnsbls.txt
to include all the DNSBL servers you want to check against (left this full of the ones I use)- be sure to check each one. Some, like baracuda, require you to sign up if you are going to be making lots of calls
- Make a cron entry, like
00 08-18 * * * /usr/bin/php /home/john/blacklist/blacklist-cron.php >> /home/john/blacklist/cron.log
- This will run the script every hour between 8am and 6pm (office ours). I also did this to reduce the amount of requests i send to each dnsbl. You can change this to suit your needs
You will now be alerted when a server of yours gets put on any of those blacklists, like this. It will also alert you when they are removed again
You can also run this via the commandline if you want to see whats going on php blacklist-cron.php
and if you have debug turned on, things will just print to screen


Michèle Lamy’s Punching Bags Will Hit Sotheby's Online Charity Auction
Bags made by diverse artists to address “what we need to face, challenge and celebrate in our lives.”
by Gabrielle LeungCarpenters Workshop Gallery is partnering with boxing gym BXR London for a charity auction, titled “LAMYLAND: What Are We Fighting For?” Ten punching bags from Michèle Lamy’s installation at the Venice Biennale will go up for sale during Sotheby’s online auction later this month. Proceeds from the sale will go towards London Community Boxing, a charity founded on the belief that sports act as a vehicle for personal development and social cohesion.
For Lamy’s immersive boxing installation in Venice, she invited artists to create punch bags to initiate a conversation about “what we need to face, challenge and celebrate in our lives.” The Campana Brothers created their bag out of raffia — dried palm leaves that come from Brazilian forests and are used for indigenous housing — in hopes of raising awareness for nature and sustainability. Their bag, along with other designed by Atelier Van Lieshout, Connor Tingely, Frederik Molenschot and more.
“This installation was part of my ‘Lamyland’ project – called ‘Lamyland and not ‘Lamy’ because it’s always been about creating a space and platform for other people,” Michèle Lamy explains. “Boxing is a great metaphor for life and I wanted to ask people what they were fighting for. For me, fighting is not a bad word. It’s about believing in something and making it happen.”
On November 27, BXR London will showcase two of the bags at a special event hosted by the boxing gym, Carpenters Workshop Gallery and Sotheby’s. The online auction will take place on Sotheby’s website between November 22 and December 2.
BXR London
24 Paddington St
Marylebone, London
In other news, Christie’s is auctioning off over 100 lots of Supreme’s most desirable skate decks and accessories.


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ThArray< _T > Class Template Reference
Purpose: To provide an interface for shared data between threads.
More...
#include <ThArray.h>
List of all members.
Detailed Description
template<typename _T>
class ThArray< _T >
Purpose: To provide an interface for shared data between threads.
File: ThArray.h Author: Kevin Bray Created: 09-01-08 Copyright © 2004 Bootstrap Studios. All rights reserved. project includes. class ThArray
Definition at line 21 of file ThArray.h.
Constructor & Destructor Documentation
template<typename _T >
| ThArray< _T >::ThArray |
( |
unsigned int |
size, |
|
|
unsigned int |
alignment = 16 | |
|
) |
| | [inline] |
Member Function Documentation
template<typename _T >
| const _T* ThArray< _T >::Acquire |
( |
bool |
wait = true |
) |
const [inline] |
template<typename _T >
| _T* ThArray< _T >::Acquire |
( |
bool |
wait = true |
) |
[inline] |
aquires access to the data. No one can access this data except for whoever acquired this buffer. All other accesses will block or return NULL.
Definition at line 33 of file ThArray.h.
optional signal to indicate that can be used to indicate whether or not this buffer has been used.
Definition at line 39 of file ThArray.h.
template<typename _T >
| unsigned int ThArray< _T >::GetSize |
( |
|
) |
const [inline] |
returns the size of the buffer, in elements.
Definition at line 28 of file ThArray.h.
template<typename _T >
| void ThArray< _T >::LowerSignal |
( |
|
) |
[inline] |
template<typename _T >
| void ThArray< _T >::RaiseSignal |
( |
|
) |
[inline] |
template<typename _T >
| void ThArray< _T >::Release |
( |
|
) |
const [inline] |
The documentation for this class was generated from the following file:
- C:/Bootstrap/ProjectBX/Documentation/Code/Engine/Common/ThArray.h


Because this inspection requires global code analysis it is only available for Analyze|Inspect Code or Analyze|Run Inspection by Name and it will not report in the editor.
Use the checkbox below to have this inspection only report directories under source roots.


Review: Whipped (1999)
[2.5/4.0]
The topic of romance and dating in American society is easily relatable since most young people devote a large amount of energy to dealing with it. Although they both eventually aim towards the common target of marriage, men and women may have different approaches to and attitudes towards dating. Men can be dishonest in their pursuit of women simply to initiate a relationship in which sex plays an important role. This film is about a group of male scammers, men who will do or say anything in order to enter a sexual relationship with a woman, and a woman who infiltrates and disrupts the group.
Four young men meet regularly on Sundays to discuss their dating exploits of the past weekend. Brad (Brian Van Holt) is a Wall Street type with athletic good looks. Zeke (Zorie Barber) is an unemployed writer with a huge ego. Jonathan (Jonathan Abrahams) is less overtly macho, and usually has fewer victory stories. The final individual, Eric (Judah Domke), used to be a core member of the group, but he is now somewhat viewed as an outsider since getting married.
The group's normal existence is perturbed when Brad, Zeke, and Jonathan start dating a woman that they develop serious feelings for. It becomes chaotic when they find they are all dating the same woman, Mia (Amanda Peet). Mia's refusal to choose just one of the three, along with the guys' refusal to give her up undermines their friendship. Eric also becomes involved because the relationships with Mia threaten to disband the men's club that is his only respite from the drudgery of his married life.
The story is basically a comedy, with primarily dialog based humor and witty observations of the almost military tactics that are involved in the dating process. Not all of the gags work, many of them are simply gross or pathetic, but others are creative and insightful. The frank portrayal of jesting character attacks between male friends is accurate and entertaining. It does attempt to present a thoughtful premise as the framework for the plot, namely that men would be miserable if their own tactics were used against them. However, any philosophical issues are only explored in a cursory manner, since they are used simply as a skeleton on which to build the plot rather than as a source of creativity. The intent of the film is mainly to be entertaining, and it succeeds in getting laughs from the audience. It would have been a better film if it had explored the dramatic angle that it pretended it had.
It is often difficult to construct a comedy primarily around dialog, but writer and director Peter M. Cohen is successful in keeping the comedy flowing. Although some of the developments appear contrived and many of the transitions are forced, the humor creates a momentum that propels the plot through its rough points. It is important to note that the raunchy humor could be offensive to viewers who are not comfortable with frank, and often crude, discussions of sexuality. The original cut of the film garnered an NC-17 rating, which was reduced to R after some of the dialog was toned down.
Although the marketing for the film indicates that it is a vehicle for Amanda Peet, the role of Mia is actually less important, and less interesting, than any of the four primary men. Peet is successful in the role, but the character is limited in scope. All the four primary male characters are well portrayed, although they occasionally become exaggerated.
Recommended. The film does not set lofty goals, but it is successful in generating laughs. The humor is primarily based around sexuality and is definitely coarse, so it may not entertain a general audience.  The film is targeted towards a younger audience which is as obsessed with the opposite sex as the film's characters.
(c) 2000 Murali Krishnan The Art House Squatter http://ArtHouseSquatter.com
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


HMSSDK
takes an instance of HMSConfig and joins the room after joining the room user will start receiving the events and updates of the room
Calls leave function of native sdk and session of current user is invalidated
Generated using TypeDoc
HMSSDK


{% include head.html %}
{% include after_body_open.html %} {% include navigation.html blogActive="mActive" %}
{{ content }}
{% include footer.html %} {% include js.html %}


[§98-4] Legal material in official electronic record. (a) If an official publisher publishes legal material only in an electronic record, the publisher shall:
(1) Designate the electronic record as official; and
(2) Comply with sections 98-5, 98-7, and 98-8.
(b) An official publisher that publishes legal material in an electronic record and also publishes the material in a record other than an electronic record may designate the electronic record as official if the publisher complies with sections 98-5, 98-7, and 98-8. [L 2013, c 11, pt of §1]


THE KINGDOM (RIGET) A film review by Peer Wandel Hansen Copyright 1994 Peer Wandel Hansen
Rating (0 to 10): 8.2
Date Released: 12/15/94 Running Length: 4:30 Starring: Kirsten Rolffe, Ernst Hugo Jaeregaard, Soeren Pilmark, Ghita Noerby, Solbjoerg Hoejfeldt, Jens Okking, Holger Juul Hansen, Birgitte Raabjerg and more .. Director: Lars von Trier and Morten Arnfred Story: Niels Voersel and Lars von Trier Cinematography: Eric Kress Music: Joachim Holbek Released by: Danmarks Radio and Zentropa film
The story is situated in the Danish National Hospital (Rigshospitalet) a.k.a. The Kingdom (Riget). The site was originally a bleach pond where clothes were damped and laid out in the sun to bleach, causing the moor to be constantly shrouded in fog. Now the Hospital is located were the pond used to be, with all its doctors, scientists and technology, defining life so superstition never again will shake believe in science. But perhaps this arrogance and the consistent denial of the spiritual has been too much. The cold and moisture have returned and the solid and fashionable building has begun to show signs of fatigue. The gate to the Kingdom has begun to reopen.
This is how the new thriller from Lars von Trier opens. Originally THE KINGDOM was a television series in four parts, but simultaneously it has now been released as a movie. One of the main characters is mrs. Drusse, a professional patient and clairvoyant, who hears the cry of a little girl ghost in the corridors of the Hospital. Her task is to reveal the plot of the film. Whenever she is discharged, she invents a new disease to be hospitalized so she can explore the mystery.  This is one of the characteristics in Lars' movies: to blend scientific research and metaphysics, science and superstition, the exact and the occult.
The inspiration from "Twin Peaks" is turned from fire into water steaming from the broken pipes in the basement parking lot.  There are many references to other pictures, Ridley Scott having provided material to some of the spiritualistic scenes.
Eventually the story reaches its climax in the end where the Minister of Health visits the hospital and all the spirits are led loose. The series reached almost cult status in Denmark: while it was running in December, the streets were almost empty when a new episode was shown. Everywhere people were discussing the latest development in the series, more often than to debate the weather. It will be exiting to see the promised sequel, and how the rest of the world will welcome this black-humoured thriller.
.
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


Meaning: (of an animal)having normal physical functions suspended or slowed down for a period of time; in or as if in a deep sleep.(of a plant) alive but not growing. (of a volcano) temporarily inactive.
Example: Some volcanoes are dormant.


{% extends "layout.html" %} {% block content %}
Either are there no members in database or bad db connection perhaps?


BLACK RAIN A film review by Randy Parker Copyright 1996 Randy Parker
RATING: **1/2 (out of ****)
(Review written in 1989)
BLACK RAIN has all the trappings of a hit movie. Its director is Ridley Scott, best known for ALIEN and BLADE RUNNER. The movie was produced by the red hot team of Stanley Jaffe and Sherry Lansing, who gave us THE ACCUSED and FATAL ATTRACTION. The lead role is played by Michael Douglas, a proven box office draw. With this line-up, it should come as no surprise that BLACK RAIN is as slick as the beaches in Alaska. But unfortunately, while it looks great on the surface, BLACK RAIN is empty at the core.
Douglas plays Nick Conklin, a street-smart New York detective. Andy Garcia plays his partner, Charlie. Together, they're assigned to deliver a vicious killer to the police in Osaka, Japan. But at the airport, their prisoner escapes, and they're forced to stay in Osaka to recapture him. The movie offers loads of gritty and gory action, while also exploring the culture clash between the American detectives and their Japanese counterparts.
Conklin is your generic, macho tough guy.  And therein lies a major problem with BLACK RAIN: the main character is not only unlikable, but also an uninspired regurgitation of Dirty Harry and his imitators.
Andy Garcia is appealing as Charlie, but unfortunately his character is woefully underdeveloped. Kate Capshaw provides unnecessary window-dressing in a small supporting role. The stand-out is Ken Takakura, a Japanese superstar appearing in his first high-profile American film. He plays the conservative, Japanese detective assigned to baby-sit the American cops. Takakura showers his character with depth and conviction, but there's only so much he can do with the limited screenplay. The movie invests far too much energy into its cops and robbers plot and far too little into character development.
The real stars of BLACK RAIN are the stunning direction and exotic setting. BLACK RAIN is the first American production to be filmed in Osaka, Japan's third largest metropolis. The city streets are crowded and bustling with life. The night-time is pierced by more neon than you'd find in Las Vegas and Times Square combined. Ridley Scott captures Osaka's excitement and intensity with a strong eye for composition. His lighting and shadow effects are exquisite and live up to the finest film noir.
The movie's problem is that it asks us to take it seriously as a character study and as a cross-cultural comparison. But on those levels, BLACK RAIN is a washout.
~~~~~~~~~~ Randy Parker http://www.shoestring.org --> "1,000 Voices In The Dark" --> Weekly Movie Reviews & Interviews
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


This file contains an overview of the Creativision runtime system as it comes with the cc65 C compiler. It describes the memory layout, Creativision specific header files, available drivers, and any pitfalls specific to that platform.
Please note that Creativision specific functions are just mentioned here, they are described in detail in the separate function reference. Even functions marked as "platform dependent" may be available on more than one platform. Please see the function reference for more information.
The standard binary output format generated by the linker for the Creativision target is a 4 KB ROM image. To create an 8 KB ROM a custom linker script has to be used.
cc65 generated programs with the default setup are 4 KB in size, occupying $B000 - $BFFF. Usable memory space for the user program is $B000 - $BEFF. $BF00 - $BFFF is reserved for the runtime and cartridge configuration area.
Special locations:
The text screen is located at VRAM $1000.
The C runtime stack is located at $03FF and growing downwards.
The available RAM for cc65 programs of an unexpanded Creativision starts at $01FA and ends at $03FF.
The C heap is located at the end of the program's data area and grows towards the C runtime stack.
Programs containing Creativision specific code may use the creativision.h
header file.
No graphics drivers are currently available for the Creativision.
No extended memory drivers are currently available for the Creativision.
creativision-stdjoy.joy (creativisionstd_joy)
A joystick driver for the standard joystick is available.
No mouse drivers are currently available for the Creativision.
No communication port drivers are currently available for the Creativision.
The existing library for the Creativision doesn't implement C file
I/O. There are even no hacks for the read()
and write()
routines.
To be more concrete, this limitation means that you cannot use any of the following functions (and a few others):
This software is provided 'as-is', without any expressed or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.
Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:


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Vinga
Flexible and Fast
Any icon you want from FontAwesome 5, and any color or size you want as well!
Get startedCaptions Everywhere
The coverpage slider is made to be flexible, and easy to style, give it a quick swipe left.
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The core difference between arrays and hashes are that arrays are ordered lists that correspond to unique integers you can use to reference them within that list, and hashes are lists of keys and their values or attributes with no other order than that in which you enter them. A hash can be called an "associative array" because it allows you to list objects (like an array does) but associates values with them. What gets complicated about calling a hash an associative array is that may confuse you into thinking that hashes retain other characteristics of arrays (such as order) that they don't actually possess.
Creating an array might look something like this:
While a hash would show key-value pairs like this:
Notice that an array can have different kinds of elements in it at the same time. In this example, it has integers, floats, and strings. Arrays can also store other arrays to create multi-dimensional rays. They can even store hashes. But hashes will only store key-value pairs.
Both of these classes are used to store data about sets of objects, and both have many different methods you can call on those sets in order to get information out of them; arrays, however, have many more methods than hashes do. Be careful, because these methods often share the same names, but have different effects depending on whether you're using them on hashes or arrays.
Hashes are great for simple, short-term storage of data and some developers find them quick and easy substitute for creating custom classes when you only need to store one value for each object keyed into your hash. Where arrays become useful is for large datasets, or datasets where you need to store and access more than one value for objects within your array. That's when you have "arrays of arrays" which can be thought of like tables &mdsh; this is where the importance of the elements within arrays being indexed by unique integers really begins to make sense: those unique integers in combination allow you to reference the exact location within the array of the value you're seeking, and allow you to easily navigate the data within the array by going an integer up or down, and so on. If all you need is a two-column table with a key in the first column and a value in the second, the hash will do just fine, though you'll find key-value pairs within arrays, as well.


Features
Default Grid
Divided Container
Magic Grid
Header
Menu Default
Dashboard Menu
Logo
Buttons
Icons
Form Elements
Floating Placeholder
Sticky Element
Property Items
Articles
Promo Sections
Modals
Accordion
Hero Search Horizontal
Hero Search Vertical
Slick Carousel
Slick Hero Big
Slick Full Page Search
Charts
Progressbar
Hamburger Icon
Calendar
Price Range Slider
Typography
Code
Image
Image Gallery
Table
Messages
Vendor
My Listings
Add New Listing
Emma
My Profile
Account Settings
Log Out
My Profile
My Listings
My Settings
Messages
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Coupons
Reports
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First Name
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Description
How wonderful it is that nobody need wait a single moment before starting to improve the world. – Anne Frank
Main Language
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About
My name is Stephanie Pirman. I am a Computer Science and Engineering Major with an emphasis in Information and Computational Assurance at OSU 2020. I serve as the president of the Ohio State Student Chapter of Women in CyberSecurity and as the treasurer of Cyber Security Club.


I am a Software Development Engineer predominantly involved in developing parallel programming interface modules
for High-Performance Computing Systems at IBM Systems Development Labs.
My Interests includes High-Performance Computing, Compilers, Algorithms, Machine Learning, Artificial
Intelligence.
I always like to ponder and learn new things I’m planning to share some of
my projects, learnings and sketches here.


CON AIR A film review by Edwin Jahiel Copyright 1997 Edwin Jahiel
CON AIR ** Directed by Simon West. Written by Scott Rosenberg. Produced by Jerry Bruckheimer Pictures / Buena Vista Pictures.Photography, David Tattersall. Editing, Chris Lebenzon, Steve Mirkovich. Music, Mark Mancina, Trevor Rabin. Special effects, Computer Film Company / Dream Quest. Cast: Nicolas Cage (Cameron Poe), John Cusack (US Marshal Vince Larkin), John Malkovich ( Cyrus "The Virus" Grissom), Steve Buscemi ( Garland "The Marietta Mangler" Greene),Nick Chinlund (Billy "Billy Bedlam" Bedform), Rachel Ticotin ( Guard Sarah Bishop), Colm Meaney ( Agent Duncan Malloy), M.C. Gainey (Jimmy Earl "Swamp Thing" West), Ving Rhames (Nathan "Diamond Dog" Jones), Brendan Kelly ( Conrad), Mykelti Williamson (Baby O), Danny Trejo (John "Johnny 23" Baca), Renoly (Sally Can't Dance), et al. A Buena Vista release. 115 min. Rated R (extreme violence and language).
As I staggered from the excesses of "Con Air" into the daylight, I thought that the category this and many other pictures belong to is "Traction Movies," short for Trash and Action. What sets "Con Air" in a niche within Traction films, seems to be that no other film I remember has had such a colossal number of camera shots.
This is done by keeping them brief and keeping them coming at you at an average rate of about one shot per second. Since, minus final credits, this movie runs about 112 minutes, times 60 this makes it a total of 6720 seconds or 6720 images. If I am wrong, it still feels that way.
Thanks to a cast of able actors ( Cage, Cusack, Malkovich, Buscemi, others) the film survives. The performers, given a lot to do physically and very little thespianly are caricatural, one-dimensional cliches, yet each does the most with what he has. The good guys (plus Guard Rachel Ticotin) though not always pleasant, are in law enforcement. The much-worse-than-bad, arch-criminal guys are convicts.
The real hero, however, is Cameron Poe whom Nicholas Cage plays with a drawl and with what might just be a certain amount of boredom. As a just discharged ace Army Ranger, he meets his pretty (blonde, of course) waitress wife who is pregnant. Defending her against some drunken scum, he accidentally kills one of them.
This involuntary manslaughter sends Cage to the pen for eight years in an unlikely miscarriage of justice. The man is a model prisoner. He keeps fit, betters himself, reads constantly, does origami, corresponds sweetly with wife and daughter -- and in case you missed that fleeting shot, also has a lithograph of Jesus on his wall.
 Not merely The Dirty Dozen but the Amazingly Filthy And Then Some Dozen. In ways that stun one's imagination, the cons, though thoroughly searched, carry the means to take over the plane. They do just that, triggering the Law's search for and duels with, the beastly hijackers.
Their leader is Cyrus the Virus (Malkovich) whose viciousness is matched by his amazingly high I.Q. and who initially wears an absurd Hannibal Lecter mask. The smartest lawman is John Cusack, whose efforts are complicated by Agent Colm Meaney, here a sort of meanie, but familiar as a wonderfully warm Irish dad in "The Snapper," and warm too in the lesser "The Van."
Cage is, of course, The Man Who Will Save the Situation. A Great Guy through and through, at times almost saintly, he must vanquish the criminals if he wants to see his family, also to save Guard Ticotin from rape and to get insulin for his best buddy who is also in the plane.
The machine-gun-fast succession of events or fractions of events becomes from the start such overkill (in all senses) that you can't really keep up with details. The facts are impossible to describe, remember, or to make any sense of. It's an orgy of plot-holes, contradictions and impossibilities. The audience sits there with eyes and brains numbed. By the time the may try to formulate an objection or ask a neighbors "what happened?" a new situation is already on the screen, then another, then another. (Among the myriad question marks is why Buscemi is given such slick aphorisms and why he does not assassinate a little girl).
The movie is as understanding-proof as it is critic-proof, meaning that it will make money even if all the reviews are bad. And bad they should be, except that "Con Air," no matter how insane or guilty of esthetic, moral and cinematic crimes, is not boring. It keep going and it keeps you going.
 The immense absurdity is campily comical. It makes you wonder if Swamp Thing should not get a medal.
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


Documentation
Compares the current class index for CLASS to the class index
that's specified in the :INDEX class option of CLASS. An obsolete
class index (i.e. a class index that's specified anymore in the class
option) is removed, new class indexes are added.
Source
(defgeneric rucksack-update-class-index (rucksack class)
(:documentation
"Compares the current class index for CLASS to the class index
that's specified in the :INDEX class option of CLASS. An obsolete
class index (i.e. a class index that's specified anymore in the class
option) is removed, new class indexes are added."))
Source Context


Trumail is a fast and accurate email address verification API written entirely in Go. It was built with the intention of providing software engineers and businesses with a simple and easy to use solution to bounced emails.
Whether you're a developer writing an application that requires the registration of new valid users or a business with a large mailing list, Trumail can handle the heavy lifting of verifying the validity of your email addresses so that you can make a confident decision on whether or not to dispatch messages to a given address.
We currently provide a real-time lookup API which allows you to make an instant informed decision on user validity. In the near future we hope to have Bulk Lookups fully implemented.
To protect you and your users contact information, we DO NOT store any lookup data on our own servers. This is a basic API service and we therefore have no database to store data in. All that is currently collected are request logs in order to debug issues with the API, all of which are pruned every 1,500 messages (according to Herokus documentation).


A Blinky is a message that can be retrieved once.
Once retrieved, a Blinky is destroyed. It cannot be retrieved again.
Once created, a unique Blinky URL is the only way to retrieve the Blinky.
New Create a new Blinky or clear this one.
Your entered some text, but did not create a blinky yet!
 Please make sure you copied the message sent to you before you create a new one, navigate away, or close your browser.


Visit
https://github.com/lisawilliams/intro-to-tableau
This is where you will find all the resources for today's lesson. Bookmark this page! It is also where you will find a link to download the files and datasets we will be working with.
If you haven't done so already, download Tableau.
If you have an .edu address: tableau.com/academic/studentsHow To Spot
Manipulative and Deceptive
Charts and Graphs


study
1D WMD (95% Cl)
Risedronate Control
Muren 2015 =1.60 (-5.54, 2.34) Skoldenberg 2011 1.40 (-1.67, 4.47) Kumar 2011 0.20 (-2.99, 3.39)
Overall (I-squared = 0.0%, p = 0.500) 0.24 (-1.69, 2.17)
P=0.805
NOTE: Weights are from random effects analysis
Weight
23.95
39.48
36.56
100.00
554 ° 554


This is small template of web-project well tuned for fast building robust web-applications based on JavaScript technologies.
{{thing.description}}


Implementation of IOStream to read directly from a memory buffer.
More...
Inherits Assimp::IOStream.
Implementation of IOStream to read directly from a memory buffer.
◆ MemoryIOStream()
| Assimp::MemoryIOStream::MemoryIOStream |
( |
const uint8_t * |
buff, |
|
|
size_t |
len, |
|
|
bool |
own = false |
|
) |
| |
|
inline |
◆ ~MemoryIOStream()
| Assimp::MemoryIOStream::~MemoryIOStream |
( |
| ) |
|
|
inline |
◆ FileSize()
| size_t Assimp::MemoryIOStream::FileSize |
( |
| ) |
const |
|
inlinevirtual |
◆ Flush()
| void Assimp::MemoryIOStream::Flush |
( |
| ) |
|
|
inlinevirtual |
Flush the contents of the file buffer (for writers) See fflush() for more details.
Implements Assimp::IOStream.
◆ Read()
| size_t Assimp::MemoryIOStream::Read |
( |
void * |
pvBuffer, |
|
|
size_t |
pSize, |
|
|
size_t |
pCount |
|
) |
| |
|
inlinevirtual |
Read from the file.
See fread() for more details This fails for write-only files
Implements Assimp::IOStream.
◆ Seek()
Set the read/write cursor of the file.
Note that the offset is negative for aiOrigin_END. See fseek() for more details
Implements Assimp::IOStream.
◆ Tell()
| size_t Assimp::MemoryIOStream::Tell |
( |
| ) |
const |
|
inlinevirtual |
Get the current position of the read/write cursor.
See ftell() for more details
Implements Assimp::IOStream.
◆ Write()
| size_t Assimp::MemoryIOStream::Write |
( |
const void * |
pvBuffer, |
|
|
size_t |
pSize, |
|
|
size_t |
pCount |
|
) |
| |
|
inlinevirtual |
Write to the file.
See fwrite() for more details This fails for read-only files
Implements Assimp::IOStream.
◆ buffer
| const uint8_t* Assimp::MemoryIOStream::buffer |
|
private |
◆ length
| size_t Assimp::MemoryIOStream::length |
|
private |
◆ own
| bool Assimp::MemoryIOStream::own |
|
private |
◆ pos
| size_t Assimp::MemoryIOStream::pos |
|
private |
The documentation for this class was generated from the following file:


I've been doing a bunch of work on the filebrowser example in Paste (new site!), which is also an example of Wareweb. It's even a bit CMS-ish now (I'm actually using it to edit a site).
Anyway, unlike before, now there is a live demo for you to try. It's by no means feature-complete (or even feature-consistent), but I'm quite pleased with it.
As an aside, right now I'm using Noia KDE icons, but I'm not that pleased with them -- does anyone have another free icon set they'd recommend?
I'm a big fan of Nuvola (http://www.icon-king.com/goodies.php), which is an LGPL icon set.
Very cool stuff! I hadn't really paid attention to the filebrowser until I saw what you meant in the live demo. The ease of use factor is HUGE. I've since shown a couple people what you've been doing and saw the cartoon iris dialation in their eyes; they were impressed. "I want it!" one web developer exclaimed! Nice work.
point of interface design: i think the mac expansion triangles are better -
> unexpanded v expanded blah


News story
The contest to be the apprentice team of the year is now underway, with 700 apprentices entering the Brathay Apprentice Challenge 2015.
Supported by the National Apprenticeship Service, Brathay Apprentice Challenge competitors will compete over the next few months to prove they have the best team building, logistical, leadership and community skills to claim the title. The winning team will be announced in July 2015.
Sue Husband, Director of the National Apprenticeship Service, said: “The Brathay Apprentice Challenge attracts a wide range of organisations year on year and gives them a chance to develop the skills of their apprentices by pulling them out of their comfort zones.
“The skills that the apprentices learn not only benefit themselves, but also their organsiations by creating a workforce that has excellent team building, logistical and communications abilities. These skills can be transferred to the workplace as well as helping apprentices reach the higher positions in an organisation.”
For more information on the Brathay Apprentice Challenge, visit www.brathay.org.uk/challenge .
Published: 9 January 2015
From: Skills Funding Agency
Part of: Further education and training


4.2.1. AUG.SXR¶
<IP_ADDRESS>. AUG.SXR.geom¶
-
tofu.plugins.AUG.SXR.geom.
create
(shot=0, VesName='V1', SavePathObj=None, Root='/afs/ipp-garching.mpg.de/home/d/didiv/Python/tofu', forceshot=False, overwrite=False, save=True, dtime=None, dtFormat='D%Y%m%d_T%H%M%S', CalcEtend=True, CalcSpanImp=True, CalcCone=True, CalcPreComp=True, Calc=True, Verb=True, Etend_Method='quad', Etend_RelErr=0.001, Etend_dX12=[0.01, 0.01], Etend_dX12Mode='rel', Etend_Ratio=0.02, Colis=True, LOSRef='Cart', Cone_DRY=0.0025, Cone_DXTheta=0.0030679615757712823, Cone_DZ=0.0025, Cone_NPsi=20, Cone_Nk=60)[source]¶ Create, save and return all the GDetect objects relevant for the input shot, unless already created for a relevant reference shot
Create the
tofu.geom.GDetect
objects (i.e.: the cameras, which are groups of detectors) from geometry taken from CSX disgnostic for the proposed shot or earlier (looks for the oldest version of the matching geometry) and stores them in the SavePathObj.All extra arguments are fed to
Detect
Parameters: - shot (int) – Shot number for which to build the geometry
- VesName (str) – Name of the tfg.Ves object to be fed as an input to the
tofu.geom.GDetect
objects - SavePathObj (None / str) – Absolute path where the created
tofu.geom.GDetect
objects should be saved (if save=True), if None the default is used - Root (str) – If SavePathObj=None, a default value is created by appending ‘/tofu/plugins/AUG/SXR/geom/Objects/’ to Root
- forceshot (bool) – Flag indicating whether the shot number shall be downgraded to the oldest shot with the same geometry (False) or whether the provided shot number shall be enforced (True, for all camera heads)
- overwrite (bool) – Flag indicating whether new
tofu.geom.GDetect
objects shall be computed (and possibly saved) when similar ones already exist (True) - save (bool) – Flag indicating whether to save the created
tofu.geom.GDetect
objects (in SavePathObj) - dtime (None / dtm.datetime) – If provided (i.e.: not None), used as a label of the created
tofu.geom.GDetect
objects (mostly used for debugging) - dtFormat (str) – The time format to be used for labelling the created
tofu.geom.GDetect
objects (mostly used for debugging)
Returns: LGD (list) – A list of all the created tfg.GDetect objects
-
tofu.plugins.AUG.SXR.geom.
load
(Cams=None, shot=None, SavePathObj=None, Root='/afs/ipp-garching.mpg.de/home/d/didiv/Python/tofu', sort=False, out='full', Test=True)[source]¶ Load and return the desired
GDetect
objects (i.e.: camera heads)Directly fecthes and loads the desired
GDetect
objects.Parameters: - Cams (str / list) – A name or a list of names of the camera heads to be loaded (available are [‘F’,’G’,’H1’,’H2’,’H3’,’I1’,’I2’,’I3’,’J1’,’J2’,’J3’,’K1’,’K2’,’L’,’M’])
- shot (int / float / np.float) – A shot number indicating which version of the geometry should be loaded (the )
- SavePathObj (None / str) – Absolute path where the created
tofu.geom.GDetect
objects should be saved (if save=True), if None the default is used - Root (str) – If SavePathObj=None, a default value is created by appending ‘/tofu/plugins/AUG/SXR/geom/Objects/’ to Root
- sort (bool) – Flag indicating whether the loaded
tofu.geom.GDetect
objects shall be returned sorted by alphabetical order of the names (True) or in the same order as asked in Cams (False) - out (str) – Flag indicating whether the object should be loaded completely (‘full’), in a light dismissing the heaviest attributes (‘light’) or whether only the Id or a list of Id should be returned (‘Id’), valid only for ‘.npz’
- Test (bool) – Flag indicating whether the inputs should be tested for conformity
- Returns –
- -------- –
- LGD (list /
tofu.geom.GDetect
) – The loadedtofu.geom.GDetect
, returned as a single object if Cams was provided as a single name, as a list otherwise
<IP_ADDRESS>. AUG.SXR.data¶
-
tofu.plugins.AUG.SXR.data.
load
(shot=None, Names=None, Mode='SSX', Dt=None, Join=True, tRef='fmin', Method='interp', NoGeom=True, Tofu=True, Verb=True, Test=True)[source]¶ Load SXR data from the AUG database and returns it either as numpy arrays or a ToFu-compatible object with appropriate methods
Part of the difficulty is that all channels do not have the same sampling frequency and time vector. Hence, there is an option to uniformize the time base.
Parameters: - shot (int) – Shot number for which the SXR data should be loaded
- Names (None / str / list) – If provided, data is loaded only for the specified channel(s)
- Mode (str) – Flag indicating whether data should be loaded from a down-sampled database (‘SSX’, , faster loading) or from the complete database ( depending on the channel)
- Dt (None / iterable) – If provided, a len()=2 iterable giving the time interval of interest (recommended to avoid very large data files)
- Join (bool) – Flag, useful when Mode=’SX’, indicating whether the different time bases of the channels shall be uniformized
- tRef (None / str / np.ndarray) –
- Flag or time vector, useful when Mode=’SX’ and Join=True, indicating which time basis should be used as a reference
- ‘fmin’: the time vector of the channel presenting the smallest sampling frequency is used as a reference
- ‘fmax’: the time vector of the channel presenting the highest sampling frequency is used as a reference
- any channel name: the time vector of the specifiec channel is used as a reference
- np.ndarray: the provided time vector is used as a reference
- Method (str) – Flag, usefule when Mode=’SX’ and Join=True, indicating how the
- NoGeom (bool) –
- Flag indicating whether the data should be stripped of its geometrical calibration factor (thus being expressed in W instead of W/m2), to allow for:
- Application of a tofu-computed etendue in case of a LOS approach
- Direct use of the signal in case of a VOS approach
- Tofu (bool) – Flag indicating whether the loaded data should be returned as (SXR, t, Names) where the first two are np.ndarrays and Names is a list or as a tofu.data.PreData object
- Verb (bool) – Flag indicating whether extra comments should be printed to give feedback on the progress of the routine
- Test (bool) – Flag indicating whether the inputs should be tested for conformity
Returns: out (tuple / tofu.data.PreData)


As you see, this is nowhere near finished. I published this to try and pressure myself to finish it faster. You can see how well this is working right here.
Here are Nux:
Mathtest:
Inserttest:


Communication and professionalism are my main skills
Coming from a social sciences background and transferring my skills into a technical-focused career, I am able to to connect with others professionally while keeping a technical and task-oriented approach.


Get in Touch
Send a general message or details of a project you'd like me to be a part of and I'll get back to you as soon as possible.
Send a general message or details of a project you'd like me to be a part of and I'll get back to you as soon as possible.


Introduction
This index provides links to some useful pages in the documentation:
Usage instructions - how to use this library in a web browser or a NodeJS application.
How to contribute - if you want to understand the code, develop, contribute.
Upgrading - if you are using older versions and wish to benefit from newer features.
Legacy Documents - Original documentation (external link). Outdated.
API Reference for important entities:
License - Apache v2 License


Basic schema that validates values against a set of validation rules.
More...
Basic schema that validates values against a set of validation rules.
This schema is used as a basis for specific schemas to validate objects, project properties, arrays and maps.
See ObjectSchema, PropertySchema, ArraySchema, MapSchema
◆ Schema() [1/2]
| PipServices3.Commons.Validate.Schema.Schema |
( |
| ) |
|
Creates a new instance of validation schema.
◆ Schema() [2/2]
| PipServices3.Commons.Validate.Schema.Schema |
( |
bool |
required, |
|
|
List< IValidationRule > |
rules |
|
) |
| |
Creates a new instance of validation schema and sets its values.
- Parameters
-
| required | (optional) true to always require non-null values. |
| rules | (optional) a list with validation rules. |
◆ MakeOptional()
| Schema PipServices3.Commons.Validate.Schema.MakeOptional |
( |
| ) |
|
Makes validated values optional. Validation for null values will be skipped.
This method returns reference to this exception to implement Builder pattern to chain additional calls.
- Returns
- this validation schema
◆ MakeRequired()
| Schema PipServices3.Commons.Validate.Schema.MakeRequired |
( |
| ) |
|
Makes validated values always required (non-null). For null values the schema will raise errors.
This method returns reference to this exception to implement Builder pattern to chain additional calls.
- Returns
- this validation schema
◆ PerformTypeValidation()
| void PipServices3.Commons.Validate.Schema.PerformTypeValidation |
( |
string |
path, |
|
|
object |
type, |
|
|
object |
value, |
|
|
List< ValidationResult > |
results |
|
) |
| |
|
protected |
Validates a given value to match specified type. The type can be defined as a Schema, type, a type name or TypeCode When type is a Schema, it executes validation recursively against that Schema.
- Parameters
-
| path | a dot notation path to the value. |
| type | a type to match the value type |
| value | a value to be validated. |
| results | a list with validation results to add new results. |
◆ Validate()
| List<ValidationResult> PipServices3.Commons.Validate.Schema.Validate |
( |
object |
value | ) |
|
Validates the given value and results validation results.
- Parameters
-
| value | a value to be validated. |
- Returns
- a list with validation results.
◆ ValidateAndThrowException()
| void PipServices3.Commons.Validate.Schema.ValidateAndThrowException |
( |
string |
correlationId, |
|
|
object |
value, |
|
|
bool |
strict = false |
|
) |
| |
Validates the given value and returns a ValidationException if errors were found.
- Parameters
-
| correlationId | (optional) transaction id to trace execution through call chain. |
| value | a value to be validated. |
| strict | true to treat warnings as errors. |
◆ WithRule()
Adds validation rule to this schema. This method returns reference to this exception to implement Builder pattern to chain additional calls.
- Parameters
-
| rule | a validation rule to be added. |
- Returns
- this validation schema.
The documentation for this class was generated from the following file:


This command allows the user to define a new color within GrADS. The syntax is:
set rgb color# R G B
where:
color#
is the color number; it can range from 16 to 99 (or 255 -- see Usage Note #1) R
is the Red value (0-255) G
is the Green value (0-255) B
is the Blue value 0-255)
The new color is referred to by its color#
in any GrADS command that allows specification of colors.
color#
must be a value between 16
and 99
-- 0
to 15
are
predefined.
gxps
will make use of any
new color settings although the output colors will be
printer-dependent and should be checked for the desired
rendering. When converting new color settings into grayscales, gxps
will translate the
GREEN intensity ONLY into a new greyscale value. Note that gxps
does have a predefined
mapping between color values from 0 to 15 such that the predefined rainbow sequence is rendered into a
fairly pleasing greyscale gradation; this cannot be done for newly
defined colors.
set rgb 50 200 200 200
Defines a new color number, 50
, and
assign a color to it. In this case, the color would be a light gray.


NUCLEAR ENERGY
Section 8. No nuclear fission power plant shall be constructed or radioactive material disposed of in the State without the prior approval by a two-thirds vote in each house of the legislature. [Add Const Con 1978 and election Nov7, 1978]


[§514A-93.3] Service of process. The board of directors shall establish a policy to provide reasonable access to persons authorized to serve civil process in compliance with section 634-21.5. [L 2009, c 158, §§3, 8; am L 2011, c 65, §1]


This project involved coming up with a theme for an upcoming issue of Photoplus magazine. This publication is known for giving the latest tips and tricks for the latest Canon cameras out in the market and my job for this project was to design the cover and a feature story within the issue.
I came up with a special “Black and White Edition” for this project.. Photoplus magazine primarily focuses on on vibrant, colorful, and visually compelling still images taken with Canon cameras, but I though it would be more interesting to create an issue that featured the beauty of black and white photography.
It’s kind of award sell to convince editors of a publication that’s in the business of color pictures to try and sell the idea of black and white, but the direction was a good idea to break the monotony of continually producing color issues.


Real-time Visualization of US Twitter Sentiment
Stack
: Storm Topology, Twitter Streaming API, Bing Maps API, JMS, ActiveMQ, Camel, WebSockets and Highcharts
Start Viz
Stop Viz


Numbers #
Math.js supports two types of numbers:
- Number for fast floating point arithmetic, described on this page.
- BigNumber for arbitrary precision arithmetic, describe on the page BigNumbers.
Configuration #
Most functions can determine the type of output from the type of input:
a number as input will return a number as output, a BigNumber as input returns
a BigNumber as output. Functions which cannot determine the type of output
from the input (for example math.eval
) use the default number type, which
can be configured when instantiating math.js:
math.config({
number: 'number' // Default type of number: 'number' (default) or 'bignumber'
});
Round-off errors #
Math.js uses the built-in JavaScript Number type. A Number is a floating point
number with a limited precision of 64 bits, about 16 digits. The largest integer
number which can be represented by a JavaScript Number
is +/-<PHONE_NUMBER>740992
(+/- 2^53
). Because of the limited precision of
floating point numbers, round-off errors can occur during calculations.
This can be easily demonstrated:
// a round-off error
0.1 + 0.2; // 0.30000000000000004
math.add(0.1, 0.2); // 0.30000000000000004
In most cases, round-off errors don't matter: they have no significant impact on the results.  A solution is to limit the precision just below the actual precision of 16 digits in the displayed output:
// prevent round-off errors showing up in output
var ans = math.add(0.1, 0.2); // 0.30000000000000004
math.format(ans, {precision: 14}); // '0.3'
Minimum and maximum #
A Number can store values between 5e-324
and 1.7976931348623157e+308
.
Values smaller than the minimum are stored as 0
, and values larger than the
maximum are stored as +/- Infinity
.
// exceeding the maximum and minimum number
console.log(1e309); // Infinity
console.log(1e-324); // 0
Equality #
Because of rounding errors in calculations, it is unsafe to compare JavaScript
Numbers. For example executing 0.1 + 0.2 == 0.3
in JavaScript will return
false, as the addition 0.1 + 0.2
introduces a round-off error and does not
return exactly 0.3
.
To solve this problem, the relational functions of math.js check whether the
relative difference between the compared values is smaller than the configured
option epsilon
. In pseudo code (without exceptions for 0, Infinity and NaN):
diff = abs(x - y)
nearlyEqual = (diff <= max(abs(x), abs(y)) * EPSILON) OR (diff < DBL_EPSILON)
where:
EPSILON
is the relative difference between x and y. Epsilon is configurable and is1e-14
by default. See Configuration.DBL_EPSILON
is the minimum positive floating point number such that1.0 + DBL_EPSILON != 1.0
. This is a constant with a value of approximately2.2204460492503130808472633361816e-16
;
Note that the relational functions cannot be used to compare small values
(< 2.22e-16
). These values are all considered equal to zero.
Examples:
// compare values having a round-off error
console.log(0.1 + 0.2 == 0.3); // false
console.log(math.equal(0.1 + 0.2, 0.3)); // true
// small values (< 2.22e-16) cannot be compared
console.log(3e-20 == 3.1e-20); // false
console.log(math.equal(3e-20, 3.1e-20)); // true
The available relational functions are: compare
, equal
, larger
,
largerEq
, smaller
, smallerEq
, unequal
.


Teaching yourself to draw
A year of spilling lots of ink
1 February 2017 | 30 April 2018
Teaching yourself to drawInspired by Noah Bradley’s Don’t go to art school blog at Medium.com.
Drawing and art in general has always been something I didn’t quite grasp or try to understand. I was a software development guy, a technical guy, used to writing code, looking at text, spending days and years in text editors others call IDE’s. Software development and art aren’t that different actually: they both require an open mindset and an extreme creative approach at solving problems. That’s one of the reasons I became interested in drawing. Another is to get some color into my journals. I’ve been journaling for about 7 years now and it’s been my most important tool in life. It helps me understand myself, collect and execute ideas and to keep the chaos in the world and my mind contained. Writing pages isn’t a problem, doodling either, but the page never really pops. Sketching is something I like to do now and then but after hearing things like “you can’t draw at all!” my motivation completely disappears.
How to really master a skill?
- Deliberate practice
- Getting down the pyramid chain:
teaching > practicing > group discussion > reading > lecture - “10.000 hours” (it’s an average, I know)
- Quantify yourself by using a feedback loop
My Feedback loop is this very blog.
It should be that simple. I intent to learn to draw within a year, without enrolling in a traditional school. To be successful, I will turn to books, online courses, experts in art by visiting expo’s/museums, experts in art by going to short term workshops, and above all: by lot’s of practicing. Noah states that $10k could be spent wisely within one year. I have no idea how much it will cost me but my intention is to keep it as low as possible.
Each learning ‘session’ will be another blog post. I have a general idea on what I like (ink, watercolor, anything physical, journals) and what I don’t like (acrylic paint, anything digital) but since there is so much I don’t know, this might change during the course of the coming year. Since Pinterest is so inspiring I’d like to upload as much of the artwork as possible. Sharing via pins makes it easier for people to try it themselves.
Take a look at my Pinterest profile by clicking on the icon on the bottom of the page. If you’re looking for all blog posts about learning to draw, check out the ‘Teaching yourself to draw’ tag.
Are you familiar with the frustrated feeling you get while visting an art supply store and staring at all the equipment but having no idea what does what? That’s me. So, I figured…
Start with the beginning.
Snow&Rose workshop: Illustrative techniques was my entrypoint. It’s a 10-week (once a week) workshop to cover the basics of drawing illustrative creatures, flowers, landscape, anything. No realistic drawing, no up-front knowledge required and each week it covers another medium:
- charcoal and pencil
- bistre, reedpen
- pastel
- aquarel
- acrylic paint
- aquarellable colorpencils
- ecoline
- ink with fineliners
- collage/scrapbooking
- mixed media
Price is 390 EUR. As it’s only once a week, it creates the perfect opportunity for me to practice drawing “stuff” between the lessons and to experiment a bit with the different mediums.
These are some christmas-themed cards I made with cheap pastels during the third lesson:
It starts out very simple, as you can see. I’m still having difficulties buying the right equipment. The pastels used above are very hard and grainy, and don’t contain a lot of pigment. That is clearly visible in the gameboy one on the far left: the brown paper shouldn’t be that visible. Small steps, small steps…

So do I.
Each week (this sounds like a promise I’ll have to make to myself) I’ll post a new blog post summarizing what I’ve learned about drawing, art ant painting. Hopefully, after 52 posts, others who are thinking about making the step won’t be that intimidated as I am right now. I’ve already felt that looking too much at work of others (in Pinterest for example) completely demotivates me. You’ll always find someone who completely outperforms you. It’s not about their work, it’s about your own, and the progress you make, however small that might be. If it’s going forward, it’s going forward. There is no hardwired limit on where to go to. Let’s just keep on trying, failing, getting up and trying again! It looks like 2017 is going to be an interesting year for me.
Week 1
As you might already have read, I started the drawing adventure with a 10-week ‘illustrative techniques’ course. It sounds complicated but it wasn’t really: it’s more of a gentle introduction in different mediums (pencil, ink, acrylic paint, …) than a crash course in drawing techniques. I didn’t know then that to draw illustrations, you still have to be able to draw. (I’m reading “drawing at the right side of the brain” and I know better now). But still, thse drawings might be fun to look at or to compare to the other weeks.
These are all random drawings I did between the lessons to get myself familiar with a pencil. That sounds awful, doesn’t it? Who uses pencils anyway. The left scan contains some color: that’s an experiment. The brown is bistre, something we had to work with in the second class. The other colors are very cheap pastels.
So, what did I learn this week:
- Bistre can be a bit of a mess. You absolutely cannot wait, edges will form and it’ll be worse than watercolor.
- Expensive tools are better than cheap ones. Pastels are softer and contain a lot more pigment than the ones you can find in sale bins.
- I know the difference between a HB and a B4 pencil. I know how to sharpen one. Yay.
- These drawings look like doodles because they are a lot like doodles. I like drawing that but I have the feeling I’m missing a lot background info (will be continued…)
- Patience looks like an important skill to aid me in learning how to draw.
- Do not look at the work of others!
I warned you:
This also is bistre. Ouch.
Week 2
After the illustration course, I’m not ashamed to admit I completely dropped the pencil out of the game. It creates lines easy to remove and that means I’m working on a drawing forever. I need something to commit myself to. That something is called ink.
It also seems that I already have stuff to get ink on a paper: pens. Ballpoint pens. Black, blue, whatever. Just simple pens you use to write with - the cheaper, the better. I came across Danny Gregory’s work Art before breakfast and The Creative Licence (buy the latter one if you can). These are very inspirational books that get you kickstarted drawing from zero by learning how to see, explaning negative space and other simple techniques. It doesn’t go into detail, it simply helps you get drawing.
And Danny is a fan of ink + watercolor. I immediately fell in love and knew that was what I wanted. So yes, put that pencil back where it belongs. I started trying to draw what I see:
It looks a lot brighter than week 1. After drawing with a pen a few times, it felt better and better. I tried to copy Danny’s style a bit by giving it some (water)color but that might be too much new stuff within a few weeks.
I’m particulary fond of the yellow post-it note: an impression of my left foot while waiting for my wife to finish shopping. I keep pen & paper with me at all times: that’s a healthy habit I developed 7 years ago when starting journaling. The first foot trace was a complete disaster by the way.
So, what did I learn this week:
- Pen > pencil.
- Danny Gregory rocks. He has tons of books and is co-founder of the Sketchbook Skool. Once I knew that, I enrolled in the “beginning” kourse.
- I like sketching more than doodling.
- “Seeing” is incredibly hard: I constantly mess up proportions.
- Adding watercolor seems to add a lot of dimension.
Let’s take a look at what Danny does:
Awesome.
Week 3
I wanted to continue my quest of finding my own style within ink and watercolor boundaries. After the amazing discovery of Skillshare.com, I switched to using Artline fineliners. I also have some Steadlers but hardly notice any difference between different felt tip pens if they have the same thickness. I found a short course by Shirish Deshpande on drawing with ink and creating some contrast and texture. The drawings in the videos are amazing and I tried to copy them to my best abilities:
The ink flowing from a technical pen is much more intense than a standard ballpoint pen as seen in week 2. I like that a lot. It also enables me to be much more precise and that is something that I tend to do a lot. I usually draw (too) small and try to cram in as much details as possible. The thinner the felt tip pen, the better for me. (Although I borked a 005 one, those guys are very sensitive!).
During the snow & rose course, the lesson with the fineliners suited me the most, and now I have that same feeling. I finally give (cross-)hatching a shot and it really looks a lot better. Thanks Shirish, for building up my confidence in drawing with ink!
So, what did I learn this week:
- Intensity of ink matters.
- Contrast is extermely important and gives your drawing an “oomph”
- I learned the “hatching”, “stipling”, and “random” technique.
- Fineliners > ballpoint pens > pencils (sensing a trend here, fountain pen coming up)
Let’s take a look at what Shirish does with his pens (and added colored ink):
He usually doesn’t color with watercolor but with (diluted) colored ink. I have yet to try that.
Week 4
As I’m slowly getting a tiny bit better at drawing things I see, I still don’t have a fundamental basis to rely on. Until I’ve read “Drawing at the right side of the brian” from Betty Edwards. Everything I’ve read in there came as a complete revelation to me. She explains how you should “look” at things, what is important to look out for when realisticly drawing and how values/tones work. It’s an amazing book and I’m very glad I’ve added it to my toread list (a few years ago, I finally got around to actually reading it.)
Can you spot the difference between the portraits below?
Yes, I am well aware that the second portrait still looks like crap but come on, at least it shows highlights, it has a decent contour and my skull isn’t “chopped off”. Both drawings took me 45 minutes. I’d say that’s a definitive improvement here.
Other exercises in the books concentrate on hands, interiour, chairs, …:
Everything is done with a pencil. My preference is starting to lean towards 2B and 4B instead of HB.
So, what did I learn this week: (these are some quick oneliners that summarize each important chapter in the book)
- Draw (shared) edges of stuff: call them contours.
- Draw spaces between stuff: call it negative space.
- Draw relationships between stuff: call them angles and proportions.
- Draw lights and shadows on stuff: call them tonal differences.
- Do not draw the appearance of stuff: call it “the gestalt”.
The last point is an interesting one. It’s also called “making it come together” and is usually achieved by simply focusing on the other 4 points.
Doing these exercises gave me a real boost in confidence and motivated me to draw even more. I even started enjoying the use of a pencil - soft shading is nice and not doable with a pen!
Read more on how to draw better in Jen Review’s How to Draw Better blog post.


What happens if Wincent stops trading?
When discussing product activation people sometimes ask:
What happens if Wincent stops trading at some point in the future and the activation server goes off-line forever? How can people continue to enjoy the software they’ve licensed if they can’t activate it?
I have no plans to discontinue trading but recognize that this is a frequently voiced concern about product activation, so I make the following undertaking:
In the event that Wincent should stop trading it will do one of the following at its discretion:
- Make available for free download updated versions of all products with the product activation requirements removed. These versions would be freely redistributable.
- Make available special license codes which turn off the product activation requirement. These codes would be freely redistributable.
- Release the source code for the protected applications under an open source license such as the GPL or the BSD license.