Learning to Interactively
Learn and Assist
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Learning to Interactively
Learn and Assist
Mark Woodward
Google Brain
Chelsea Finn
Google Brain
Karol Hausman
Google Brain
June 26
2019
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Video Overview
YouTube


Class: Aws::GameLift::Types::MatchmakingRuleSet
| Relationships & Source Files | |
| Super Chains via Extension / Inclusion / Inheritance | |
|
Class Chain:
self,
Struct
|
|
|
Instance Chain:
self,
::Aws::Structure ,
Struct
|
|
| Inherits: |
Struct
|
| Defined in: | gems/aws-sdk-gamelift/lib/aws-sdk-gamelift/types.rb |
Overview
Set of rule statements, used with FlexMatch, that determine how to build your player matches. Each rule set describes a type of group to be created and defines the parameters for acceptable player matches.
A rule set may define the following elements for a match. For detailed information and examples showing how to construct a rule set, see Build a FlexMatch rule set.
Teams -- Required. A rule set must define one or multiple teams for the match and set minimum and maximum team sizes. For example, a rule set might describe a 4x4 match that requires all eight slots to be filled.
Player
attributes -- Optional. These attributes specify a set of player characteristics to evaluate when looking for a match. Matchmaking requests that use a rule set with player attributes must provide the corresponding attribute values. For example, an attribute might specify a player's skill or level.Rules -- Optional. Rules define how to evaluate potential players for a match based on player attributes. A rule might specify minimum requirements for individual players, teams, or entire matches. For example, a rule might require each player to meet a certain skill level, each team to have at least one player in a certain role, or the match to have a minimum average skill level. or may describe an entire group--such as all teams must be evenly matched or have at least one player in a certain role.
Expansions -- Optional. Expansions allow you to relax the rules after a period of time when no acceptable matches are found. This feature lets you balance getting players into games in a reasonable amount of time instead of making them wait indefinitely for the best possible match. For example, you might use an expansion to increase the maximum skill variance between players after 30 seconds.
Constant Summary
Instance Attribute Summary
-
#creation_time ⇒ Time
rw
A time stamp indicating when this data object was created.
-
#rule_set_arn ⇒ String
rw
The Amazon
::Aws::GameLift::Resource
Name ([ARN][1]) that is assigned to a Amazon GameLift matchmaking rule set resource and uniquely identifies it. -
#rule_set_body ⇒ String
rw
A collection of matchmaking rules, formatted as a JSON string.
-
#rule_set_name ⇒ String
rw
A unique identifier for the matchmaking rule set.
Instance Method Summary
Instance Attribute Details
#creation_time ⇒ Time
(rw)
A time stamp indicating when this data object was created. Format is
a number expressed in Unix time as milliseconds (for example
"1469498468.057"
).
# File 'gems/aws-sdk-gamelift/lib/aws-sdk-gamelift/types.rb', line 6663
class MatchmakingRuleSet < Struct.new( :rule_set_name, :rule_set_arn, :rule_set_body, :creation_time) SENSITIVE = [] include Aws::Structure end
#rule_set_arn ⇒ String
(rw)
The Amazon ::Aws::GameLift::Resource
Name (ARN) that is assigned to a Amazon
::Aws::GameLift
matchmaking rule set resource and uniquely identifies it.
ARNs are unique across all Regions. Format is
arn:aws:gamelift:<region>::matchmakingruleset/<ruleset name>
. In a
::Aws::GameLift
rule set ::Aws::ARN
, the resource ID matches the RuleSetName
value.
 Comments are not allowed in JSON, but most elements support a description field.
# File 'gems/aws-sdk-gamelift/lib/aws-sdk-gamelift/types.rb', line 6663
class MatchmakingRuleSet < Struct.new( :rule_set_name, :rule_set_arn, :rule_set_body, :creation_time) SENSITIVE = [] include Aws::Structure end
#rule_set_name ⇒ String
(rw)
A unique identifier for the matchmaking rule set
# File 'gems/aws-sdk-gamelift/lib/aws-sdk-gamelift/types.rb', line 6663
class MatchmakingRuleSet < Struct.new( :rule_set_name, :rule_set_arn, :rule_set_body, :creation_time) SENSITIVE = [] include Aws::Structure end


When an event is published, each webhook that's associated with the event is automatically invoked. Failures are automatically retried.
| Id | Event | Created | Active | Filtered | Webhook |
|---|---|---|---|---|---|
| {{item.subscriptionId}} | {{item.eventName}} | {{item.createdUtc | date:'medium'}} | {{item.webhookUri}} |


This page has moved to https://iabbot.github.io/Docs/image_size_calculation.html
You'll be automatically redirected in one second.


Harmony Charlee Cummings
Democrat
Controller - Highland Builders & Design 2016 - present responsible for the accounting and HR functions for a Denver real estate developer Owner - Harmony's Accounting Services 2016 - present Controller - Energy 95 2013 - 2016 - overseeing the staff, accounting, HR and compliance requirements for an energy marketing company Profit & Loss and Risk Analyst - United Energy Trading 1998 - 2013 managing/tracking the physical and financial movements of a large scale crude oil by rail road project
BA in Communications - University of CO on Colorado Springs Executive MBA and a Master's in Human Resources - CO Technical University
80211
I have been a dedicated volunteer for several candidates, initiatives and movements. I have a passion for reaching voters that are underserved. I canvass, speak at events, attend rallies, give public comment, attend public hearings and help organize voting events. Donations: Bernie Sanders, Andrew Romanoff, Ike McCorkle, Brad Laurvick, Tay Anderson, Resilient Denver, Moms Demand Action, Climate Action Denver, Democratic Party
Moms Demand Action Resilient Denver Climate Action Denver Northside Sustainability Alliance High Country Conservation Advocates PTA
I have been a participant in many days of action at the Capitol for; gun and school safety, environmental causes and education. I have volunteered on several campaigns; canvassing, speaking at events, giving public comment, sign coordinator, lit drop off, voter registration, texting or anything that needs to be done. This year we had to be more creative and I hired a marching band to, socially distance, march through the streets of Denver, farmers markets and parks giving out voter registration information. I also worked with local street artists, musicians, dancers and performers to promote voting this year while also supporting diverse community artists and businesses who are most impacted by covid. In the 2018 election, I spoke to over 1,000 people about the importance of voting and providing information mostly going door to door in primarily Spanish speaking communities. I'm passionate about voting, access, equity and democracy!
I have worked in a variety of industries; manufacturing, service, oil & gas, real estate development and I'm a small business owner. I have seen all sides of the challenges and potentials for many facets of businesses, their employees and the Colorado communities they impact. I'm also a mom who is looking out for the future of my children and all the children. I have lived in Colorado Springs, Denver and the Gunnison Valley. I understand what makes each place and the people who live there unique. In some ways we are different and have different needs and in many ways we are the same and have the same needs. I'm very outgoing, I love talking with a variety of people to gain a better understanding of the world. People have a tendency to be open with me. Now more than ever, we need to come together, unite and work towards a fair future for all. I'm passionate about democracy.
I have spent my career working with people with different views. What I have learned is that there is a lot of middle ground to be found. I'm not afraid to have the hard conversations while also bringing grace to the situation. I have called almost every state representative regarding gun/school safety. These are not easy conversations to be had but we need to have these conversations because there are a lot of common sense things that can be done when we work together to find common ground. I have worked well with a variety of people, from the executives of O&G companies, to truck drivers, factory workers, ranchers, farmers, moms, hunters, teachers, kids, the unhoused and so one treating everyone with respect and also listening to the different voices. Our communities, our state and our country need us to find the things that unite us.
I'm an accountant and am analytical. I understand numbers and I know how to look at something and ask, "Does this make sense?" also "Is this far?" and " What are the unintended consequences?". I have experience with several start ups and have also planed several events. I have logistical, creative and problem solving experience from working in oil and gas particularly on large scale crude by rail projects overseeing and accounting for $millions in product. I have spent a lot of time looking at maps, pipelines and rail road systems working on transportation strategies. I'm good at being creative, mindful and looking at things on a micro and macro level.
female


#include <clause.h>
|
| | BinaryImplicationGraph (Model *model) |
| |
| | ~BinaryImplicationGraph () override |
| |
| bool | Propagate (Trail *trail) final |
| |
| absl::Span< const Literal > | Reason (const Trail &trail, int trail_index) const final |
| |
| void | Resize (int num_variables) |
| |
| void | AddBinaryClause (Literal a, Literal b) |
| |
| void | AddBinaryClauseDuringSearch (Literal a, Literal b, Trail *trail) |
| |
| void | AddAtMostOne (absl::Span< const Literal > at_most_one) |
| |
| void | MinimizeConflictWithReachability (std::vector< Literal > *c) |
| |
| void | MinimizeConflictExperimental (const Trail &trail, std::vector< Literal > *c) |
| |
| void | MinimizeConflictFirst (const Trail &trail, std::vector< Literal > *c, SparseBitset< BooleanVariable > *marked) |
| |
| void | MinimizeConflictFirstWithTransitiveReduction (const Trail &trail, std::vector< Literal > *c, SparseBitset< BooleanVariable > *marked, random_engine_t *random) |
| |
| void | RemoveFixedVariables (int first_unprocessed_trail_index, const Trail &trail) |
| |
| void | RemoveDuplicates () |
| |
| bool | DetectEquivalences () |
| |
| Literal | RepresentativeOf (Literal l) |
| |
| bool | ComputeTransitiveReduction () |
| |
| void | TransformIntoMaxCliques (std::vector< std::vector< Literal >> *at_most_ones) |
| |
| int64 | num_propagations () const |
| |
| int64 | num_inspections () const |
| |
| int64 | num_minimization () const |
| |
| int64 | num_literals_removed () const |
| |
| int64 | num_redundant_implications () const |
| |
| int64 | NumberOfImplications () const |
| |
| template<typename Output > |
| void | ExtractAllBinaryClauses (Output *out) const |
| |
| | SatPropagator (const std::string &name) |
| |
| virtual | ~SatPropagator () |
| |
| void | SetPropagatorId (int id) |
| |
| int | PropagatorId () const |
| |
| virtual void | Untrail (const Trail &trail, int trail_index) |
| |
| bool | PropagatePreconditionsAreSatisfied (const Trail &trail) const |
| |
| bool | PropagationIsDone (const Trail &trail) const |
| |
Definition at line 390 of file clause.h.
◆ BinaryImplicationGraph()
| operations_research::sat::BinaryImplicationGraph::BinaryImplicationGraph |
( |
Model * |
model | ) |
|
|
inlineexplicit |
◆ ~BinaryImplicationGraph()
| operations_research::sat::BinaryImplicationGraph::~BinaryImplicationGraph |
( |
| ) |
|
|
inlineoverride |
◆ Propagate()
| bool operations_research::sat::BinaryImplicationGraph::Propagate |
( |
Trail * |
trail | ) |
|
|
finalvirtual |
◆ Reason()
| absl::Span<const Literal> operations_research::sat::BinaryImplicationGraph::Reason |
( |
const Trail & |
trail, |
|
|
int |
trail_index |
|
) |
| const |
|
finalvirtual |
◆ Resize()
| void operations_research::sat::BinaryImplicationGraph::Resize |
( |
int |
num_variables | ) |
|
◆ AddBinaryClause()
| void operations_research::sat::BinaryImplicationGraph::AddBinaryClause |
( |
Literal |
a, |
|
|
Literal |
b |
|
) |
| |
◆ AddBinaryClauseDuringSearch()
| void operations_research::sat::BinaryImplicationGraph::AddBinaryClauseDuringSearch |
( |
Literal |
a, |
|
|
Literal |
b, |
|
|
Trail * |
trail |
|
) |
| |
◆ AddAtMostOne()
| void operations_research::sat::BinaryImplicationGraph::AddAtMostOne |
( |
absl::Span< const Literal > |
at_most_one | ) |
|
◆ MinimizeConflictWithReachability()
| void operations_research::sat::BinaryImplicationGraph::MinimizeConflictWithReachability |
( |
std::vector< Literal > * |
c | ) |
|
◆ MinimizeConflictExperimental()
| void operations_research::sat::BinaryImplicationGraph::MinimizeConflictExperimental |
( |
const Trail & |
trail, |
|
|
std::vector< Literal > * |
c |
|
) |
| |
◆ MinimizeConflictFirst()
| void operations_research::sat::BinaryImplicationGraph::MinimizeConflictFirst |
( |
const Trail & |
trail, |
|
|
std::vector< Literal > * |
c, |
|
|
SparseBitset< BooleanVariable > * |
marked |
|
) |
| |
◆ MinimizeConflictFirstWithTransitiveReduction()
| void operations_research::sat::BinaryImplicationGraph::MinimizeConflictFirstWithTransitiveReduction |
( |
const Trail & |
trail, |
|
|
std::vector< Literal > * |
c, |
|
|
SparseBitset< BooleanVariable > * |
marked, |
|
|
random_engine_t * |
random |
|
) |
| |
◆ RemoveFixedVariables()
| void operations_research::sat::BinaryImplicationGraph::RemoveFixedVariables |
( |
int |
first_unprocessed_trail_index, |
|
|
const Trail & |
trail |
|
) |
| |
◆ RemoveDuplicates()
| void operations_research::sat::BinaryImplicationGraph::RemoveDuplicates |
( |
| ) |
|
◆ DetectEquivalences()
| bool operations_research::sat::BinaryImplicationGraph::DetectEquivalences |
( |
| ) |
|
◆ RepresentativeOf()
| Literal operations_research::sat::BinaryImplicationGraph::RepresentativeOf |
( |
Literal |
l | ) |
|
|
inline |
◆ ComputeTransitiveReduction()
| bool operations_research::sat::BinaryImplicationGraph::ComputeTransitiveReduction |
( |
| ) |
|
◆ TransformIntoMaxCliques()
| void operations_research::sat::BinaryImplicationGraph::TransformIntoMaxCliques |
( |
std::vector< std::vector< Literal >> * |
at_most_ones | ) |
|
◆ num_propagations()
| int64 operations_research::sat::BinaryImplicationGraph::num_propagations |
( |
| ) |
const |
|
inline |
◆ num_inspections()
| int64 operations_research::sat::BinaryImplicationGraph::num_inspections |
( |
| ) |
const |
|
inline |
◆ num_minimization()
| int64 operations_research::sat::BinaryImplicationGraph::num_minimization |
( |
| ) |
const |
|
inline |
◆ num_literals_removed()
| int64 operations_research::sat::BinaryImplicationGraph::num_literals_removed |
( |
| ) |
const |
|
inline |
◆ num_redundant_implications()
| int64 operations_research::sat::BinaryImplicationGraph::num_redundant_implications |
( |
| ) |
const |
|
inline |
◆ NumberOfImplications()
| int64 operations_research::sat::BinaryImplicationGraph::NumberOfImplications |
( |
| ) |
const |
|
inline |
◆ ExtractAllBinaryClauses()
template<typename Output >
| void operations_research::sat::BinaryImplicationGraph::ExtractAllBinaryClauses |
( |
Output * |
out | ) |
const |
|
inline |
The documentation for this class was generated from the following file:


1. Specify Picture Format, Resolution, and Quality.
2. (Optional) Select Scheduled Capturing.
The Number of Snapshots Taken by Scheduling Task parameter indicates the number of snapshots that can be taken during a scheduled capturing task.
The Number of Snapshots Taken upon Occurrence of Event parameter indicates the number of snapshots that can be taken when an event is generated.
3. Click Save.


nebula.release
plugins.NebularRelease
plugin will provide slightly better error messages when using the official
cli tasks (final, candidate, snapshot, ...). cz.malohlava.visteg
net.wooga.release
plugin.
archive
configuration.PaketPack
tasks.
net.wooga.unity
plugin on subprojects if available.metaCleanPattern
filter object with a Closure
object.metaCleanPattern
filter object with a Closure
object.Spec<Task>
object which can be used to set task execution onlyIf
property when project.status
equals one of the validStatusValues
provided.ProjectStatusTaskSpec
object with given validStatusValues
release
task from org.ajoberstar.gradle.git.release.base.BaseReleasePlugin.SemVerStrategy
properties to determine current version.


I’m an entrepreneur who USED TO live in New York City.  But a pretty fly homeless guy at that.
I'm also a full stack web developer that likes to play with technology that I can use in hackathons. That wasn't supposed to sound like a joke, but it did.
"who is that guy thats always dancing?"
"Seriously, who invited that guy?! His dance moves are AMAZING! He must work out too!"
It’s hard for me to explain how I got into this situation and in many ways it’s embarrassing. My hope in sharing my story is that someone can learn from it.
The first time it felt real
I had been waiting for about 3 hours before I started to really get worried. I had told everyone else that I’d be fine, that I didn’t need their help. She&rsquo...[read more]


twist your head
where is state gone?
we have no time!
- i’m a software developer(hacker)
- i’m an admin
- i’m a dev’op
It's all about state!
let state = {
be: "nice",
inclusive: true
}
static state
if (state.be == "nice") {
console.log("hello world");
}
Poll abstraction Everywhere
let prevState = state; // implicit state
setInterval(() => {
if (prevState.be != state.be) {
switch (state.be) {
case "nice": spent = "love"; break;
default: spent = "respect"; break;
}
}
}, 1000);
Where we use Poll-Pattern
- think on sql
- typical api's
- serialization point in time serialization
Reset Your view on State
state is the composition of change over time
Reactive-Functional-Way
let beValue = "nice";
let inclusiveValue = true;
let be = Rx.Observable.create((observer) {
observer.next(beValue);
observer.complete();
}),
let inclusive = Rx.Observable.create((observer) {
observer.next(inclusiveValue);
observer.complete();
}
let state = Rx.Observable.combineLatest(be, inclusive)
every attribute is a Stream of there Change
What does these mean?
Reset,Restart,Reactive
First identify state
Is CSS is a static state representation?
HTML is a static state representation?
JSON is a static state representation?
static state is everywhere!
If you going to build Chimera
More On!
Help full explore cycle.js/recycle.js


Graham Norton to host the 2020 BAFTAs
Popular talk show host takes over from last year’s presenter Joanna Lumley
by The Hindu Net DeskBritish talk show host Graham Norton is set to host the 2020 BAFTA Film Awards ceremony on February 2.
Graham, who is the host of the popular BBC UK show The Graham Norton Show, will take over the duties from Joanna Lumley, who hosted the BAFTAs the last two years.
According to Variety, Norton said that he was delighted to be "taking the helm of the biggest night in British film. The audience at the Royal Albert Hall will be the biggest sofa I’ve ever faced.”
Graham himself is a six-time BAFTA Television Award winner for his show, and has got 19 BAFTA nominations over the years from The British Academy of Film and Television Arts.
The nominations for the British Academy Film Awards will be revealed on January 7. The event is being held earlier than usual to keep its position just before the Academy Awards are scheduled to be held.


public class TextureImpl extends java.lang.Object implements Texture
| Constructor and Description |
|---|
TextureImpl(java.lang.String ref,
int target,
int textureID)
Create a new texture
|
| Modifier and Type | Method and Description |
|---|---|
void |
bind()
Bind the GL context to a texture
|
static void |
bindNone()
Clear the binding of the texture
|
float |
getHeight()
Get the height of the physical texture
|
int |
getImageHeight()
Get the height of the original image
|
int |
getImageWidth()
Get the width of the original image
|
static Texture |
getLastBind()
Retrieve the last texture bound through the texture interface
|
byte[] |
getTextureData()
Get the pixel data from the card for this texture
|
int |
getTextureHeight()
Get the height of the actual texture
|
int |
getTextureID()
Get the OpenGL texture ID for this texture
|
java.lang.String |
getTextureRef()
Get the reference from which this texture was loaded
|
int |
getTextureWidth()
Get the width of the actual texture
|
float |
getWidth()
Get the width of the physical texture
|
boolean |
hasAlpha()
Check if the texture has alpha
|
void |
release()
Destroy the texture reference
|
void |
reload()
Reload this texture
|
void |
setAlpha(boolean alpha)
If this texture has alpha
|
void |
setCacheName(java.lang.String cacheName)
Set the name this texture is stored against in the cache
|
void |
setHeight(int height)
Set the height of the image
|
void |
setTextureData(int srcPixelFormat,
int minFilter,
int magFilter,
java.nio.ByteBuffer textureBuffer)
Set the texture data that this texture can be reloaded from
|
void |
setTextureFilter(int textureFilter)
Apply a given texture filter to the texture
|
void |
setTextureHeight(int texHeight)
Set the height of this texture
|
void |
setTextureID(int textureID)
Set the OpenGL texture ID for this texture
|
void |
setTextureWidth(int texWidth)
Set the width of this texture
|
void |
setWidth(int width)
Set the width of the image
|
static void |
unbind()
Clear slick caching of the last bound texture so that an
external texture binder can play with the context before returning
control to slick.
|
public TextureImpl(java.lang.String ref, int target, int textureID)
ref
- The reference this texture was loaded fromtarget
- The GL targettextureID
- The GL texture IDpublic static Texture getLastBind()
public void setCacheName(java.lang.String cacheName)
cacheName
- The name the texture is stored against in the cachepublic boolean hasAlpha()
Texture
hasAlpha
in interface Texture
Texture.hasAlpha()
public java.lang.String getTextureRef()
Texture
getTextureRef
in interface Texture
Texture.getTextureRef()
public void setAlpha(boolean alpha)
alpha
- True, If this texture has alphapublic static void bindNone()
public static void unbind()
public void bind()
Texture
bind
in interface Texture
Texture.bind()
public void setHeight(int height)
height
- The height of the imagepublic void setWidth(int width)
width
- The width of the imagepublic int getImageHeight()
Texture
getImageHeight
in interface Texture
Texture.getImageHeight()
public int getImageWidth()
Texture
getImageWidth
in interface Texture
Texture.getImageWidth()
public float getHeight()
Texture
getHeight
in interface Texture
Texture.getHeight()
public float getWidth()
Texture
getWidth
in interface Texture
Texture.getWidth()
public int getTextureHeight()
Texture
getTextureHeight
in interface Texture
Texture.getTextureHeight()
public int getTextureWidth()
Texture
getTextureWidth
in interface Texture
Texture.getTextureWidth()
public void setTextureHeight(int texHeight)
texHeight
- The height of the texturepublic void setTextureWidth(int texWidth)
texWidth
- The width of the texturepublic void release()
Texture
release
in interface Texture
Texture.release()
public int getTextureID()
Texture
getTextureID
in interface Texture
Texture.getTextureID()
public void setTextureID(int textureID)
textureID
- The OpenGL texture IDpublic byte[] getTextureData()
Texture
getTextureData
in interface Texture
Texture.getTextureData()
public void setTextureFilter(int textureFilter)
Texture
setTextureFilter
in interface Texture
textureFilter
- The texture filter to apply (GL_LINEAR, GL_NEAREST, etc..)Texture.setTextureFilter(int)
public void setTextureData(int srcPixelFormat, int minFilter, int magFilter, java.nio.ByteBuffer textureBuffer)
srcPixelFormat
- The pixel formatminFilter
- The OpenGL minification filtermagFilter
- The OpenGL magnification filtertextureBuffer
- The texture buffer containing the data for the texturepublic void reload()


This content can now be found under the Machine Learning MediaWiki page.
For other research projects, see the Research main page


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Welcome to the HEMA Video Wiki
A Historical European Western Martial Arts wiki for the study of longsword, sidesword, rapier, greatsword, and other historic weapons.
This wiki has several related goals:
- Create taxonomy systems for discussing fencing techniques
- Make it easier to sharing interpretations of fencing techniques
- Eventually provide material that can be moved into Wiktenauer
This wiki was originally named for
Forgeng's Fechtkunst, one of the oldest modern glossaries on the study of historic fencing.
Rules
- Only post things that you can link back the sources. For example, a video on the Zornhau is not allowed. A video on Ringeck's Zornhau is ok.
- If a page asks you to log-in, it's blank. Please film a video and post it.
- When creating new pages, try to use the templates so everything looks consistent.
- Ask for help when adding new sources. Not required, but we've got a few tricks to make it go much faster.
Jonathan Allen
<EMAIL_ADDRESS>German
Freifechter Tradition
Joachim Meyer
Gladiatoria Group
Codex Wallerstein
Liechtenauer Tradition
Liechtenauer Compilation
Sigmund Schining ain Ringeck
Pseudo-Peter von Danzig
Pseudo-Hans Dobringer
Nuremberg Group
Codex Wallerstein
Other German Masters
Hans Talhoffer
Paulus Hector Mair
MS I.33
Ott Jud
Andre Lignitzer
Johann Georg Pascha
Fabian von Auerswald
Johannes Lecküchner
Italian
Bolognese Tradition
Achille Marozzo
Antonio Manciolino
Giovanni dall'Agocchie
Roman Tradition (a.k.a. The Agrippian System)
Ridolfo Capoferro
Salvator Fabris
Other Italian Masters
Francesco Alfieri
Fiore de'i Liberi
English
George Silver
Ledall Roll
Spainish
Other Iberian Masters
Diogo Gomes de Figueyredo
Luis Diaz de Viedma
Weapons
Sword and Buckler


Cottage cheese has a mild flavour and is a cheese curd product. The curd is drained but not pressed, so some whey remains and retains moisture. The curd is generally washed to remove the acidity and leave a sweet taste. It is made from different types of milk with different fat levels.
The term 'cottage cheese' is believed to have originated because the cheese was generally made in cottages from milk left over, after making butter. Cottage cheese can be eaten by itself, with fruits, toast or even used in salads. The cheese is creamy, lumpy and sold in pots.
Other cheeses from United Kingdom:
Other American cheeses:
Top photos from Twitter


This scenario shows how to read data from a CDC ACM device.
CDC ACM device:
Bytes to Read
Timeout(ms)
Read
Continuous Read
Stop Continuous Read
ASCII Format
Binary Format


THE SAINT A film review by Christopher Null Copyright 1997 Christopher Null
[REVIEWS TAKE A NEW, SHORTER FORMAT BEGINNING WITH 'THE SAINT']
The Next Big Franchise hits theaters this Friday, with all the trappings of a sequel-destined event. Infused with a backstory to set up the past of its nameless hero (Val Kilmer) as something of a "rogue James Bond with a guilty conscience and a Volvo," THE SAINT is as improbable as it is entertaining. With a plot revolving around a successful cold fusion experiment developed by miniskirt-clad scientist Emma (Elizabeth Shue) and the Russian Mafia's enlisting of the Saint to "steal the formula," it would be easy to sit back and laugh at the film's goofiness. However, Kilmer comes off as so engrossing and delivers his wryly hilarious lines with such precision that you end up forgetting the bad techno soundtrack and the series of unlikely coincidences that drive the picture to its inevitable end. And while that obviously-altered-to-make-it-happy ending is truly annoying, it's THE SAINT's combination of action and comedy that make it a worthwhile trip.

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


Drinking / Food
- Three Muses – One of the best bars in the area. Great cocktails including orange blossom sazerac. Their food is quite great as well, amazing things had there – lobster spring rolls, crispy pork belly, fish tacos, edamame with toasted sesame oil and star anise
- Jackson Brewery – As with many a pretty solid brewery with good food. The few isn’t quite traditional bar food, slants more to new orleans cuisine, but definitely have a few good items. The seared tuna salad is quite the helping of tuna and blackened alligator is delcious.
- Pat Obriens – Well known for creating the hurricane. Their drinks are definitely sweet most and not the place for bargain drinks, but an evening in the courtyard or near the piano bar is a must do experience at least once if not many times in your lifetime.
- Abita – Its a bit of a drive out of town, but a nice different experience. All of their beers are of course nice and fresh here and a good selection of quality bar food here as well.
Food Only
- Crabby Jacks – The place for a Po Boy. Their King Po Boy is ~ $12 and probably has 2 pounds of perfectly fried shrimp on it. Feels like a New Orleans City Cafe
- Cafe Du Monde – Sure its a given, but its still great. Beignets and Cafe Au Lait are a must anytime in new orleans.
- Meltdown popsicles – In several days I walked by this place many times before even realizing it was there, but what a treat. Gourmet popsicles, i.e. strawberry basil, vietnamese coffee, pineapple cilantro
- Angelo Brocato Gelato – As I right this I’m returning from Florence Italy. There’s not many places I could say even come close to the gelato I consumed this past week, this place though was truly great. Of course still not quite as good, but it does come close.
Shops
- Fleur de Paris – Awesome true milinery. No photos allowed. Hats are $$$$ but dresses can be fun and affordable for an amazing quality.
- Goorin Brothers – With something that has a little more for the men as well here’s another hat shop. This has a variety of very style-ish both mens and womens hats if you can find the occasion to wear them.
- Caliche and Pao – For a city filled with local art and music this studio always jumps out to me. So much so I had to grab his well known set of light posts. The color and emotion within it captures the city so well.


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Current temperature:
London
New York
Paris
Berlin
Tokyo
Sydney
Hottie McHottie
+
-
Reset
Power saving mode is
on
Power Saving On
Power Saving Off


Used to render the scene to a framebuffer and apply post processig shaders to it.
More...
#include <Framebuffer.hpp>
Used to render the scene to a framebuffer and apply post processig shaders to it.
◆ Framebuffer() [1/2]
| st::Framebuffer::Framebuffer |
( |
| ) |
|
|
default |
◆ Framebuffer() [2/2]
| st::Framebuffer::Framebuffer |
( |
std::shared_ptr< ShaderProgram > |
shader | ) |
|
Creates a Framebuffer.
Creation of the GL_FRAMEBUFFER, texture, z-buffer and the screen quad.
- Parameters
-
| post | processing shader that will be used to render the framebuffer. |
- check for an error during the load process */
◆ render()
| void st::Framebuffer::render |
( |
int |
x, |
|
|
int |
y, |
|
|
int |
width, |
|
|
int |
height |
|
) |
| |
Renders the framebuffer in the specified screen dymensions.
The framebuffer needs to be set before calling to render. To be called after rendering all other scene elements.
- Parameters
-
| width | screen width. |
| height | screen height. |
◆ setFramebuffer()
| void st::Framebuffer::setFramebuffer |
( |
| ) |
|
Inits the glViewport and the GL_FRAMEBUFFER for the scene objects to be rendered.
To be called at the start of the scene rendering.
◆ depthbuffer_id
| GLuint st::Framebuffer::depthbuffer_id |
|
private |
◆ framebuffer_height
| const GLsizei st::Framebuffer::framebuffer_height = 2048 |
|
staticprivate |
◆ framebuffer_id
| GLuint st::Framebuffer::framebuffer_id |
|
private |
◆ framebuffer_width
| const GLsizei st::Framebuffer::framebuffer_width = 2048 |
|
staticprivate |
The resolution in wich the scene is going to be rendered in the framebuffer.
◆ out_texture_id
| GLuint st::Framebuffer::out_texture_id |
|
private |
◆ shader
◆ triangle_vbo0
| GLuint st::Framebuffer::triangle_vbo0 |
|
private |
◆ triangle_vbo1
| GLuint st::Framebuffer::triangle_vbo1 |
|
private |
The documentation for this class was generated from the following files:


Multiple selection: Keyboard
Normal
Hovered
Focused
Disabled
Selected
multipleSelected: {{ multipleSelected }}
Multiple selection: Checkbox
Normal
Hovered
Focused
Disabled
Selected
multipleSelectedCheckbox: {{ multipleSelectedCheckbox|json }}
Multiple selection with Async: Checkbox
{{shoe}}
multipleSelectedCheckbox: {{ multipleSelected|json }}
Single selection
Normal
Hovered
Focused
Disabled
Selected
singleSelected: {{ singleSelected }}


| Package | Description |
|---|---|
| com.github.mathiewz.slick.util.pathfinding.navmesh |
| Modifier and Type | Method and Description |
|---|---|
Space |
NavMesh.findSpace(float x,
float y)
Find the space at a given location
|
Space |
NavMesh.getSpace(int index)
Get the space at a given index
|
Space |
Link.getTarget()
Get the space this object links to
|
Space |
Space.merge(Space other)
Merge this space with another
|
| Modifier and Type | Method and Description |
|---|---|
void |
NavMesh.addSpace(Space space)
Add a single space to the mesh
|
boolean |
Space.canMerge(Space other)
Check if the given space can be merged with this one.
|
boolean |
NavMeshBuilder.clear(TileBasedMap map,
Space space)
Check if a particular space is clear of blockages
|
void |
Space.fill(Space target,
float sx,
float sy,
float cost)
Fill the spaces based on the cost from a given starting point
|
boolean |
Space.hasJoinedEdge(Space other)
Check if this space has an edge that is joined with another
|
void |
Space.link(Space other)
Link this space to another by creating a link and finding the point
at which the spaces link up
|
Space |
Space.merge(Space other)
Merge this space with another
|
boolean |
Space.pickLowestCost(Space target,
NavPath path)
Pick the lowest cost route from this space to another on the path
|
| Constructor and Description |
|---|
Link(float px,
float py,
Space target)
Create a new link
|
| Constructor and Description |
|---|
NavMesh(java.util.ArrayList<Space> spaces)
Create a new mesh with a set of spaces
|


expect class Path
Represents a file system path to a resource
Path()
Represents a file system path to a resource |
var absolutePath: PathComponent?
Absolute path to the resource |
|
var relativePath: PathComponent?
Relative Path to the resource |
fun simplified(path: String): Path
Creates a new Path with the given path argument. path is copied to both absolute and relative path components. |


Home
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This dashboard was created as an example of the flexibility that Architect offers.


Trained Attack Soldiers
{{personnel['Trained Attack Soldiers Text']}}
Trained Attack Mercenaries
{{personnel['Trained Attack Mercenaries Text']}}
Trained Defense Soldiers
{{personnel['Trained Defense Soldiers Text']}}
Trained Defense Mercenaries
{{personnel['Trained Defense Mercenaries Text']}}
Untrained Soldiers
{{personnel['Untrained Soldiers Text']}}
Untrained Mercenaries
{{personnel['Untrained Mercenaries Text']}}
Spies
{{personnel['Spies Text']}}
Sentries
{{personnel['Sentries Text']}}
Army Morale
{{personnel['Army Morale Text']}}
Total Fighting Force
{{personnel['Total Fighting Force Text']}}


There were too many triples harvested from this document to render.
Waiting for triples from document...Stop


Pay tribute to Ryan Davis in your wireframes and prototypes. Number of paragraphs Include explicit quotes Generate Copy to Clipboard


Windows Phone 7.1 Storage Helper Assembly
http://temporalwars.com/CodeHelpers/WpStorageHelper
This WP7.1 StorageHelper assembly is used to serialize classes into XML data for save/load operations, saved to WP7.1 store.
This is one of my first WP7.1 assemblies used to help ease development on Windows Phone. I will be adding additional WP7.1 assemblies in the near future.
I use a default namespace string for all helper assemblies, making it easier to organize and locate assemblies within projects. Each helper assembly will be marked with the following default namespace: "BenScharbach.WP7.Helpers", with the actual namespace's
specific name at the end of the default namespace; for example, 'Storage' for this assembly.
The storage assembly helper created from this code check-in uses the IsolatedFileStorage class. This class is contained within WP7.1 SDK. For future WP8 helper assemblies I will use the StorageFile class which only comes with WP8 SDK.
To use these assemblies' Load/Save operations, the consuming class must be properly decorated with Microsoft's serialization attributes. For example, to use the XML load and save methods, the consumed class MUST have the
DataContract and DataMember attributes applied. Using these attributes on the consumed class gives you the ability to control which properties are serializable for the load and save operations.
Thanks,
Ben Scharbach


| Name | Total Lines | Lines of Code | Total Coverage | Code Coverage |
|---|---|---|---|---|
| /home/cgb/.rvm/gems/ruby-1.8.7-head/gems/flexmock-0.9.0/lib/flexmock/partial_mock.rb | 302 | 175 | 94.04%
|
89.71%
|
Code reported as executed by Ruby looks like this...and this: this line is also marked as covered.Lines considered as run by rcov, but not reported by Ruby, look like this,and this: these lines were inferred by rcov (using simple heuristics).Finally, here's a line marked as not executed.
1 #!/usr/bin/env ruby |
2 |
3 #--- |
4 # Copyright 2003-2011 by Jim Weirich (jim@weirichhouse.org). |
5 # All rights reserved. |
6 |
7 # Permission is granted for use, copying, modification, distribution, |
8 # and distribution of modified versions of this work as long as the |
9 # above copyright notice is included. |
10 #+++ |
11 |
12 require 'flexmock/noop' |
13 |
14 class FlexMock |
15 |
16 # ######################################################################### |
17 # PartialMockProxy is used to mate the mock framework to an existing |
18 # object. The object is "enhanced" with a reference to a mock |
19 # object (stored in <tt>@flexmock_proxy</tt>). When the |
20 # +should_receive+ method is sent to the proxy, it overrides the |
21 # existing object's method by creating singleton method that |
22 # forwards to the mock. When testing is complete, PartialMockProxy |
23 # will erase the mocking infrastructure from the object being mocked |
24 # (e.g. remove instance variables and mock singleton methods). |
25 # |
26 class PartialMockProxy |
27 include Ordering |
28 |
29 attr_reader :mock |
30 |
31 # The following methods are added to partial mocks so that they |
32 # can act like a mock. |
33 |
34 MOCK_METHODS = [ |
35 :should_receive, :new_instances, |
36 :flexmock_get, :flexmock_teardown, :flexmock_verify |
37 ] |
38 |
39 # Initialize a PartialMockProxy object. |
40 def initialize(obj, mock, safe_mode) |
41 @obj = obj |
42 @mock = mock |
43 @method_definitions = {} |
44 @methods_proxied = [] |
45 unless safe_mode |
46 add_mock_method(:should_receive) |
47 MOCK_METHODS.each do |sym| |
48 unless @obj.respond_to?(sym) |
49 add_mock_method(sym) |
50 end |
51 end |
52 end |
53 end |
54 |
55 # Get the mock object for the partial mock. |
56 def flexmock_get |
57 @mock |
58 end |
59 |
60 # :call-seq: |
61 # should_receive(:method_name) |
62 # should_receive(:method1, method2, ...) |
63 # should_receive(:meth1 => result1, :meth2 => result2, ...) |
64 # |
65 # Declare that the partial mock should receive a message with the given |
66 # name. |
67 # |
68 # If more than one method name is given, then the mock object should |
69 # expect to receive all the listed melthods. If a hash of method |
70 # name/value pairs is given, then the each method will return the |
71 # associated result. Any expectations applied to the result of |
72 # +should_receive+ will be applied to all the methods defined in the |
73 # argument list. |
74 # |
75 # An expectation object for the method name is returned as the result of |
76 # this method. Further expectation constraints can be added by chaining |
77 # to the result. |
78 # |
79 # See Expectation for a list of declarators that can be used. |
80 def should_receive(*args) |
81 ContainerHelper.parse_should_args(@mock, args) do |sym| |
82 unless @methods_proxied.include?(sym) |
83 hide_existing_method(sym) |
84 end |
85 ex = @mock.should_receive(sym) |
86 ex.mock = self |
87 ex |
88 end |
89 end |
90 |
91 def add_mock_method(method_name) |
92 stow_existing_definition(method_name) |
93 sclass.module_eval do |
94 define_method(method_name) { |*args, &block| |
95 proxy = instance_variable_get("@flexmock_proxy") |
96 if proxy.nil? |
97 fail "Missing FlexMock proxy " + |
98 "(for method_name=#{method_name.inspect}, self=\#{self})" |
99 end |
100 proxy.send(method_name, *args, &block) |
101 } |
102 end |
103 end |
104 |
105 # :call-seq: |
106 # new_instances.should_receive(...) |
107 # new_instances { |instance| instance.should_receive(...) } |
108 # |
109 # new_instances is a short cut method for overriding the behavior of any |
110 # new instances created via a mocked class object. |
111 # |
112 # By default, new_instances will mock the behaviour of the :new |
113 # method. If you wish to mock a different set of class methods, |
114 # just pass a list of symbols to as arguments. (previous versions |
115 # also mocked :allocate by default. If you need :allocate to be |
116 # mocked, just request it explicitly). |
117 # |
118 # For example, to stub only objects created by :make (and not |
119 # :new), use: |
120 # |
121 # flexmock(ClassName).new_instances(:make).should_receive(...) |
122 # |
123 def new_instances(*allocators, &block) |
124 fail ArgumentError, "new_instances requires a Class to stub" unless Class === @obj |
125 allocators = [:new] if allocators.empty? |
126 result = ExpectationRecorder.new |
127 allocators.each do |allocate_method| |
128 check_allocate_method(allocate_method) |
129 # HACK: Without the following lambda, Ruby 1.9 will not bind |
130 # the allocate_method parameter correctly. |
131 lambda { } |
132 self.should_receive(allocate_method).and_return { |*args| |
133 new_obj = invoke_original(allocate_method, args) |
134 mock = flexmock_container.flexmock(new_obj) |
135 block.call(mock) if block_given? |
136 result.apply(mock) |
137 new_obj |
138 } |
139 end |
140 result |
141 end |
142 |
143 # Invoke the original definition of method on the object supported by |
144 # the stub. |
145 def invoke_original(method, args) |
146 method_proc = @method_definitions[method] |
147 method_proc.call(*args) |
148 end |
149 private :invoke_original |
150 |
151 # Verify that the mock has been properly called. After verification, |
152 # detach the mocking infrastructure from the existing object. |
153 def flexmock_verify |
154 @mock.flexmock_verify |
155 end |
156 |
157 # Remove all traces of the mocking framework from the existing object. |
158 def flexmock_teardown |
159 if ! detached? |
160 @methods_proxied.each do |method_name| |
161 remove_current_method(method_name) |
162 restore_original_definition(method_name) |
163 end |
164 @obj.instance_variable_set("@flexmock_proxy", nil) |
165 @obj = nil |
166 end |
167 end |
168 |
169 # Forward to the mock's container. |
170 def flexmock_container |
171 @mock.flexmock_container |
172 end |
173 |
174 # Set the proxy's mock container. This set value is ignored |
175 # because the proxy always uses the container of its mock. |
176 def flexmock_container=(container) |
177 end |
178 |
179 # Forward the request for the expectation director to the mock. |
180 def flexmock_expectations_for(method_name) |
181 @mock.flexmock_expectations_for(method_name) |
182 end |
183 |
184 private |
185 |
186 def check_allocate_method(allocate_method) |
187 if allocate_method == :allocate && RUBY_VERSION >= "1.9" |
188 fail UsageError, "Cannot mock the allocation method using new_instances in Ruby 1.9" |
189 end |
190 end |
191 |
192 # The singleton class of the object. |
193 def sclass |
194 class << @obj; self; end |
195 end |
196 |
197 # Is the given method name a singleton method in the object we are |
198 # mocking? |
199 def singleton?(method_name) |
200 @obj.methods(false).include?(method_name.to_s) |
201 end |
202 |
203 # Hide the existing method definition with a singleton defintion |
204 # that proxies to our mock object. If the current definition is a |
205 # singleton, we need to record the definition and remove it before |
206 # creating our own singleton method. If the current definition is |
207 # not a singleton, all we need to do is override it with our own |
208 # singleton. |
209 def hide_existing_method(method_name) |
210 stow_existing_definition(method_name) |
211 define_proxy_method(method_name) |
212 end |
213 |
214 # Stow the existing method definition so that it can be recovered |
215 # later. |
216 def stow_existing_definition(method_name) |
217 @methods_proxied << method_name |
218 new_alias = create_alias_for_existing_method(method_name) |
219 if new_alias |
220 my_object = @obj |
221 @method_definitions[method_name] = Proc.new { |*args| |
222 block = nil |
223 if Proc === args.last |
224 block = args.last |
225 args = args[0...-1] |
226 end |
227 my_object.send(new_alias, *args, &block) |
228 } |
229 end |
230 remove_current_method(method_name) if singleton?(method_name) |
231 end |
232 |
233 # Create an alias for the existing +method_name+. Returns the new |
234 # alias name. If the aliasing process fails (because the method |
235 # doesn't really exist, then return nil. |
236 def create_alias_for_existing_method(method_name) |
237 begin |
238 new_alias = new_name(method_name) |
239 unless @obj.respond_to?(new_alias) |
240 sclass.class_eval do |
241 alias_method(new_alias, method_name) |
242 end |
243 end |
244 new_alias |
245 rescue NameError => _ |
246 # Alias attempt failed |
247 nil |
248 end |
249 end |
250 |
251 # Define a proxy method that forwards to our mock object. The |
252 # proxy method is defined as a singleton method on the object |
253 # being mocked. |
254 def define_proxy_method(method_name) |
255 if method_name.to_s =~ /=$/ |
256 eval_line = __LINE__ + 1 |
257 sclass.class_eval %{ |
258 def #{method_name}(*args, &block) |
259 instance_variable_get('@flexmock_proxy').mock.__send__(:#{method_name}, *args, &block) |
260 end |
261 }, __FILE__, eval_line |
262 else |
263 eval_line = __LINE__ + 1 |
264 sclass.class_eval %{ |
265 def #{method_name}(*args, &block) |
266 instance_variable_get('@flexmock_proxy').mock.#{method_name}(*args, &block) |
267 end |
268 }, __FILE__, eval_line |
269 _ = true # make rcov recognize the above eval is covered |
270 end |
271 end |
272 |
273 # Restore the original singleton defintion for method_name that |
274 # was saved earlier. |
275 def restore_original_definition(method_name) |
276 method_def = @method_definitions[method_name] |
277 if method_def |
278 the_alias = new_name(method_name) |
279 sclass.class_eval do |
280 alias_method(method_name, the_alias) |
281 end |
282 end |
283 end |
284 |
285 # Remove the current method if it is a singleton method of the |
286 # object being mocked. |
287 def remove_current_method(method_name) |
288 sclass.class_eval { remove_method(method_name) } |
289 end |
290 |
291 # Have we been detached from the existing object? |
292 def detached? |
293 @obj.nil? |
294 end |
295 |
296 # Generate a name to be used to alias the original behavior. |
297 def new_name(old_name) |
298 "flexmock_original_behavior_for_#{old_name}" |
299 end |
300 |
301 end |
302 end |
Generated on Wed May 16 23:29:48 -0700 2012 with rcov 1.0.0


-------------------------------------------------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------------------------------------------------
-
4
Human Resources Policies
pertaining to the incident, should be placed in the personal files of
the concerned employees for future reference.
Where the misconduct is established, the HOD and HR Manager, in
consultation with the COO, discuss the disciplinary actions/
measures.
In case of termination of employment due to the misconduct, the
employee should be asked to leave the firm within 24 hrs.
All the documentary evidence of the proceedings will be recorded in
his/ her personal file.
Contact
All queries and clarifications on the policy and procedures may be
referred to GA and HR Department.
Approval
Approved by:
Date: 1
st
December 2015
Director


Welcome to Bus Mall product selection survey! We will be presenting you with a series of 3 images, please select your favorite product out of the 3 images. You will be given a total of 25 selections.
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West Ham United considering Darren Randolph reunion?
Middlesbrough goalkeeper Darren Randolph has reportedly emerged as a transfer target for West Ham United.
by Darren PlantThe 32-year-old has previously represented the Hammers, making 42 appearances in all competitions before departing for the Riverside Stadium in 2017.
However, according to 90 min, the Premier League outfit have contacted Middlesbrough regarding a deal for the Republic of Ireland international.
Having made a number of high-profile mistakes since joining West Ham in the summer, Sergi Roberto is likely to be moved on in January, providing that the east Londoners can sign a replacement.
While Randolph currently has just over 18 months remaining on his contract, Boro may have to consider cashing in on the experienced stopper.
The north-east team currently sit in 19th position in the Championship standings.
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Kyle Dove
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I created this site to showcase my career highlights, and create a "get to know Kyle" venue for current and future business partners, staff, clients, investors, media sources, regulatory agencies, and anyone else that finds the content helpful.


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From Wikipedia:
Darwin Core Archive (DwC-A) is a Biodiversity informatics data standard that makes use of the Darwin Core terms to produce a single, self-contained dataset for species occurrence or checklist data. Essentially it is a set of text (CSV) files with a simple descriptor (meta.xml) to inform others how your files are organized. The format is defined in the Darwin Core Text Guidelines.[1] It is the preferred format for publishing data to the GBIF network.
VeSPER is a collection of visualisation components that allow biologists to investigate the taxonomic, geographic and temporal coverage of DWCA files along with a number of other quality indicators. While a DWCA may appear to be useful for a given purpose, it may also be missing a great deal of information or have data quality issues that have seen times, places, and taxa clumped into 'dumping grounds' within their respective fields. These visualisations will allow DWCA data providers to assess the quality of the data they are supplying, and for data users to assess any data sets they are considering using.


Fiction Movies
O Clube das Mulheres de Negócios
To Be Releseade in 2024
Produced by Glaz, África Filmes and Globo
Filmes
Direction and Writing: Anna Muylaert
Direction of Photography: Bárbara Álvares
Production
Manager: Henrique Lapa
Doce Família
To Be Releseade in 2023
Produced by Glaz and Globo Filmes
Direction and Writing: Carol Durão
Direction of Photography: Pedro Faerstein
Production
Manager: Lara Lima
Production Coordinator: Henrique Lapa
Novembro
To Be Relesead in 2024
Produced by Ponte Produtoras
Direction and writing: Milena Times
Direction of
Photography: Linga Acacio
Production Manager: Henrique Lapa
Propriedade
Produced by Vilarejo Filmes
Direction and writing: Daniel Bandeira
Direction of Photography:
Pedro Sotero
Production Manager: Juliana Calles
Production coordinator / Scene vehicles:
Henrique Lapa
Rio Doce
Produced by Ponte Produtoras
Direction and writing: Fellipe Fernandes
Direction of Photography: Pedro Sotero
Production Manager: Luiza Ramos
Location
Producer/Production Assistant:
Henrique Lapa
Sujeito Oculto
Produced by Cereja Filmes
Direction and writing: Léo Falcão
Direction of Photography: Beto
Martins
Production Manager: Juliana Calles
Production Assistant: Henrique Lapa
Fala da Terra
Produced by Bárbara Wagner & Benjamin de Burca, Fortes D`Aloia & Gabriel and
Ponte Produtoras
Direction and Writing: Bárbara Wagner & Benjamin de Burca and Coletivo
Banzeiros from MST
Direction of Photography: Pedro Sotero
Production Manager: Henrique Lapa
Bacurau
Produced by Cinemascópio
Direction and writing: Kleber Mendonça Filho and
Juliano Dornelles
Direction of Photography: Pedro Sotero
Production Manager: Dedete
Parente
Logistics Coordinator/Production Assistant: Henrique
Lapa
Reforma
Produced by Ponte Produtoras
Direction and writing: Fábio Leal
Direction
of Photography: Maira Iabrudi
Production Manager: Henrique Lapa
Rarefied
Short Film “Rarefied”
directed by Thiago Lira
Henrique Lapa: Producer, Executive Producer and Production Manager
TV Series
Chão de Estrelas
Canal Brasil
Produced by Carnaval Filmes
Direction and writing: Hilton Lacerda
Direction
of photography: Ivo Lopes
Production Manager: Dedete Parente
Location Producer/Production
Assistant: Henrique Lapa
The Boys From Brazil: Rise of Bolsonaros
Produced by BBC TWO
Direction: Matt Hill and Richard Max
Direction of Photography: Otávio
Pupo
Production Coordinator: Henrique Lapa
First Man Out In The Amazon: Ed Stafford Vs Donny Dust
Produced by Beach House Productions for Discovery Channel
Direction: Mark Drake and Rob Sixsmith
Direction of Photography: Tom Lowry
Production
Coordinator: Henrique Lapa
Watch
at Facebook
Flordelis
Produced by Wall to Wall for HBO Max
Direction: Suemay Oram
Direction of Photography: Janice
D`Ávila
Production Coordinator: Henrique Lapa
Causos e Cantos
Produced by TV Globo
Director: Lula Queiroga
Director of photography:
Ivanildo Machado
Production: Henrique Lapa e Kika Latache / Luni Produções
Patrimônio Vivo - Na Estrada do Sempre
Produced by TV Globo
Director: Mykaela Plotkin
Director of photography: Carlinhos
Albuquerque
Production: Henrique Lapa/Luni Produções
Causando na rua (Episodes 6, 7 and 8)
Cine Brasil TV
Direction: Tatá Amaral
Fotografia: Thaisa Oliveira
Production
Coordination: Henrique Lapa
Arquibancadas
Cine Brasil TV
Director: Lula Queiroga
Director of photography: Ivanildo Machado
Production Coordination: Henrique Lapa
Live Concerts Recording/Videoclips
O Rappa - Live on Marco Zero
Produced by Warner Music Brasil
Directors: Lírio Ferreira and Lula
Queiroga
Director of photography: Ivanildo Machado
Production: Henrique Lapa/Luni Produções
O Rappa - Acústico Oficina Brennand
Produced by Warner Music Brasil
Director: Lírio Ferreira
Director of photography: Marcelo Durst
Lights: Leonardo Detomi
Production: Henrique Lapa e Kika Latache / Luni Produções
Alceu Valença Live! Revivo! At Santa Isabel Theatre
Produced by Luni Produções
Director: Lula Queiroga
Director of
photography: Jacques Cheuiche
Production Coordination: Henrique Lapa e Kika Latache / Luni
Produções
Raiar ou o Vingador da Solidão from Cordel do Fogo Encantado
Direction, Production, Photography, editing: Bäcker Design e Motion/Estúdio
Orra/Phantom 5 Art
Production Manager: Henrique Lapa
Ei, Brown from Okado do Canal
Direction and Writing: Okado do Canal
Direction of Photography: Pedro
Sotero
Production Manager: Henrique Lapa
Documentary
Repense o Elogio
Avon
Direction: Estela Renner
Direction of Photography: Carolina Quintanilha
Casting:
Henrique Lapa and others
15 Anos do Porto Digital
Porto Digital
Director: Lula Queiroga
Director of Photography: Ivanildo Machado and
Josicarlos Santana
Production: Henrique Lapa / Luni Produções
O Outro Lado do Outro
Direction: Rita Oenning and Kurt Shaw
Direction of Photography: Marcelo Lacerda
Production
Manager: Luiza Ramos
Production Coordination: Henrique Lapa
Cultural Festivals
X Janela Internacional de Cinema do Recife
Function: Print Traffic
https://www.janeladecinema.com.br/2017
IX Janela Internacional de Cinema do Recife
Function: Logistics Producer
https://www.janeladecinema.com.br/2016
8th, 10th and 11th Festival de Circo do Brasil
Function: Logistics Coordinator
https://www.festivaldecircodobrasil.com.br/
Advertising
Magazine Luiza - Caminhão de Prêmios
Directed by Guilherme Melles
Production Manager: Henrique Lapa
Watch
at Instagram
Jeep - #issoésustentabilidade
Client: Jeep
Agency: F.biz
Produced by Raiz Estudio
Production Manager: Henrique Lapa
- To be released in 2020 -
Check
it at Instagram
Itaipava - Transforme o São João em 100% Verão
Client: Itaipava
Produced by: Piloto.tv
Production Manager: Henrique Lapa
Nestlé
client: Farinha Láctea Nestlé
Produced by: Corazon
Production Manager: Marilia Assis
Production Coordination: Henrique Lapa
Recife Antigo com Lenine
Client: Empetur - Governo de Pernambuco
Agency: MartPet
Direction: Pio Figueiroa
Direction os Photography: Marcela Burseau
Production: Henrique Lapa / Luni Produções
Anual campaign Shopping Boa Vista - Serie of 4 ads Mother's day
Client: Shopping Boa Vista
Agency: MartPet
Direction: Leandro Alves
Direction of
Photography: Ivanildo Machado
Editing and Color Grading: Mauro Galvão
Production: Henrique
Lapa / Luni Produções
Camisa da Paz - Serie of 4 ads
Client: Governo de Pernambuco
Agency: Aporte
Direction: Pio Figueiroa
Direction of
Photography: Ivanildo Machado
Editing and Color Grading: Cristiano Lemos
Production:
Henrique Lapa e Gabi Galindo / Luni Produções
Celpe 50 Anos
Client: Celpe
Agency: MartPet Direction: Leandro Alves
Direction of Photography: Ivanildo
Machado
Production: Henrique Lapa / Luni Produções
8º Salão Imobiliário de Pernambuco - Ademi Imóveis
Client: Ademi-PE
Agency: Arcos Comunicação
Direction: Marcelo Pinheiro
Production:
Henrique Lapa / Luni Produções
IPTU 2016 - Prefeitura de Jaboatão dos Guararapes
Client: Jaboatão dos Guararapes City Hall
Agency: Dois Comunicação
Direction: Pablo Polo
Production: Henrique Lapa / Luni Produções
Operação Verãos - Prefeitura de Jaboatão dos Guararapes - serie of 4 ads
Client: Jaboatão dos Guararapes City Hall
Agency: Dois Comunicação
Direction: Pablo Polo
Production: Henrique Lapa / Luni Produções
WorkShops
Cinema Production for children at the Favela
Results of the workshop “Cinema Production for children at the Favela”
Produced by Henrique Lapa
/ Usina da Imaginação
instagram.com/p/B3g2WwaHr3F
Cinema Production at the Favela
Results of the workshop “Cinema Production at the Favela”
Produced by Henrique Lapa and Ellan
Barreto Okado / Usina da Imaginação. directed and writed by Cidcley Fagner
Street of children
Results of the workshop “Street of children”
Produced by Henrique Lapa and Rita Oening / Usina
da Imaginação


| Xmega Application Note | |||||
Structure of pointers to constant 64-, 32-, 16- and 8-bit unsigned integers. More...
#include <compiler.h>
Data Fields | |
| const S16 * | s16ptr |
| const S32 * | s32ptr |
| const S64 * | s64ptr |
| const S8 * | s8ptr |
| const U16 * | u16ptr |
| const U32 * | u32ptr |
| const U64 * | u64ptr |
| const U8 * | u8ptr |
Structure of pointers to constant 64-, 32-, 16- and 8-bit unsigned integers.
Definition at line 255 of file compiler.h.
| const S16* StructCPtr::s16ptr |
Definition at line 261 of file compiler.h.
| const S32* StructCPtr::s32ptr |
Definition at line 259 of file compiler.h.
| const S64* StructCPtr::s64ptr |
Definition at line 257 of file compiler.h.
| const S8* StructCPtr::s8ptr |
Definition at line 263 of file compiler.h.
| const U16* StructCPtr::u16ptr |
Definition at line 262 of file compiler.h.
| const U32* StructCPtr::u32ptr |
Definition at line 260 of file compiler.h.
| const U64* StructCPtr::u64ptr |
Definition at line 258 of file compiler.h.
| const U8* StructCPtr::u8ptr |
Definition at line 264 of file compiler.h.
| Generated on Fri Oct 22 12:15:26 2010 for AVR1300 Using the Xmega ADC by 1.6.3 |


Code for Akron is a volunteer organization where technologists, creatives, entrepreneurs, governance, organizations, domain-specific professionals, and citizens come together with the shared goal of improving the Akron, Ohio region for everyone.
Code for Akron is a volunteer organization where technologists, creatives, entrepreneurs, governance, organizations, domain-specific professionals, and citizens come together with the shared goal of improving the Akron, Ohio region for everyone.


{pos ?= {}}
We can use shortcuts here.
Instead of if="number"
, we can just shorten to "if
". This basically checks the substitution values. (See elide for all the details)
We can also leave the loop variable name off the for=
attribute. It will default to .
(see the dot).
Finally, there's syntax to make a list of numbers (more details). {pos.next.value.title ?: "next"} >> {builder::as_code('examples/shortcuts.html')}


THE MUSE A film review by Christopher Null Copyright 1999 Christopher Null filmcritic.com
Albert Brooks, who last gave us a wryly cynical meditation on mother-and-son relationships with MOTHER, turns now to a wryly cynical meditation on Hollywood and inspiration with the aptly titled THE MUSE.
Brooks plays Steven Phillips, a moderately successful Hollywood screenwriter who suddenly finds he's lost `his edge.' In desperation he turns to friend Jack (Bridges), who introduces him to a girl named Sarah (Stone), whom Jack claims is a muse. Or rather, one of The Muses, a source of divine inspiration.
And Sarah seems to be the real thing inspiring greatness in Bridges' character (he wins an Oscar) and a dozen really big celebrities who make cameos throughout the picture (which becomes half the fun, so I won't spoil their identities).
Steven's wife (MacDowell) even gets in on the action, as Sarah inspires her to bake cookies and eventually open a bakery.
Of course, Brooks is typically hilarious here with humor that is at once dry and at the same time over the top. But he lost with me with the end product that Sarah helps him create – an idiotic comedy script that sounds like a cross between ACE VENTURA and `The Beverly Hillbillies.' It is even designed to star Jim Carrey. I should hope that if I get a muse, she brings me a better script than that.
Any Albert Brooks fan will enjoy his latest. It's not the home run that say, DEFENDING YOUR LIFE, is, but it's a classy film in an era of low-class projects.
Let me add the ironic footnote that Brooks himself ended up distributing this picture through teeny outlet October Films, just as his character is nearly forced to do in the movie. You see, in the real Hollywood, the greater your artistry, the lower on the totem pole you have to go to find work. That's how it really works.
RATING: ****
|------------------------------| \ ***** Perfection \ \ **** Good, memorable film \ \ *** Average, hits and misses \ \ ** Sub-par on many levels \ \ * Unquestionably awful \ |------------------------------|
MPAA Rating: PG-13
Director: Albert Brooks Producer: Herb Nanas Writer: Albert Brooks, Monica Johnson Starring: Albert Brooks, Sharon Stone, Andie MacDowell, Jeff Bridges
http://www.themusemovie.com/
Christopher Null -<EMAIL_ADDRESS>- http://www.filmcritic.com Author - Network Administrator's Reference, 1999, ISBN 0-07-882588-1 http://www.amazon.com/exec/obidos/ASIN/0078825881/filmcriticcom
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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Related links: index of all rec.arts.movies.reviews reviews


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Next:
proof
Up:
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Previous:
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proof 2
We want to prove that
(
354
)
where
. The right-hand side of Eq. (
354
) is written as
(
355
)
(
356
)
which is exactly the left-hand side of Eq. (
354
). Thus Eq. (
354
) is proved.
yj 2015-09-04


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Work
- SWE @ Plaid (2021 — current): Data Infra
- Intern @ Robinhood (2020): Data Infra
- Intern @ Plaid (2020): DevX
- Intern @ Dropbox (2019): Growth
Projects
- Radiowo — Stream the music you're listening to through WebRTC.
- Raft in Rust — Self-implement Raft consensus protocol in Rust.


This rule checks that non-abstract classes inheriting from AbstractUc begin with Uc, end with Impl and implement an interface with the same name except the suffix Impl.
public classUcTestImplextends AbstractUc {}
public abstract classUcClassextends AbstractUc {}
public class UcTestImpl extends AbstractUc implements UcTest {}


"Captain Corelli's Mandolin"
The beautiful Greek Island of Cephallonia was a peaceful jewel in the Ionian Sea until 1941 when the war ravaging Europe landed on its shores. Italian troops are sent to garrison the island and Captain Antonio Corelli (Nicolas Cage), a conscript sent to the foreign land, falls in love with a lovely local girl, Pelagia (Penelope Cruz), in "Captain Corelli's Mandolin."
Months ago, we received the first of the video press material for "Captain Corelli's Mandolin." Watching the trailer tape way back then, I was reluctant about the movie. It looked like a smarmy romance, the kind that really doesn't hold a lot of appeal for me. The press stuff kept trickling in and a sense of mild dread took over as the film's release date drew near. Finally, word came announcing the advanced screening, so I bit the bullet (after all, it does have Penelope Cruz) and went to see what I expected to be nothing more than a chick flick. Boy, was I wrong.
John Madden ("Shakespeare in Love") brings the popular Louis de Bernieres novel, Captain Corelli's Mandolin, to the big screen in a lush, beautifully crafted movie that turns out to be more than just a love story. Captain Corelli, an unwilling draftee into Mussolini's invading army, loves life and the music he plays on his mandolin. When he is stationed, with his artillery battery, on Cephallonia, he sees beautiful Pelagia amidst the island's citizens and is immediately smitten. When Antonio is billeted in the house owned by her father, Dr. Iannis (John Hurt), her resentment of the invaders is softened and the Italian officer works his way into the young woman's heart. A deep, mutual love is born.
The horrors of the war have left the small Greek island unmolested and Italy's powerful ally, Nazi Germany, has left the Balkan country to the Italians to rule. But, in 1943, when Mussolini falls from power, his German masters take a hand in the occupation of Greece. When Italy surrenders to the Allies, the Nazis demand the surrender of arms by all of the Italian forces. Rumors fly about Italian troops being imprisoned by the Germans and the soldiers occupying Cephallonia decide to resist their now-former allies. Battalions of crack German mountain troops are sent to quell the mutineers and the out-numbered and out-gunned Italians pay the deadly consequences.
The focus, as you would expect in a romance-based story, is on the two lead characters. Antonio and Pelagia make a handsome couple and some sparks fly in their romantic scenes, but, overall, Cage and Cruz don't quite have the chemistry to make this an epic love story. The pair is nice but the screen doesn't burn up when they're together. This could have been a disaster for the movie, but the quality of the production, a strong supporting cast, the gorgeous locale, the outstanding tech values and exciting battle scenes, plus the depiction of a little know slice of history all contribute in making this a solid all-around film.
John Hurt, a truly great actor, gives depth to his character, Dr. Iannis, the island's physician. The doctor is an enlightened individual, shunning the Greek Orthodox religion of the islanders, but dedicated to the people of Cephallonia and, in particular, his daughter, Pelagia. Film icon Irene Papas appears as the mother of Mandras (Christian Bale), an illiterate Greek fisherman who had the heart of Pelagia until Antonio Corelli's arrival. With just a look the veteran actress tells volumes of the hopes and fears for her son. The actors making up Corelli's artillery battery, called La Scalas for their propensity to break into the songs of Puccini and other great Italian composers, provide a musical cameo perf that gives a human face to the occupiers.
John Toll's cinematography is, in a word, stunning. The pallet of colors that his cameras pick up give a lushness that complements the island locales. The look of the film is so inviting it makes you want to spend your days drinking in the beauty of Cephallonia. Other techs are on a par with Toll's exquisite lensing. Jim Clay and his production design team had the daunting task of creating the film's Greek island village virtually from scratch. An earthquake devastated the island in 1953, leaving little of the old-fashioned structures needed for the film. The recreation of the capital city of Argostoli is nothing less than remarkable. Costume designer Alexandra Byrne expertly fits the period, clothing the Italian and German troops in real looking uniforms and the islanders in homespun attire. The battle sequences between the Italians and Germans are deftly staged and wrenchingly realistic looking.
The history depicted in "Captain Corelli's Mandolin" covers territory virtually unknown. The only other film that deals with the Italian occupation of Greece and its islands was the charming Best Foreign Film winner several years ago, "Mediterraneo," but that comedic viewpoint did not get down to the nitty gritty of the war itself. If only the romantic center of "Corelli" had equaled the exquisite production. I give it a B.
For more Reeling reviews visit www.reelingreviews.com
<EMAIL_ADDRESS><EMAIL_ADDRESS>========== X-RAMR-ID: 29268 X-Language: en X-RT-ReviewID: 245374 X-RT-TitleID: 1109530 X-RT-SourceID: 386 X-RT-AuthorID: 1488 X-RT-RatingText: B
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Inside Look at Rick Owens' Two New Books From Rizzoli
With a signing today at the designers’ Los Angeles store.
by Felson SajonasRick Owens recently released two books alongside publisher Rizzoli. LEGASPI BY RICK OWENS details the life and work of Larry Legaspi, most renowned for his retro-futuristic designs from the ’70s when he dressed the likes of George Clinton, KISS and more. The creative would then pass away from AIDS in 2001 but he leaves behind a respected legacy of his impact in the world of fashion, art and music which is well documented and authored in this first volume by Rick Owens himself.
The other book, RICK OWENS PHOTOGRAPHED BY DANIELLE LEVITT, is a visual documentation of Owens’ expansive work in the past decade — over 150 color and black and white photographs are included in the pages. The book also celebrates the designer’s dark aesthetic which has solidified the creative as one of the industry’s most prolific visionaries. Moreso, Danielle Levitt’s images have garnered acclaim for her social-realist images — this is a book that highlights all of Owens’ best works in the world of fashion and design.
Take a look at some of the inside pages of both books in the gallery above. Rick Owens will be autographing copies of the books today, November 18 at the designer’s store in Los Angeles. The signing event will take place from 7PM PST to 9PM PST.
Rick Owens
819 N La Brea Ave, Los Angeles, CA 90038
Phone:<PHONE_NUMBER>
In other fashion news, Nigo’s HUMAN MADE and Star Trak are collaborating.


QUIZ SHOW A film review by David Landers Copyright 1997 David Landers
RATING: *** 1/2 out of **** - 8.0 out of 10.0 CAST: John Turturro (Herbie Stempel), Rob Morrow (Dick Goodwin), Ralph Fiennes (Charles Van Doren), Paul Scofield (Mark Van Doren), David Paymer (Dan Enright), Hank Azaria (Albert Freedman) DIRECTOR: Robert Redford CERTIFICATION: PG-13 (USA) for language YEAR OF PRODUCTION: 1994 ACADEMY AWARD NOMINATIONS: Best Picture, Best Director (Redford), Best Supporting Actor (Scofield), Best Adapted Screenplay (Paul Attanasio)
QUIZ SHOW, an almost perfectly accurate true story, is based upon the events of the popular television show of the mid-50's, "Twenty-One". On this trivial game show, contestants were placed in isolation booths and then answered questions corresponding to a category of their choice, on which they wagered an amount of points on. The game went on until a player reached twenty one points on felt they had earned enough points to win. But, after ratings began to fall when players were struggling to break the zero mark, the producers decided to fix the game by giving the answers to a contestant before the game began.
QUIZ SHOW illustrates the true stories of two particular contestants, Herbie Stempel and Charles Van Doren. Stempel (John Turturro), a former G.I. and your Jewish man raising a family. Stempel has been the reigning champion on "Twenty-One" for many weeks and has accumulated thousands of dollars. In his mind, he is the best thing on television and the people love him. Although, in the mind of the show's producers, Herbie Stempel is getting old. Dan Enright (David Paymer), in particular, feels that the people are tired of seeing a "Jewish guy from Queens with bad teeth" and that the kids need someone better to look up to. Therefore, they need to find another contestant whom would be a worthy role model and the people will look up to and cheer to win. Someone who can defeat Stempel, even if they have to resort to cheating. Enter Charles Van Doren (Ralph Fiennes), a well-educated Professor from a widely recognized family. Van Doren had decided to try out for the game show "Tic Tac Dough" because his friends thought he would be good at that sort of thing. But when Albert Freedman (Hank Azaria), Enright's assistant, spots Van Doren, the two decide that they have found their soon-to-be-ruler of the "Twenty-One" kingdom. Van Doren is not too keen on the idea of receiving the answers ahead of time, so Enright tells Stempel that he is going to give the wrong answer, on purpose, in order to lose the game.
After Stempel loses the "throne" to Van Doren, he starts to feel cheated (which he should). Meanwhile, on his own, Dick Goodwin (Rob Morrow), a Harvard law graduate, has decided to start an investigation on "Twenty-One" to try and find out if there have been any wrongdoings. His investigation yields shocking results and leads to a trial for Enright and the others involved.
QUIZ SHOW is an extremely well done movie, and Robert Redford's direction is especially superb. The performances turned in by John Turturro, Ralph Fiennes, and Rob Morrow are very good, although it seems that Turturro stands out more than any. QUIZ SHOW is also very precise when it comes to explicating the true events that inspired the film. Definitely a film you should not miss.
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


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Need to find six 90%+ IV Pokemon during Community Day? Or willing to settle for one,
as long as it has 15 Attack?
Use this tool to get an idea of your chances of getting a desirable Pokemon after a certain number of encounters.
Enter your desired minimum attack IV, the minimum overall IV percentage, and whether these are normal, weather-boosted, or raid encounters.
Looking for shiny Pokemon? Use one of the predefined shiny rates (based on Silph Road Research) or set your own rate, formatted as a decimal.
 Change any parameter and click Calculate again!
Use this tool to get an idea of your chances of getting a desirable Pokemon after a certain number of encounters.
Enter your desired minimum attack IV, the minimum overall IV percentage, and whether these are normal, weather-boosted, or raid encounters.
Looking for shiny Pokemon? Use one of the predefined shiny rates (based on Silph Road Research) or set your own rate, formatted as a decimal.
 Change any parameter and click Calculate again!


The Book of Django Best Practices
Two Scoops of Django is chock-full of material that will help you with your Django projects. Written to support Django 1.11 LTS (Long Term Support), this book won't get outdated until 2020.
The world was ancient, scarred from a thousand wars between gods, immortals, and heroes. Old grudges have faded but are not forgotten.
At the end of a so-called ‘age of peace’, two great nations of immortals march against each other, with humanity caught in the middle. In this world of conflict, three very different individuals are thrust into the face of danger.
{% if SOCIAL %}{{ name.replace("-sign", "") }}
{% endfor %} {% endif %}While you're here, why not add my atom feed to your RSS reader?


A template is a Logisim file that is used as a starting point whenever Logisim creates a new project. Also, if you have an existing Logisim file with a strangely configured environment, you can "reset" the environment using the Revert All To Template button in the window for editing Project Options.
Although templates are useful in other situations also, they are particularly suited for classroom use, where an instructor might want to distribute a template for students to start from. This is particularly likely if the class uses Logisim heavily, including many of the more advanced features, in which case the simple default configuration may prove too simple. Templates can also be useful in the classroom setting when the instructor opens a file submitted by a student who has configured the environment significantly.
By default, the "Plain template" option will be selected, using the default template shipped with Logisim. If you want a bare-bones configuration, you might choose "Empty template." But if you want to designate another file to use as the template, select a template via the Select... button, and then choose the "Custom template" option.
Next: The International tab.


Welcome to FurTrain
Hop on Board And Save
FurTrain is You if?
For Dog Owners
Leashes, bowls, backpacks if it barks we've got what it needs
For Cat Owners
If it purrs then from litter boxs to scratching post
Rabbits
Pens cages feeder are for your long pal.
Others Included
Ferrets, Ginea Pigs(Not for experimenting) and hampsters
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Stick with us for all your needs with our fast delivery speedy custumer response
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Dayimani set for Blitzboks debut in Cape Town
Cape Town - South Africa Sevens coach Neil Powell has added Lions star Hacjivah Dayimani to his squad for the Cape Town Sevens starting on Friday.
The Blitzboks returned home having bagged the opening leg of the HSBC World Rugby Sevens series in Dubai on Saturday.
Dayimani made his debut for the SA Sevens Academy in their victory at the Dubai International Invitational tournament.
The 22-year-old Dayimani will take the place of Christi Grobbelaar who travelled with the Blitzboks to Dubai as the 13th player.
Dayimani will have to wait to hear whether he'll be part of the final 12-man squad - potentially at the expense of either Chris Dry or Ryan Oosthuizen - when Powell confirms his final squad for the tournament on Thursday.
The Blitzboks have been drawn in Pool A and will face minnows Japan at 20:03 on Friday.
On Saturday they have two far tougher assignments against defending series champions Fiji (13:51) and last season's runners-up, the USA (20:03).
Register your interest for the British & Irish Lions tickets in South Africa 2021
Pools for the Cape Town Sevens:
Pool A
South Africa, USA, Fiji, Japan
Pool B
New Zealand, Argentina, Canada, Wales
Pool C
England, France, Spain, Scotland
Pool D
Samoa, Australia, Ireland, Kenya


[Flatland: A Romance of Many Dimensions (1884) Edwin Abbott Abbott](https://en.wikipedia.org/wiki/Flatland) ] .pull-right[
  The story describes a two-dimensional world occupied by geometric figures, where women are simple line-segments, and men are polygons with various numbers of sides. ] --- # How we see high-dimensions in statistics..  Increasing dimension adds an additional orthogonal axis.
If you want more high-dimensional shapes there is an R package, [geozoo](http://schloerke.com/geozoo/all/), which will generate cubes, spheres, simplices, mobius strips, torii, boy surface, enneper surface, dini surface, klein bottles, cones, various polytopes, ... --- .left-column[ # High-dimensions ### You can't see beyond 3D ### A universe of 10 dimensions ### Its more like... ### And in statistics it is everywhere ] .right-column[ - Principal component analysis - Multidimensional scaling - Projection pursuit - Regression - Linear discriminant analysis - Multivariate distributions - Posterior distributions ] --- class: center   Can you tell the difference between these 5D objects? --
 .red[ Yep? You can see beyond 3D!] --- class: center   Can you tell the difference between these 10D objects? --
 .red[ Yep? You really can see beyond 3D!] --
 Set A are genes identified by Sarah Romanes [multiDA](https://github.com/sarahromanes/multiDA) procedure; set B are a random sample of genes. Sarah's selection are much more distinctly different than the random sample. --- .left-column[ # Packages  ] .right-column[ - Visualisation of high-dimensions using tours: the [tourr](https://cran.r-project.org/web/packages/tourr/index.html) package - *Grand:* Randomly choose target - *Little:* Basis of *d* of the *p* variables - *Local:* Randomly within a small radius - *Guided:* Define structure of interest in projection, and optimise function - *Manual:* Control the contribution of a single variable, and move along this axis (coming soon in the R package `spinifex`) - A library of high-dimensional shapes: the [geozoo](https://cran.r-project.org/web/packages/geozoo/index.html) package, and paper [Escape from Boxland](https://journal.r-project.org/archive/2016/RJ-2016-044/index.html) ] --- # Philosophy - It is common to show the data in the model space, for example, predicted vs observed plots for regression, linear discriminant plots, and principal components. - By displaying the model in the high-d data space, rather than low-d summaries of the data produced by the model, we expect to better understand the fit. .footnote[Wickham et al (2015) Visualizing statistical models: Removing the blindfold, SAM] --- # Hierarchical clustering Dendrogram: .red[data] in the .red[model space] .pull-left[  ] .pull-right[  ] --- Tour: .red[Model] in the .red[data space] .pull-left[   ] .pull-right[   ] --- # Summary - The tourr package is available for you to look beyond 2D - High-dimensional shapes, how they are defined, what they look like, how they differ is interesting - Think about ways to look at the model in the data space --- # Multidimensional physics You can read what we are doing with physics data here: [Dynamical projections for the visualization of PDFSense data](https://arxiv.org/abs/1806.09742) Dianne Cook, Ursula Laa, German Valencia --- class: inverse # Joint work! - *Tours:* Andreas Buja, Debby Swayne, Heike Hofmann, Hadley Wickham, Ursula Laa and Nick Spyrison - *Library of high-d shapes:* Barret Schloerke - *Physics application:* Ursula Laa, German Valencia - Animations made with the R [plotly](https://plotly-book.cpsievert.me) package, by Carson Sievert Contact: [
](http://www.dicook.org<EMAIL_ADDRESS>[
](https://twitter.com/visnut) visnut, [
](https://github.com/dicook) dicook  .footnote[Slides made with Rmarkdown, xaringan package by Yihui Xie, and lorikeet theme using the [ochRe package](https://github.com/ropenscilabs/ochRe). Available at [https://github.com/dicook/ISCBASC2018](https://github.com/dicook/ISCBASC2018].) --- # Further reading - Buja et al (2004) [Computational Methods for High-Dimensional Rotations in Data Visualization](http://stat.wharton.upenn.edu/~buja/PAPERS/paper-dyn-proj-algs.pdf) - Cook, D., and Swayne, D. [Interactive and Dynamic Graphics for Data Analysis with examples using R and GGobi](http://www.ggobi.org) - Wickham et al (2011) [tourr: An R Package for Exploring Multivariate Data with Projections](http://www.jstatsoft.org/v40) - Wickham et al (2015) Visualising Statistical Models: Removing the Blindfold (with Discussion), Statistical Analysis and Data Mining. - Schloerke, et al (2016) [Escape from Boxland](https://journal.r-project.org/archive/2016/RJ-2016-044/ index.html) --- class: middle center
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.


This document is a collection of slang terms used by various subcultures of computer hackers. Though some technical material is included for background and flavor, it is not a technical dictionary; what we describe here is the language hackers use among themselves for fun, social communication, and technical debate.
The ‘hacker culture’ is actually a loosely networked collection of subcultures that is nevertheless conscious of some important shared experiences, shared roots, and shared values. It has its own myths, heroes, villains, folk epics, in-jokes, taboos, and dreams. Because hackers as a group are particularly creative people who define themselves partly by rejection of ‘normal’ values and working habits, it has unusually rich and conscious traditions for an intentional culture less than 50 years old.
As usual with slang, the special vocabulary of hackers helps hold places in the community and expresses shared values and experiences. Also as usual, not knowing the slang (or using it inappropriately) defines one as an outsider, a mundane, or (worst of all in hackish vocabulary) possibly even a *suit*. All human cultures use slang in this threefold way — as a tool of communication, and of inclusion, and of exclusion.
Among hackers, though, slang has a subtler aspect, paralleled perhaps in the slang of jazz musicians and some kinds of fine artists but hard to detect in most technical or scientific cultures; parts of it are code for shared states of consciousness. There is a whole range of altered states and problem-solving mental stances basic to high-level hacking which don’t fit into conventional linguistic reality any better than a Coltrane solo or one of Maurits Escher’s surreal trompe l’oeil compositions (Escher is a favorite of hackers), and hacker slang encodes these subtleties in many unobvious ways. As a simple example, take the distinction between a *kluge* and an *elegant* solution, and the differing connotations attached to each. The distinction is not only of engineering significance; it reaches right back into the nature of the generative processes in program design and asserts something important about two different kinds of relationship between the hacker and the hack. Hacker slang is unusually rich in implications of this kind, of overtones and undertones that illuminate the hackish psyche.
Hackers, as a rule, love wordplay and are very conscious and inventive in their use of language. These traits seem to be common in young children, but the conformity-enforcing machine we are pleased to call an educational system bludgeons them out of most of us before adolescence. Thus, linguistic invention in most subcultures of the modern West is a halting and largely unconscious process. Hackers, by contrast, regard slang formation and use as a game to be played for conscious pleasure. Their inventions thus display an almost unique combination of the neotenous enjoyment of language-play with the discrimination of educated and powerful intelligence. Further, the electronic media which knit them together are fluid, ‘hot’ connections, well adapted to both the dissemination of new slang and the ruthless culling of weak and superannuated specimens. The results of this process give us perhaps a uniquely intense and accelerated view of linguistic evolution in action.
Hacker slang also challenges some common linguistic and anthropological assumptions. For example, in the early 1990s it became fashionable to speak of ‘low-context’ versus ‘high-context’ communication, and to classify cultures by the preferred context level of their languages and art forms. It is usually claimed that low-context communication (characterized by precision, clarity, and completeness of self-contained utterances) is typical in cultures which value logic, objectivity, individualism, and competition; by contrast, high-context communication (elliptical, emotive, nuance-filled, multi-modal, heavily coded) is associated with cultures which value subjectivity, consensus, cooperation, and tradition. What then are we to make of hackerdom, which is themed around extremely low-context interaction with computers and exhibits primarily “low-context” values, but cultivates an almost absurdly high-context slang style?
The intensity and consciousness of hackish invention make a compilation of hacker slang a particularly effective window into the surrounding culture — and, in fact, this one is the latest version of an evolving compilation called the ‘Jargon File’, maintained by hackers themselves since the early 1970s. This one (like its ancestors) is primarily a lexicon, but also includes topic entries which collect background or sidelight information on hacker culture that would be awkward to try to subsume under individual slang definitions.
Though the format is that of a reference volume, it is intended that the material be enjoyable to browse. Even a complete outsider should find at least a chuckle on nearly every page, and much that is amusingly thought-provoking. But it is also true that hackers use humorous wordplay to make strong, sometimes combative statements about what they feel. Some of these entries reflect the views of opposing sides in disputes that have been genuinely passionate; this is deliberate. We have not tried to moderate or pretty up these disputes; rather we have attempted to ensure that everyone’s sacred cows get gored, impartially. Compromise is not particularly a hackish virtue, but the honest presentation of divergent viewpoints is.
The reader with minimal computer background who finds some references incomprehensibly technical can safely ignore them. We have not felt it either necessary or desirable to eliminate all such; they, too, contribute flavor, and one of this document’s major intended audiences — fledgling hackers already partway inside the culture — will benefit from them.
A selection of longer items of hacker folklore and humor is included in Appendix A. The ‘outside’ reader’s attention is particularly directed to the Portrait of J. Random Hacker in Appendix B. The Bibliography, lists some non-technical works which have either influenced or described the hacker culture.
Because hackerdom is an intentional culture (one each individual must choose by action to join), one should not be surprised that the line between description and influence can become more than a little blurred. Earlier versions of the Jargon File have played a central role in spreading hacker language and the culture that goes with it to successively larger populations, and we hope and expect that this one will do likewise.