Creates an empty stream with no items.
Type of the items of the produced stream.
A stream with no items.
Creates an stream for iterating over an object's key-value-pairs. Only the object's own property are included.
fromObject({foo:2, bar: 3})
// => Stream[ {key: "foo", value: 2}, {key: "bar", value: 3} ]
Type of the object's values.
The object with the key-value-pairs to be iterated.
A stream with the object's key-value-pairs.
Creates a stream for iterating over an object's keys. Only the object's own property are included.
fromObjectKeys({foo:2, bar: 3, 42: 9})
// => Stream["foo", "bar", "42"]
The object with the keys to be iterated.
A stream with the object's keys.
Creates a stream for iterating over an object's values. Only the object's own property are included.
fromObjectValues({foo:2, bar: 3})
// => Stream[2,3]
Type of the object's values.
The object with the values to be iterated.
A stream with the object's values.
Creates a stream with the items provided by the given generator.
generate(index => index) // => Stream[0,1,2,3,4,...]
generate(index => index, 0) // => Stream[]
generate(index => index) // => Stream[0,1,2,3,4,...]
generate(index => index, Infinity) // => Stream[0,1,2,3,4,...]
generate(index => index, -Infinity) // => Stream[]
generate(index => index, NaN) // => Stream[]
Type of the items of the produced stream.
Generator for generating the items of the iterable. It is passed the current index as its argument.
How many items to generate, Infinity
for an unlimited amount.
Stream for iterating the given amount of times over the items supplied by the supplier.
Creates a stream starting with the initial seed.
iterate(42, x => (0x19660D * x + 0x3C6EF35F) % 0x100000000)
// Random number generator, linear congruential generator from "Numerical Recipes".
iterate(2, x => 2*x, 3) // => Stream[2,4,8]
iterate(2, x => 2*x, 0) // => Stream[]
iterate(2, x => 2*x, Infinity) // => Stream[2,4,8,16,...]
iterate(2, x => 2*x, -Infinity) // => Stream[]
iterate(2, x => 2*x, NaN) // => Stream[]
Type of the items of the produced stream.
Initial item.
Function that takes the current item and produces the next item in the sequence.
How many times to iterate, Infinity
for an unlimited amount.
Stream for iterating over the provided items the given amount of times.
Creates a stream of random numbers. The generated numbers are
in the interval [0,1]
. When the amount of numbers to generate
is not specified, an unlimited amount of numbers are generated.
Use methods such as {@link IStream#limit} to limit the stream.
Please note that the generated numbers are not cryptographically secure random numbers and must not be used in any context dealing with security.
random(3).toArray() // => [3 random numbers]
random(-1).toArray() // => []
random(Infinity).limit(5) // => [5 random numbers]
random(10).first() // => 1 random number
How many random numbers to generate. Defaults to Infinity
.
A stream with the specified amount of random numbers.
Creates an stream with the given item occuring the given number of times.
repeat(0, 9)
// => Stream[0,0,0,0,0,0,0,0,0]
repeat(0, 0) // => Stream[]
repeat(0, -Infinity) // => Stream[]
repeat(0, Infinity) // => Stream[0,0,0,...]
repeat(0, NaN) // => Stream[]
Type of the items of the produced stream.
Item to repeat.
How many times to repeat, Infinity
for an unlimited amount.
Stream contains the given item the given number of times.
Creates a stream with numbers starting at the given value and separated from each other by the given step.
times(3) // => Stream(0,1,2)
times(3, 4) // => Stream(4, 5, 6)
times(3, 4, 8) // => Stream(4, 12, 20)
times(-3) // => Stream()
times(3, -4) // => Stream(-4, -3, -2)
times(3, 4, -2) // => Stream(4, 2, 0)
times(3, -4, -2) // => Stream(-4, -6, -8)
times(Infinity) // => Stream(0, 1, 2, 3, ...)
times(-Infinity) // => Stream()
times(Infinity, 5) // => Stream(5, 6, 7, 8, ...)
times(Infinity, 5, 2) // => Stream(5, 7, 9, 11, ...)
times(3, Infinity) // => Stream(Infinity, Infinity, Infinity)
times(4, 0, Infinity) // => Stream(0, Infinity, Infinity, Infinity)
times(4, Infinity, Infinity) // => Stream(Infinity, Infinity, Infinity, Infinity)
times(4, -Infinity, Infinity) // => Stream(-Infinity, NaN, NaN, NaN)
times(Infinity, 2, Infinity) // => Stream(2, Infinity, Infinity, Infinity, ...)
times(Infinity, Infinity, 2) // => Stream(Infinity, Infinity, Infinity, Infinity, ...)
times(Infinity, -Infinity, 2) // => Stream(-Infinity, -Infinity, -Infinity, -Infinity, ...)
times(Infinity, Infinity, Infinity) // => Stream(Infinity, Infinity, Infinity, Infinity, ...)
times(NaN) // => Stream()
times(5, NaN) // => Stream(NaN, NaN, NaN, NaN, NaN)
times(5, 1, NaN) // => Stream(1, NaN, NaN, NaN, NaN)
times(5, Infinity, NaN) // => Stream(Infinity, NaN, NaN, NaN, NaN)
times(5, -Infinity, NaN) // => Stream(-Infinity, NaN, NaN, NaN, NaN)
times(5, NaN, 2) // => Stream(NaN, NaN, NaN, NaN, NaN)
times(5, NaN, NaN) // => Stream(NaN, NaN, NaN, NaN, NaN)
times(NaN, NaN, NaN) // => Stream()
Number of items to produce. Must not be negative.
Initial number, defaults to 0.
How far apart the individual items are, defaults to 1.
Stream with the configured numbers.
Creates a stream from the given iterable. The iterable is consumed as part of stream operations. If it is not a repeatable iterable and multiple iterations over it are required, use {@link IStream#fork}. The iterable is queried only on-demand, thus allowing for generators that produce an unlimited number of items.
const stream1 = factory.stream("foo");
// => Stream["f", "o", "o"]
const stream2 = factory.stream("[1,2,3]");
// => Stream[1, 2, 3]
const stream3 = factory.stream(new Set([1,2,3]).values());
// => Stream[1, 2, 3]
function * generator() {
let i = 0;
while (true) yield ++i;
}
const stream4 = factory.stream(generator());
// => Stream[1, 2, 3, 4, 5, 6, ...]
Type of the items of the produced stream.
A stream over the iterables' values.
Creates an stream with numbers starting at the given value and ending at the given value.
times(3) // => Stream[0, 1, 2]
times(3, 4) // => Stream[4, 5, 6]
times(3, 4, 8) // => Stream[4, 6, 8]
times(1, 10, 12) // => Stream[10]
times(0) // => Stream[]
times(3, 0, -2) // => Stream[0, -1, -2]
times(-3) // => Stream[]
times(5, 0, Infinity) // => Stream(0, NaN, NaN, NaN, Infinity)
times(5, Infinity, 0) // => Stream(Infinity, NaN, NaN, NaN, 0)
times(Infinity) // => Stream(0, 0, 0, 0, ...)
times(Infinity, 2, 3) // => Stream(2, 2, 2, 2, ...)
times(NaN) // => Stream()
times(5, NaN) // => Stream(NaN, NaN, NaN, NaN, NaN)
times(5, 2, NaN) // => Stream(2, NaN, NaN, NaN, NaN)
times(5, NaN, 7) // => Stream(NaN, NaN, NaN, NaN, 7)
times(NaN, 0, 5) // => Stream()
times(NaN, NaN, NaN) // => Stream()
Number of items to produce. Must not be negative.
Initial number, defaults to 0.
Last number, defaults to start+amount-1
. May be smaller than end, in which case numbers of decreasing value are generated.
Stream with the configured numbers.
Generated using TypeDoc
Factory for creating streams. One of the most common methods is
IStreamFactory#stream(iterable)
, which wraps an iterable such asarray
orset
in an object-oriented stream.


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 The air-war of a previous conflict is occasionally entertaining to watch but the plot is cliched as are most of the characters. This film's only chance is to follow the current wave of interest in military equipment. Rating: low 0.
Had I not actually seen a copy of the book FLIGHT OF THE INTRUDER by Stephen Coonts, I would have had a hard time telling if this was a very weak story given classy military equipment photography and quality special effects treatment or if this was just a collection of classy military equipment photography and quality special effects tied together by a very weak excuse for a story. During World War II a lot of B war movies carried stories just as good to the bottom half of double bills. We are talking HELLCATS OF THE NAVY-level plotting here. In 1972 Vietnam we have an aircraft carrier ruled over by a cigar-chewing, mean-as-a-junkyard-dog-but- heart-of-gold sort of commander. Danny Glover plays the Black commander with the unlikely name Frank Camparelli. One of his bright young pilots, Jake Grafton (played by the uninteresting Brad Johnson) agonizes over the loss of his bombardier. The companion is lost in a raid that accomplishes nothing besides adding visual interest to the opening credits. Grafton wants to go on a super-special raid of his own devising. But this raid is directly contrary to orders. His top-gun replacement bombardier Virgil Cole (played by Willem Dafoe) says absolutely not. Does Jake get to make his super-special raid on North Vietnam? And if he does, what is the Navy's reaction?
The weak story is, however, punctuated by pretty pictures of planes, helicopters, and aircraft carriers to keep the audience watching. If this film stands any chance with audiences it is in the fortuitous timing of this film coincident with a sudden upsurge of interest in technical weaponry. Indeed many people may find events in the Middle East resonating with attitudes in this film. On the other hand, maybe some people would prefer to stay home and watch technical weaponry on television.
FLIGHT OF THE INTRUDER is directed by John Milius, who is specializing in gutsy films like APOCALYPSE NOW (which he wrote), CONAN THE BARBARIAN, and RED DAWN. The score is by Basil Poledouris, the gifted composer of the scores for the "Conan" films, who seems repeatedly associated with films with right-wing themes. Poledouris scored RED DAWN, AMERIKA, and THE HUNT FOR RED OCTOBER.
FLIGHT OF THE INTRUDER is linked in advertising with THE HUNT FOR RED OCTOBER, but it falls well short of that film's interest value and quality. My rating is a low 0 on the -4 to +4 scale.
Mark R. Leeper att!mtgzy!leeper<EMAIL_ADDRESS>.
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[§206M-18] Assistance by state and county agencies. Every state or county agency may render services to the development corporation upon request of the development corporation. [L 1983, c 152, pt of §2]


Curations
Home decor
Here's what our clients are saying about us. Share your journey with AND SO here.
We absolutely love our Prance dining table! It was one of the first pieces of furniture we picked for our new home and it adds such a unique rustic touch to the space. Delivery and installation was also perfect - Many thanks to Anjali, Tony and the AndSo team!
Shop nowThe experience of working with and so and Anjali has been a delightful and seamless experience. The bespoke products and their quality are a joy to use and I find myself now a proud owner of their product.
Shop nowAbsolutely loved the decor I bought from the And So store. They’re lovely accents to the dining table and bar, respectively. The vase allows me to change the look of the table setting every time I entertain! I loved the store and the entire shopping experience. Tastefully curated!
Shop nowAbsolutely loved the decor I bought from the And So store. They’re lovely accents to the dining table and bar, respectively. The vase allows me to change the look of the table setting every time I entertain! I loved the store and the entire shopping experience. Tastefully curated!
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Welcome to where you can add your quotes and have them either upvoted or downvoted.
5'> WOW!!..Such wisdom!!


Approximation Inference
In the previous post, we talked about Gibbs sampling and posterior inference. However, computing Bayesian posteriors can be impractical. Two approaches:
- Simulation
- Variational Inference
Simulation is an unbiased and “right” way to do it.
The template for the generative model is:
- Choose $Z$
- Given $z$, generative (sample) X
We often want to invert this by posterior inference:
- Given $X$
- What is $Z$ that generated it?
If we have a random vector $Z\sim p(Z|x)$, we might want to compute the following:
- marginal probabilities $P(Z_i=z|x)$
- marginal means $\mathbb{E}(Z_i=z|x)$
- most probable assignments $z^*= \arg\max_z P(\{Z_i=z_i\}|x)$. This could be called a maximum apposteriori (MAP) problem.
- maximum marginals $z_i^* = \arg\max_{z_i} P(Z_i=z_i|x)$
- joint probability $P(Z|x)$
- joint mean $P(Z|x)$
We can only solve these problems in a reasonable amount of time. We have to approximate in some way.
Wrap up Gibbs sampling
Before continuing with simulation and variational methods, let’s finish derivations for Gibbs sampling.
$$ \begin{aligned} F \sim \text{DP}(\alpha,F_0) \\ \theta_1,\theta_2,..,\theta_n | F \sim F \\ X_i | \theta_i \sim f(x|\theta_i), i=1,2,..,n \end{aligned} $$
Last time we talked about one way of CRP that we have $\theta_i^*$:
Today, we consider the case that we don’t have $\theta_i^*$. $Z_1,Z_2,..,Z_n$ and $\theta_1,\theta_2,..,\theta_n$. $Z_i$ will be which table the customer is sitting at (i.e., clustering of the data). In the previous example, $Z_1=1$ and $Z_2=2$. We don’t need those $\theta$.
In the Gibbs sampler, we iterate over $i$ from $1$ to $n$. We reassign $i$ to some table.
What is that, probabilistically?
- we compute this $P(z_i|Z_{-i})$
- we sample $z_i$ from this distribution.
Now, let’s compute: $$ P(Z_1=j|Z_2,Z_3,Z_4,Z_5) $$
There are $3$ different possibilities: $$ \begin{align} j=1,w_1: & \frac{1}{4+\alpha} p(x_1|x_5) \end{align} $$
EXample:
Assume $p(x|\theta)$ is a Normal distribution $\text{Normal}(\theta,\sigma^2)$. $$ F_0 = \text{Normal}(\mu_0,\tau_0^2) $$
The posterior: $$ \begin{align} \text{Normal}(\bar{\theta_n},\bar{\tau_n}^2) \\ \bar{\theta_n} = w_n \bar{X_n}+(1-w_n)\mu_0 \end{align} $$
Where:
$$ \begin{align} w_n = \frac{1}{1+\frac{\sigma^2/n}{\bar{\tau_n}^2}} \\ \frac{1}{\tau_n^2} = \frac{1}{\sigma^2_n} + \frac{1}{\tau_0^2} \end{align} $$
Therefore:
$$ p(x_1|x_5) = \text{Normal}(w_1x_5+(1-w_1)\mu_0,\tau_1^2+\sigma^2) $$
where $w_1$ and $\tau_1$ can be easily derived from $w_n$ and $\tau_n$ for $n=1$.
Similarly:
$$
\begin{align}
j=2,w_2: & \frac{3}{4+\alpha} p(x_1|x_2,x_3,x_4) \\
=&w_3\frac{x_1+x_2+x_3}{3} + (1-w_3)\mu_0
\end{align}
$$
**why $w_3$ Answer: because there are three data points.
And similarly, for variance and table 3.
How about the new table?
$$ \begin{align} j=\text{new table}, w_0: & \frac{\alpha}{4+\alpha} p(x_1|F_0) \end{align} $$
where $ p(x_1|F_0) = \text{Normal}(\mu_0,\tau_0^2+\sigma^2)$
Now we have $3$ numbers which are not necessarily sum up to one. We can normalize them. That gives me weights in a $ 3-sided die.
If the die comes up $w_2$, I move the customer to table $2$. If it’s in the new table, I will move to that table, and if it’s in table 1, I will leave her in table 1. All this is one step in Gibbs sampler. Then I take another data point $x_2$ and repeat.
The predictive density for new point $x$ given this clustering.
$$ \begin{aligned} \text{table 1: } &\frac{1}{5+\alpha}p(x|x_5) + \text{table 3: }\frac{1}{5+\alpha}p(x|x_1)\\ +\text{table 2: }&\frac{3}{5+\alpha}p(x|x_2,x_4,x_5)+\text{new table: }\frac{\alpha}{5+\alpha}p(x|F_0) \end{aligned} $$
Gibbs sampling for the DPM
For each point $x_i$:
-
For every non-empty cluster $j$, compute: $$ w_j = \frac{n_{j,-i}}{n-1+\alpha} p(x_i|x_{i’} \text{ in cluster j for } i’\neq i) $$
-
For the empty cluster, compute:
$$ w_0 = \frac{\alpha}{n-1+\alpha}p(x_i|F_0) $$
- Normalize $w_j\leftarrow w_j/\sum_kw_k$
- Reassign $x_i$ to cluster $j$ with probability $w_j$, possibly starting a new cluster
For each clustering $c^{(b)}$, get a predictive density:
$$ p(x|c_{1:n}^{(b)},x_{1:n}) = \sum_j \frac{n_j^{(b)}}{n+\alpha} p(x|x_i \text{in cluster }c_j^{(b)}) + \frac{\alpha}{n+\alpha} p(x|F_0) $$
The posterior mean is approximated as:
$$ p(x_{n+1}|x_{1:n}) = \frac{1}{B}\sum_{b=1}^B p(x_{n+1}|c_{1:n}^{(b)},x_{1:n}) $$
Variational methods
Variational methods are fundamentally different. Gibbs sampling is a stochastic approximation, while variational methods give us a deterministic approximation. Variational methods use numerical convergence. Yet, in Gibbs sampling, it was a distributional notion of convergence.
Ising model
We have a graph with edges $E$ and vertices $V$. Each node $i$ has a random variable $Z_i$ that can be up $z_i=1$ or down $Z_i=0$:
$$ P_{\beta}(Z_1,..,Z_n) \propto \exp\Big( \sum_{s\in V}\beta_s Z_s+ \sum_{(s,t)\in E}\beta_{st}z_sz_t \Big) $$
You can think of these atoms as politicians and $Z_i$ as votes. For example, politicians are heavily connected to members of their party and weakly connected with those outside their party.
I can’t compute mean posterior, marginal probability, or anything else. I need either stochastic approximation or variational approximation.
Gibbs sampler (stochastic approximation)
- Choose vertex $s\in V$ at random
- Sample $u\sim \text{Uniform}(0,1)$ and update:
$$ Z_s = \begin{cases} 1 & u \leq (1+\exp(-\beta_s-\sum_{t\in N(s)}\beta_{st}z_t))^{-1}\\ 0 & \text{ otherwise } \end{cases} $$
where $\beta_{st}$ denotes strength of influence node $s$ has on node $t$. This is precisely like Logistic regression.
- Iterate
Mean field variational algorithm (deterministic approximation)
- Choose vertex $s\in V$ at random
- Update:
$$ \mu_s = (1+\exp(-\beta_s-\sum_{t\in N(s)}\beta_{st}z_t))^{-1} $$ 3. Iterate
Deterministic vs. stochastic approximation
- The $z_i$ variables are random
- The $\mu_i$ variables are deterministic
- The Gibbs sampler convergence is in the distribution
- The mean field convergence is numerical
- The Gibbs sampler approximates the full distribution
- The mean field algorithm approximates the mean of each node
Example 2: A finite mixture model
Fix two distributions $F_0$ and $F_1$: $$ \begin{align} \theta \sim \text{Beta}(\alpha,\beta) \\ X| \theta \sim \theta F_1 +(1-\theta)F_0 \end{align} $$
the likelihood for the data $x_1,..,x_n$ is: $$ p(x_{1:n}) =\int_0^1 \text{Beta}(\theta|\alpha,\beta) \prod_{i=1}^n(\theta f_1(x_i)+(1-\theta)f_0(x_i))d\theta $$
Goal: to approximate the posterior $p(\theta|x_{1:n})$
Gibbs sampler (Stochastic approximation)
- sample $Z_i| \theta,x_{1:n}$
- sample $\theta| z_{1:n},x_{1:n}$
first step: independently sample $u_i\sim \text{Uniform}(0,1)$ and:
$$ Z_i = \begin{cases} 1 & u_i \leq \frac{\theta f_1(x_i)}{\theta f_1(x_i)+(1-\theta)f_0(x_i)}\\ 0 & \text{ otherwise } \end{cases} $$
second step:
$$ \theta \sim \text{Beta}\Big( \sum_{i=1}^n z_i +\alpha,n- \sum_{i=1}^n z_i +\beta \Big) $$
Posterior $p(\theta|x_{1:n})$ is approximated as a mixture of Beta distributions, number of components is $n + 1$. We can also not have $\theta$ like collapsed Gibbs sampler.
Variational Inference (deterministic approximation)
Iterate the following steps for variational parameters $q_{1:n}$ and $(\gamma_1,\gamma_2)$
-
Holding $q_i$ fixed, set $\gamma=(\gamma_1,\gamma_2)$ to $$ \gamma_1 = \alpha + \sum_{i=1}^n q_i , \gamma_2 = \beta+n-\sum_{i=1}^n q_i $$
-
Holding $\gamma_1$ and $\gamma_2$ fixed, set $q_i$ to: $$ q_i = \frac{f_1(x_i)\exp \psi(\gamma_1)}{f_1(x_i)\exp \psi(\gamma_1)+f_0(x_i)\exp \psi(\gamma_2)} $$
After convergence, the approximate posterior distribution over $\theta$ is:
$$ \hat{p}(\theta| x_{1:n}) = \text{Beta}(\theta|\gamma_1,\gamma_2) $$
We covered this post in the intermediate machine learning SDS 365/565, Yale University, John Lafferty, where I was TF.


Breast is a vital organ, protect it – Dr Caiquo
by James Amoh Jnr, GNATema, Nov. 13, GNA - Dr Francis Caiquo, Head of Surgery Department, Tema General Hospital, has described the breast as an important organ of the body whose structure reflected its special function and needed to be protected.
He called on the public to be proactive about the health of their breast by seeking professional medical screening, “we should not only go to the hospital for breast screening during the advocacy period but we must adopt a proactive healthy lifestyle to check the state of our breast consistently”.

Dr Caiquo said this when the Ghana News Agency visited the Tema General Hospital to assess the outcome of a Breast Cancer Awareness Campaign his outfit undertook in the October breast cancer awareness month.
The campaign, which was geared at increasing awareness about the disease, also sought to help people through early detection education and provide enhanced support.
Dr Caiquo said some 224 women were screened out of which 57 had abnormal growths in their breast and were still undergoing examination through biopsy.
He said better screening by routine check-ups, increased awareness and continually improving treatment options are important in preventing the disease.
Though rare, Dr Caiquo said, breast cancer in males was possible and were usually detected as hard lump underneath the nipple.
This, he said, also leads to mortality because men are unlikely to assume that such lumps are cancerous and for that reason never seek early treatment.
He said breast cancer is on the increase and is the most common cancer among women claiming many lives.
He called for an intensified awareness campaign targeting women in rural communities in their local dialects on the importance of routine check-ups and self-examination.
GNA


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During a period of 11 months I walked and explored the city of Rome, visiting, documenting, and researching 175 churches from paleochristian to baroque. I was drawn to the inherent desire in classic church architecture - the focus, symmetry, and implied movement. Over time I found that I was making the same photograph in each space - aligning myself to the center axis, focusing on the apse of the church.From these collected images I assembled a layered animation in which all 175 churches are present throughout the sequence, with each space taking a turn to rise in clarity above the others. The resulting high-definition, seamless loop is a study of both uniqueness and similarity in what remains a peculiar architectural form.
Acid Make-Out is a one of a kind project where music, visuals and sound design are bound together. The short is worked frame by frame so each still is a artwork of its own. All the sounds in the movie (including all the sound design) are taken from the album “Acid Make-Out” by Icelandic electronic band Sometime. The story is based on the book “Sex, Drugs, Einstein & Elves by the American scientist Clifford A. Pickover which addresses parallel universes in the mind. The visuals and sounds are all combined into one unity to express the feelings and emotions of the main Character, played by upcoming Russian artist Sasha Kellerman. Although the writer/director is Icelandic the cast come from all over the world, including, U.K., Sweden, Israel, French, U.S.A., India, Australia, Russia, Spain, China & Iceland. The topic and collaboration are international.
Athanasios, a mischievous, 21 year old Greek American, lives and works with his grandfather, a Greek immigrant, in the family shoe repair store. Athanasios takes his Greek heritage for granted, and more importantly, the significance of his name and what it means. It is through the telling of his grandfather's survival of the Kalavryta Massacre of 1943 that Athanasios finally realizes and appreciates his heritage -- never again shunning away his name or family.
Anna, a woman living with MS is visited by Doreen, a door to door proselytizer who makes herself at home and stays the day, slowly defrosting her non-welcome. Together they walk in the park, bake a chocolate cake and watch an Ingmar Bergman film. Both women are blind, played by blind actors Alex Bulmer and Margo Cargill in this existential comedy.
dir. by Sally Grizzell Larson, 1 minutes,
United States
The rhythm of clapping hands, the repetition of images in equally timed segments: We are lulled and seduced. Like any other high functioning receptor, the human brain is indiscriminate about what it picks up. How then do we resist the seemingly benign when we're mesmerized by it in spite of our better judgment?
Before the moon festival arrives, a furniture dealer has to find back his grandmother's table which he sold indifferently. This unexpectedly difficult mission gradually revives his deeply sunken memories.
Branches is an exploration of line, light, and sound: a moving drawing, a study in the relationship between order and chaos. Unsettlingly complex and entropic, yet deeply and abidingly orderly.
A different kind of road movie, Bread or Blood carries the viewer on a journey along rails and rivers, following the route across the United States taken by Kelly's Army in 1894. Contemporary voices punctuate movement through the landscapes that surround America's old arteries. Steel wheels are polished bright by thousands of miles of rail as the stories of America echo down the mountains, deserts, high plains, and fields of corn, all the way to the meandering currents and eddies of the Des Moines, Mississippi, and Ohio Rivers.
Brooklyn United is a story of redemption. Ty Brown is Executive Director of Brooklyn United, a marching band, one hundred fifty strong. As Ty states, BU is what keeps these young people off the streets, from gangs and worse. BU opens with drummer, Brandon Little, who raps BU's story from the beginning to the present. During the film, we experience Ty's sudden fall from grace due to alleged sexual misconduct with an underage female band member and Ty's path of redemption and rebirth after a long exile form all he's ever known. We see the man, the father and the band director turn his life around, creating and growing BU, all while saving the lives of the young people of Crown Heights, Brooklyn.
A young love between a boy and a girl in elementary school turns into a heartbreak when their family dramas end up affecting their sensitive interaction.
Ceaseless is an experimental film influenced by the surrealist movement and postmodernist films. The film explores the psyche of a disillusioned protagonist, Trista, who questions the routine nature of life in the urbanized western society that she lives in, whilst promoting the message that natural moments of creativity are far too scarce in an overly capitalistically driven world.
Experimental video from 1984. The color bar reference signal is distorted by attacking the horizontal and vertical blanking sync timing signals using a time base corrector. This short video art piece was inspired by the 'color tuning guide channel' that American Cablevision included in its channel lineup in the 1980s. The odd thing about the 'color tuning guide', which was the typical NTSC color bar display, was that the average cable subscriber was not likely to know how the reference colors were supposed to look. Were any of them television broadcast engineers? So how would they know if the display they saw at home was correct? How useless! So here is my Color Bars 1, also known as 'your color tuning guide'. Diabolical!
The video was filmed at Vyrsodepseio Theater and was open to the audience that could attend the action in real time along with the soundscapes and improvisations of Vally Ioannou.
Ten performers (choral members) are sat around the table.
Their faces are covered with scarves so they can only feel by touching. On the table, between their hands, the symbols lay: weapon, ash, fire, book, box, scissors, water, cards, branches, body.
At the head of the table is Supermarionetta: She will lay the cards on the table and reveal the prophecy so that everyone can dive in the curve of time. Then the second self will appear.
In the night the city is perturbed by the trail of blood a Minister, setting off in pursuit of two surreal clowns, leaves behind. The politician is completely out of touch with reality and his delirious chase will find an end in an half-desert industrial zone, where the previous offender Doris Ortiz is running a little bar. The woman will fatally fall in love with him. At dawn a security camera will disclose the epilogue of the crazy event to the Country.
dir. by Alkis Papastathopoulos, 6 minutes, Greece, United Kingdom
En pojke(a boy), deals with the privileges that become burdens. The privilege of being a creator. The privilege of being able to penetrate. The privilege of being a seeker/hunter. The video was an attempt to put myself in the most vulnerable place in order to see and accept my lack of importance. The imposed masculinity.
In the old center of Sao Paulo, Carlos takes a taxi to Buenos Aires. As he crosses Escher's space-time, he accesses a deeper city within himself.Carlos now travels through his emotions, his unconscious, and goes far beyond anything he could imagine.
FIGS FOR ITALO begins and ends in present day New Jersey at the home of Dora, a widowed grandmother, where her family has gathered for one of her delicious meals.
However, the heart of the film takes place in the past as Dora journeys back in her mind to revisit a day that forever changed her and her family.
It is autumn, 1943, in Dora’s small hometown in the hills of Italy and WWII is raging all over Europe. She is a young girl and eager to help her older brother, Italo, get ready for his journey to the bigger town nearby for an important school exam. The past is present, the present is past; Dora is for a brief moment in both worlds at the same time.
This original screenplay is based on a true story and inspired by events lived by Bob’s mother, Dora Celli.
World War II has just come to an end. At a center for the identification of prisoners of war, Lieutenant Antonio Graziani is being falsely accused of having ordered the execution of ten civilians. German Detlef Hagermann, captured along with Graziani by partisans during the days of the massacre, is the only one able to clear him from the accusations, but a secret he promised to keep prevents him from telling the truth until the very last minute.v
100 years after the gold rush, bygone splendor rests in the desert. Intercut with millenia-old sequoia-trees, nature conquers human structures in this experimental short film.
dir. by Andronikos - Konstantinos Dimopoulos, 20 minutes, Greece
The movie follows the life of a man who is daily faced with psychological violence and pressure in contemporary Athens. Inevitably, the receiver having stored all that pressure in his soul ends up causing and exerting more violence as a form of reaction towards his immediate environment. So, we watch how the protagonist enters a vicious circle of brutality in which no room for communication exists.
A middle-aged woman whose life falls apart. Everything she ever knew, loved or believed in is gone. In her darkest hour of confusion, mistrust and suicidal dreams, she finds a light through Hip Hop. Based on a true story.
When 40-year-old Amir visits his ailing father in hospital intending to reveal a long held secret, the nature of their dysfunctional relationship gets in the way. As the two men battle out their differences, the tension mounts on Amir who finally withdraws and leaves. Blinded by rage and his galloping emotions, Amir finds himself stuck between guilt and a desperate need to race back to his father before it's too late.
In the summer of 1985 American Scott Crombie disappeared off the coast of Italy without a trace. Twenty five years later, the son he never knew has come back to find him.
The movie is about a street musician named Jesse. The movie takes us through Jesse's continuous challenge of negotiating the line between 'busking' in the subways and keeping the momentum of advancing his career as a musician above ground. We accompany Jesse on this journey by hearing him play for money in the NYC subway system.Through interviews with Jesse and living through the steps of having one of his songs produced, the audience shares with Jesse this ambivalence about staying 'underground' as a musician or taking the traditional route of chasing him dream 'above ground'.
There once was a girlwho was made up of junk.She looked really dirty,and she smelled like a skunk.She was always unhappy,or in one of her slumps-perhaps 'cause she spentso much time down in the dumps.The only bright momentwas from a guy named Stan.He was from the neighborhoodgarbage man.He loved her a lotand made a marriage proposal,but she already thrown herselfin the garbage disposal.
Famous for his vibrant reinterpretations of classical portraits featuring African-American men, New York-based painter Kehinde Wiley has turned the practice of portraiture on its head and in the process has taken the art world by storm.Kehinde Wiley: An Economy of Grace follows the artist as he steps out of his comfort zone to create a series of paintings of women for the first time. Kehinde casts his models on the streets of New York and then enlists Riccardo Tisci of Givenchy to create couture gowns for each woman. The film traces the artist's process from concept to canvas as he reveals to us another side of black femininity.
God created the world, the Dutch created the Netherlands. Klei (Clay) is a short film about peoples efforts to get in touch with each other in an artificial world. The film was shot at the Flevopolder, the largest artificial island reclaimed on water in the world. There are no ancient cities, no mountains, no irregularities, no rituals. There are people in search of...
This work follows in the tradition of experimental cinema and abstract animation. It features “rippling caustics,” or refracted light patterns, cast by a virtual fluid body created in a 3D animation program. To create the light compositions I used the organizing forces of a square format for the fluid body and invisible shape-shifting objects to perturb the fluid surface and initiate the ripples. The images in this animation are not achievable in reality. For me, what is significant is the twist of using “high technology” to simulate the use of lower forms of technology in creating abstractions – in this case, capturing light refractions created by fluid and light. My overriding intent is to create beautiful light patterns with a dark undertow of shadows.
Light Study is a poetic examination of the wetlands, forests, and ecosystems of the Niagara Escarpment World Biosphere. Filmed over a three year period, it explores the unique landscape of the Bruce Trail using 16mm single frame photography. Here, nature presides over an ephemeral human element, its primordial essence both medium and agent of light's eternal change. Soundtrack composed by Graham Stewart, member of the experimental music collective Viosac.
'Noise' is a film that uses clever sound design to show the liberating effects of dance.It shows the world from the perspective of a withdrawn and lonely girl surrounded by arguing or hectoring adults. The film has a cold, austere feel. Instead of dialogue the film is filled with cacophonous noise.
Set in Depression era Mississippi, the film follows three sisters - Olivia, Martha and Ilse. Throughout the years, people come and go, but the sisters hope they will escape from their small society. When Nora, a foreigner from outside the South enters the household, the sisters begin to lose everything.
Wandering through mysterious paths of a sleepy seaside resort, Zohar seeks clues in hope to discover reasons for her father's absence from a family vacation. Obscurity and fear sends Zohar to darker places that threaten the unstable serenity.
The visual component of the piece Orishas was created using custom code in Processing using a Kinect sensor and a webcam to transform the spatial, color and brightness information of choreographed dancers into a virtual three dimensional mathematical representation of their movements. 28000 images are then imported into a video editing software and treated as a still frame animation. The biggest challenge both in the choreography and the video making process was how to preserve the spirituality of the piece in such a logical setup. The solution was a collective leap of faith, embracing the limitations of the technology and approaching ritual repetitive gestures as the building blocks of a spiritual dance.
Politically charged, witty, sexy... and raw, 'Oval Room' was officially released today by International runway model Gin Cooley. Gin recorded the song herself in rural west Tennessee with the most nominal equipment (yardsale electronics) on zero budget and no training. Indie Film director/DP Jeff Wyatt Wilson captured the authenticity of the song after visiting Gin in her rural hometown Paris Tennessee, where the song was originally recorded. Oval Room was written by Blaze Foley, an American singer/songwriter based out of Austin Texas. Foley initially wrote the song about Ronald Reagan, but Cooley's rendition takes a much broader approach. To Gin, the song speaks corporate America and the great monopolies of the western worlds as well as the obvious political scrutiny. Viewers can enjoy some infamous presidential bloopers while watching Gin perform in hopes of easing some tension in the upcoming presidential election.
With hints of Appalachian Spring and Amish custom, Plant Plow Reap is shot at the historic Miller Farm in Butler County, Pennsylvania and danced by eleven members of the Slippery Rock University dance department. An all-female community comes together, joins in a baptism and a roundelay, all against a majestic landscape of rolling farmland. Arriving and leaving like sun and shadow, Plant Plow Reap celebrates the joy and order that culminate in harvest.
Lucy, a young woman flees the quarantine station of a hospital in order to find a space to write down her story in form of a novel. After breaking into a house by a lake she is confronted with the neighbor, who believes she is the daughter of the owner. With the arriving of the house owner the story gets dramatic, he gets killed, the neighbor steals the book and publishes it under her own name. The book becomes a big success while the young sick woman is kept imprisoned by the neighbor in the cellar of her house. When Lucy is forced to celebrate the success of the book, the two woman start to argue and reality starts to reveal itself.
'Scrabble' addresses the secret desire to break out of the routine of a loveless relationship and illuminates with irony the depths of humanity behind a traditional facade - using a simple board game.Once the first rush of love in a relationship has passed and the daily routine has set in, the point comes where you want to feel free again. Theo lives just such a dull routine in his allotment shed, his passion for his wife Barbara long gone. In secret, he imagines what it would be like to get away from this bleak, empty existence with Barbara.Their weekly Scrabble game presents unexpected opportunities - is it possible that a few simple letters could bring Theo`s dark fantasies to reality? That a chosen word determines fate? Is it possible to murder Barbara?
Ramin is a 17 year old boy who lives and works illegally in a hair dressing salon. One night Julia (17) visits, a girl who has a relation to his boss. It becomes a challenging meeting between the two teenagers.
Alex, a middle-aged married man, is having an affair with Alma, his much younger lover. The couple meet regularly to indulge their passion, but their latest rented love nest is full of surprises. The weekend goes well until a strange presence that emanates from a mysterious locked cupboard unnerves them both, creating paranoia and casting a malevolent spell over their relationship.
A seemingly unremarkable man spends a day taking a bizarre test at a mysterious facility. Through his day he interacts with the odd, detached employees of the facility, guiding him from section to section, obscuring the intentions or duration of the test.
dir. by Emilija Gasic, 17 minutes, Serbia/Montenegro
During the turbulent times in the 18Th century Serbian village, life of a poor, superstitious Serbian family dramatically changes when the head of the family, father and husband returns from the war against Turks - infected with vampirism. However, one family member manages to find salvation in the place least expected.
The year is 2077, in a post government world, where there are no laws or weapons, Nora and her best friend and lover, Daph, live an idyllic life in a sparse and rugged landscape. After a stranger arrives on their land Daph's curiosity takes her away to a violent and misogynistic psychedelic drug cult. Nora doesn't just want Daph back, she also wants revenge.
'The Making of Love' is a psychological journey into the realm of lovesickness. A seduction has altered a teenage girl. Her involvement with an older man and subsequent abandonment by him inflicts a solipsistic stupor upon her daily life. She is transfixed by consciousness, haunted by memories and subjugated by turbulent emotions. This girl is real and her words are transposed from the pages of a private journal into the space of film. 'The Making of Love' shows a mind pondering upon the ailments and emotions occurring when the unrequited manifests physically and philosophically.
A man and a woman, outcasts of a harsh reality, walk along the Calatrava Bridge in Athens (Greece). they stop for a while and they dream before they return to their everyday life.
dir. by Kryssa Schemmerling, Donald Gray, 17 minutes, USA
History and myth merge in this impressionistic mini-epic that imagines the birth and early life of legendary gunslinger Billy the Kid when he truly was a kid -- one of thousands of urchins trying to survive on the streets of 19th-century New York City's Lower East Side. The West Begins at Fifth Avenue draws visual inspiration from the photographs of Jacob Riis and borrows the cinematic language of early silent cinema to create an evocative, highly unconventional Western set entirely in New York City -- and in the mind.
“Quod est in speculo ut in subiecto.” According to medieval philosophers, being in a subject is an insubstantial way of being that does not exist in itself, this one is in something else.
In this short film, the nature of the images is questioned, particularly the one of the reflected corpses in the mirror. What is their nature? How can a mirror with his two-dimensional character transliterate three-dimensional images?
The essence of the image, visible on the mirror surface, is a continuous formation in absence of tangible substance. A tribute and at the same time a contestation of J. Cocteau.
Lighting up the morning sky a meteor detonated mid air over Chebarkul, Siberia on February 15, 2013. Existential shockwaves emanating from the explosion caused a momentary chaos, and catalyzed more desperate fears that it was perhaps signaling The End. The music in the work is by Russian Composer Scriabin who composed Vers da Flamme — Towards the Flame a few years after the Tunguska event – a devastating explosion from a runaway comet or asteroid, whose impact was equivalent to 10–15 megatons of TNT – had occurred in Siberia in 1908. Hypothetical, but compelling connections between these events inform this work.
TUK is a stunning fusion of dance and the environment filmed in the spectacular wilderness lands of the Four Corners Area of the U. S. Southwest. TUK is an extraordinary journey of eight souls across the majestic landscapes primarily in Utah - five dancers, two filmmakers, and one photographer reveal their uplifting and challenging experience in this inspiring film by Maida Withers. The landscape photography is by world-class photographer Bruce Hucko. The breathtaking original music is by composer for film, Brent Michael Davids performed by his Blue Butterfly Group. The wide screen provides for the inclusion of two screens supporting each other with two enchanting perspectives - an unforgettable film experience.
y2o {distilled} is a short version of the integral project y2o. y2o_ is a huis-clos, a collision between a man and a woman. Each of the scenes pummels emotional nodes, which are made and unmade by daily abrasions, observing the crossed polarities from which relentless loves are composed.
Fereshteh has aborted her four-month fetus in the past. Her family has kept it secret until she reveals it in the presence of Saman, who is in love with her.


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EBD - Easton Bible DIctionary
Shaveh-kiriathaim
SHAVEH-KIRIATHAIM
"SHAVEH-KIRIATHAIM "plain of Kirja-thaim where Chedorlaomer defeated the Emims, the original inhabitants (
Genesis 14:5
). Now Kureiyat, north of Dibon, in the land of Moab.
"SHAVEH-KIRIATHAIM "plain of Kirja-thaim where Chedorlaomer defeated the Emims, the original inhabitants (Genesis 14:5). Now Kureiyat, north of Dibon, in the land of Moab.


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Upwork Clone
Angular, Firebase, HTML, CSS
This was a short project for code school. The objective was to clone a web page. I chose Upwork's 'How It Works' page.


--- layout: page title: About header-img: "img/about-bg.png" ---
I am a rising college senior. With no prior experience in tech, I'm focused on making this career switch my next big thing.


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Things we miss from home...
We're in the last month of our trip, and we've been talking about all the things we miss from home. Surprisingly, we haven't been too homesick throughout the trip, but there are definitely some things we miss. Here's our list:
- obviously our family & friends!
- not being able to be there for important moments.
- our bed! we've had some not-so-comfy ones on our travels.
- video games...really want to play some Mario right now!
- watching hockey.
- an oven to do some baking...we did make apple crumble a couple times in Melbourne though!
- other kitchen appliances, like our popcorn maker and slow cooker, and even just some basic normal kitchen things.
- biking! Alan misses his bike.
- clothes...some variety other than the 5-7 outfits we have with us.
- our car (Bullet Bill), and having the ability to just get in and drive wherever.
- Alan misses winter. Kaitlyn does not.
- having a home to come back to every day.
We went through a period in the middle of Vietnam where we both were a little tired of traveling and having to make decisions on where to stay, what to eat, over and over each day. We got over it though and got back to the swing of things. I think we were done with Asia by the time we left though - it gets tiring after awhile. A classic camping roadtrip in New Zealand was just what we needed as a change of pace. Some familiar food, language, and a bit more freedom about what we could visit and do each day was nice. We also spent a week with Kaitlyn's cousin in Auckland; it was a bit more "normal" to spend some time in one place with family and kids and a regular house.
Having said that, I think we'll be a bit happy to be home in the end. I'm sure a week or two after we get back, we'll be itching to leave again though and travel somewhere new. Maybe next we should write about our thoughts of future destinations! :P


---
layout: default
title: Home
---
My name is Tyler, I'm a computer science student at Southern
New Hampshire University finishing up the final touches on my
degree. I've also had the amazing oppotunity to work in the field
during my tenure in school with two amazing companies who have
helped shape me professionally. Throughout my coursework I have
expanded my knowledge in database design and architecture with
courses that focus on data mining and realtional databases.
Algorithms used to analyze large subsets of data and front-end
presentations such as graphical user interfaces and web applications.
My ultimate goal is to become a full-stack web developer in the
wake of finishing my degree.
This blog is a small collection of some of the work I have had
the opporunity to work on throughout my coursework. In each of
these posts I will discuss some of the projects I've worked on
and analyze some of them for possible improvements and alterations.
Hello, World!


|
Compounds |
| class | basic_ilostream |
| | Input stream that gets its data from a large object. More...
|
| class | basic_lostream |
| | Stream that reads and writes a large object. More...
|
| class | basic_olostream |
| | Output stream that writes data back to a large object. More...
|
| class | basic_robusttransaction |
| class | basic_transaction |
| class | binarystring |
| | Reveals "unescaped" version of PostgreSQL bytea string. More...
|
| class | cachedresult |
| class | connection |
| | Connection class; represents an immediate connection to a database. More...
|
| class | connection_base |
| | connection_base abstract base class; represents a connection to a database. More...
|
| class | PQAlloc |
| | Keep track of a libpq-allocated pointer to be free()d automatically. More...
|
| class | fieldconverter |
| class | const_iterator |
| | Iterator for rows (tuples) in a query result set. More...
|
| class | Cursor |
| | SQL cursor class. More...
|
| class | dbtransaction |
| | Abstract base class responsible for bracketing a backend transaction. More...
|
| class | field |
| | Reference to a field in a result set. More...
|
| struct | isolation_traits |
| | Traits class to describe an isolation level; primarly for libpqxx's own use. More...
|
| class | largeobject |
| | Identity of a large object. More...
|
| class | largeobject_streambuf |
| | Streambuf to use large objects in standard I/O streams. More...
|
| class | largeobjectaccess |
| | Accessor for large object's contents. More...
|
| class | lazyconnection |
| | Lazy connection class; represents a deferred connection to a database. More...
|
| class | nontransaction |
| | Simple "transaction" class offering no transactional integrity. More...
|
| struct | noticer |
| | Base class for user-definable error/warning message processor. More...
|
| struct | unknown_position |
| | Exception thrown when cursor position is requested, but is unknown. More...
|
| class | result |
| | Query or command result set. More...
|
| class | tuple |
| | Reference to one row in a result. More...
|
| class | robusttransaction |
| | Slower, better fortified version of transaction. More...
|
| class | tablereader |
| | Efficiently pull data directly out of a table. More...
|
| class | tablestream |
| | Base class for streaming data to/from database tables. More...
|
| class | tablewriter |
| | Efficiently write data directly to a database table. More...
|
| class | transaction |
| | Standard back-end transaction, templatized on isolation level. More...
|
| class | transaction_base |
| | Interface definition (and common code) for "transaction" classes. More...
|
| class | transactor |
| | Wrapper for transactions that automatically restarts them on failure. More...
|
| class | trigger |
| | "Observer" base class for trigger notifications. More...
|
| class | unique |
Typedefs |
| typedef cachedresult | CachedResult |
| typedef connection | Connection |
| typedef lazyconnection | LazyConnection |
| typedef connection_base | ConnectionItf |
| typedef largeobject | LargeObject |
| typedef largeobjectaccess | LargeObjectAccess |
| typedef basic_ilostream< char > | ilostream |
| typedef basic_olostream< char > | olostream |
| typedef basic_lostream< char > | lostream |
| typedef nontransaction | NonTransaction |
| typedef binarystring | BinaryString |
| typedef result | Result |
typedef robusttransaction<
read_committed > | RobustTransaction |
| typedef tablereader | TableReader |
| typedef tablestream | TableStream |
| typedef tablewriter | TableWriter |
| typedef transaction< read_committed > | Transaction |
| typedef transaction_base | TransactionItf |
typedef transactor< transaction<
read_committed > > | Transactor |
| typedef trigger | Trigger |
| typedef long | result_size_type |
| typedef int | tuple_size_type |
| typedef Oid | oid |
| | PostgreSQL row identifier type.
|
Enumerations |
| enum | isolation_level { read_committed,
serializable
} |
| | Transaction isolation levels; PostgreSQL doesn't implement all SQL levels. More...
|
Functions |
| template<> PGSTD::string | Classname (const transaction_base *) |
| | Human-readable class names for use by unique template.
|
| template<> PGSTD::string | Classname (const dbtransaction *) |
| | Human-readable class name for use by unique.
|
| template<> PGSTD::string | Classname (const nontransaction *) |
| | Human-readable class names for use by unique template.
|
| template<typename STREAM> STREAM & | operator<< (STREAM &S, const pqxx::result::field &F) |
| | Write a result field to any type of stream.
|
| result::const_iterator | operator+ (result::const_iterator::difference_type o, result::const_iterator i) |
| template<> PGSTD::string | Classname (const basic_robusttransaction *) |
| | Human-readable class names for use by unique template.
|
| template<isolation_level ISOLATIONLEVEL> PGSTD::string | Classname (const robusttransaction< ISOLATIONLEVEL > *) |
| | Human-readable class names for use by unique template.
|
| template<> PGSTD::string | Classname (const basic_transaction *) |
| | Human-readable class name for use by unique.
|
| template<isolation_level ISOLATIONLEVEL> PGSTD::string | Classname (const transaction< ISOLATIONLEVEL > *) |
| | Human-readable class names for use by unique template.
|
| template<> PGSTD::string | Classname (const tablestream *) |
| | User-readable class name for use by unique.
|
| template<typename T> const char * | FmtString (T) |
| template<> const char * | FmtString (short) |
| template<> const char * | FmtString (unsigned short) |
| template<> const char * | FmtString (int) |
| template<> const char * | FmtString (long) |
| template<> const char * | FmtString (float) |
| template<> const char * | FmtString (double) |
| template<> const char * | FmtString (char) |
| template<typename T> PGSTD::string | ToString (const T &Obj) |
| | Convert object of built-in type to string.
|
| template<> PGSTD::string | ToString (const PGSTD::string &Obj) |
| template<> PGSTD::string | ToString (const char *const &Obj) |
| template<> PGSTD::string | ToString (char *const &Obj) |
| template<> PGSTD::string | ToString (const bool &Obj) |
| template<> PGSTD::string | ToString (const short &Obj) |
| template<> PGSTD::string | ToString (const unsigned short &Obj) |
| template<typename T> void | FromString (const char Str[], T &Obj) |
| | Convert string to object of built-in type.
|
| template<> void | FromString (const char Str[], PGSTD::string &Obj) |
| template<> void | FromString (const char Str[], const char *&Obj) |
| template<> void | FromString (const char Str[], bool &Obj) |
| template<typename T> PGSTD::string | Quote (const T &Obj, bool EmptyIsNull) |
| | Quote string for use in SQL.
|
| template<> PGSTD::string | Quote (const PGSTD::string &Obj, bool EmptyIsNull) |
| | std::string version, on which the other versions are built
|
| template<> PGSTD::string | Quote (const char *const &Obj, bool EmptyIsNull) |
| template<int LEN> PGSTD::string | Quote (const char(&Obj)[LEN], bool EmptyIsNull) |
| | Specialization for string constants.
|
| template<typename T> PGSTD::string | Quote (T Obj) |
| | Quote string for use in SQL.
|
| template<typename T> PGSTD::string | Classname (const T *) |
| | Return user-readable name for a class. Specialize this whereever used.
|
Variables |
| const oid | oid_none = InvalidOid |
| | The "null" oid.
|


You can delete an entire email account from the database, or you can delete a single email folder from an account.
Since a single database file contains only one email account, the account name and the account directory are fixed. The "Delete DArcMail Data" screen offers only one option: delete "ALL FOLDERS" or delete only a specific folder. If all folders are being deleted (or the only folder in the database is being deleted), then the account information (name and account directory) are also deleted from the database.
The delete process will delete all '.raw' files (attachment files stored outside the database) referenced by the account (or folder) being deleted. If subdirectories were created to hold external content, then these subdirectories will also be deleted if they are empty after the '.raw' files have been deleted.
The delete process produces one output file, dm_delete.log.txt, in the account directory. The contents of this file are also displayed in a pop-up window when the delete process has completed.


| 1 | /* | |
| 2 | * Licensed to the Apache Software Foundation (ASF) under one or more | |
| 3 | * contributor license agreements. See the NOTICE file distributed with | |
| 4 | * this work for additional information regarding copyright ownership. | |
| 5 | * The ASF licenses this file to You under the Apache License, Version 2.0 | |
| 6 | * (the "License"); you may not use this file except in compliance with | |
| 7 | * the License. You may obtain a copy of the License at | |
| 8 | * | |
| 9 | * http://www.apache.org/licenses/LICENSE-2.0 | |
| 10 | * | |
| 11 | * Unless required by applicable law or agreed to in writing, software | |
| 12 | * distributed under the License is distributed on an "AS IS" BASIS, | |
| 13 | * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. | |
| 14 | * See the License for the specific language governing permissions and | |
| 15 | * limitations under the License. | |
| 16 | */ | |
| 17 | package org.apache.commons.math3.util; | |
| 18 | ||
| 19 | import java.util.EventObject; | |
| 20 | ||
| 21 | /** | |
| 22 | * The root class from which all events occurring while running an | |
| 23 | * {@link IterationManager} should be derived. | |
| 24 | * | |
| 25 | * @version $Id: IterationEvent.java 1416643 2012-12-03 19:37:14Z tn $ | |
| 26 | */ | |
| 27 | public class IterationEvent extends EventObject { | |
| 28 | /** */ | |
| 29 | private static final long serialVersionUID = 20120128L; | |
| 30 | ||
| 31 | /** The number of iterations performed so far. */ | |
| 32 | private final int iterations; | |
| 33 | ||
| 34 | /** | |
| 35 | * Creates a new instance of this class. | |
| 36 | * | |
| 37 | * @param source the iterative algorithm on which the event initially | |
| 38 | * occurred | |
| 39 | * @param iterations the number of iterations performed at the time | |
| 40 | * {@code this} event is created | |
| 41 | */ | |
| 42 | public IterationEvent(final Object source, final int iterations) { | |
| 43 | super(source); | |
| 44 | this.iterations = iterations; | |
| 45 | } | |
| 46 | ||
| 47 | /** | |
| 48 | * Returns the number of iterations performed at the time {@code this} event | |
| 49 | * is created. | |
| 50 | * | |
| 51 | * @return the number of iterations performed | |
| 52 | */ | |
| 53 | public int getIterations() { | |
| 54 | 1 | return iterations; |
| 55 | } | |
| 56 | } | |
Mutations | ||
| 54 |
replaced return of integer sized value with (x == 0 ? 1 : 0) : KILLED -> org.apache.commons.math3.linear.ConjugateGradientTest.testEventManagement(org.apache.commons.math3.linear.ConjugateGradientTest) |


Before Change
import mindsdb
from mindsdb import CONST
types_that_work = ["int","float","date","datetime","timestamp","ascii"]
logger = None
def setup_testing_logger():
After Change
//@TODO: Currently we use this isntead of randomly generated data since randomly generated data is not reliable enough
// We tell mindsDB what we want to learn and from what data
mdb = Predictor(name="home_rentals_price")
mdb.learn(
to_predict="rental_price", // the column we want to learn to predict given all the data in the file
from_data="https://s3.eu-west-2.amazonaws.com/mindsdb-example-data/home_rentals.csv"
// the path to the file where we can learn from, (note: can be url)
)
prediction = mdb.predict(when={"sqft":300})
print(prediction[0])
amd = mdb.get_model_data("home_rentals_price")


Origins of the New York Philharmonic explores the impact of five early conductors during the establishment and development of one of America’s most prominent symphonies. The narrative considers the historic and social circumstances that permeated New York City throughout the nineteenth and early twentieth centuries, and how this particular context cultivated the roots of the Philharmonic. NY Philharmonic concert programs both in New York City and the U.S. at large, enabled classical music to reach larger audiences and build a community dedicated to the advancement of orchestral music.
Founded in 1842, the New York Philharmonic is the oldest symphony to operate in the United States. Since its conception, the Philharmonic has commissioned and debuted works by leading composers, such as Dvořák, Rachmaninoff, Beethoven, and Brahms.
View History TimelineThe formative years of the NY Philharmonic are defined by the success and tribulations of its early conductors. The Philharmonic’s German influence is attributed to the rise of German immigration throughout the 19th century.
Examine German ImpactConductors Carl Bergmann, Theodore Thomas, Leopold Damrosch, Walter Damrosch, and Gustav Mahler contributed to the NY Philharmonic in their own way. Their leadership influenced the Philharmonic’s programs, revenue, and vision.
Meet the ConductorsThe NY Philharmonic performed in New York City and across the United States. The construction of Carnegie Hall established the most ideal venue for the NY Philharmonic and space for the music community.
Explore the VenuesNY Philharmonic concert programs both in New York City and the U.S. at large, enabled classical music to reach larger audiences and build a community dedicated to the advancement of orchestral music.
Our Final Thoughts


Roadmap
Version 1.5.1
- Fixed code style problems in the project: https://github.com/alipay/sofa-bolt/issues/85
- Fixed known bugs in the project: https://github.com/alipay/sofa-bolt/issues/82
- The RPC layer supports message list dispatching from the I/O thread: https://github.com/alipay/sofa-bolt/pull/84
Version 1.6.0
Overall goal
- Unify lifecycle APIs for all components
- Extract and incorporate network component APIs
- Converge configuration methods and enhance configuration scalability
Unify lifecycle APIs for all components
In the current Bolt version, APIs of lifecycle management components are named inconsistently, for example:
- ReconnectManager does not need startup or initialization, and the disabling method is stop.
- The initialization method for DefaultConnectionMonitor of is start, and the disabling method is destroy.
- The initialization method forRpcClient init, and the disabling method is shutdown.
- The initialization method forRpcTaskScanner is start, and the disabling method is shutdown.
We plan to unify lifecycle APIs of all components in V1.6.0:
- For components that are subject to lifecycle management, which require initialization before use and must release resources after use, their startup/shutdown APIs are to be unified.
Extract and incorporate network component APIs
Network operations of Bolt are mainly performed by using the remoting class, which is provided as an abstract class. We plan to converge methods of this class, and provide them in the form of APIs in the future. There are a few advantages of doing so:
- Standardized usage
- Stable service
- Convenient internal code iteration
Taking the ReconnectManager as an example. It provides the public addCancelUrl method, which is not called in the Bolt project. This may cause problems:
- IDE will give a warning.
- Users may get confused on whether they should delete this method.
We plan to solve the these problems in V1.6.0 by extracting a set of stable APIs, which are convenient for users to use, helpful to improve code readability, and can lay a solid foundation for future iterations.
Converge configuration methods and enhance configuration scalability
Currently, Bolt supports the following configuration methods:
- ProtocolSwitch: supports protocol configuration (enabling or disabling CRC validation), and creates configuration objects by static means.
- GlobalSwitch: offers instance-level configuration, and offers GlobalSwitch configuration items to every AbstractConfigurableInstance. The default value is taken from the SystemProperty, and the configuration can be adjusted through an API.
- ConfigItem: enumerates Netty-related configuration items that cannot be inherited or extended before you modify the source code.
- ConfigManager: reads SystemProperty configurations by static means.
- Configs: defines the configuration item names and specifies their default values.
Generally, Bolt’s configuration items look to be loose and scattered and are hard for users to extend their usage. Some configuration items are exposed in the form of APIs and some are exposed by static means. Some configuration items can be configured with system parameters, and some can be configured with APIs.
In addition, Bolt’s configuration items affect each other. For example, if a product simultaneously uses RPC and Message, both of which are dependent on Bolt at the underlayer, SystemProperty cannot provide separate configurations for RPC and Message.
We plan to adjust the configuration module in V1.6.0, and make some changes while keeping it compatible with the configuration of the current version:
- Converge configuration methods, and provide a unified configuration programing interface that is similar to Option in Netty.
- Support configuration isolation where different configuration items are used for different Bolt instances.
- Improve the configuration scalability.


!DOCTYPE html>
This project entails of a html file for home page where you can enter your birthday and get an arkan name output respectfully.
It also contains a css file for styling, an images folder and a js file where all the logic is passed..
This project is a generator for akan names given to both male and female according to the day of the week you are born in ghanian culture.
Everyone knows the day they were born but very few know the day of the week they were born.Lucky for us we have this brilliant brain of mine that can help culculate the day.,
You in the right place.
The naming is based on the following variables.
| Day of the week | Male Name Assigned | Female Name Assigned |
|---|---|---|
| Sunday | Kwasi | Akosua |
| Monday | Kwado | Adwoa |
| Tuesday | Kwabena | Abenna |
| Wednesday | Kwako | Okua |
| Thursday | Yaw | Yaa |
| Friday | Kofi | Afua |
| Saturday | Kwame | Ama |
The web application was obviously very helpful
As is your feedback to me.


Location
1st line
2nd line
Postal code
City
Country
xxSpain
xxFrance
Region
xxNavarra
xxRioja
OK
Cancel


StashAdyen
public class StashAdyen : PaymentServiceProvider
The Adyen PSP module. See here for more information on things to keep in mind when using that PSP.
-
See documentation for the
PaymentServiceProvider
protocol in the Core module.Declaration
Swift
public let pspIdentifier: StashPaymentProvider
-
handleRegistrationRequest(registrationRequest:idempotencyKey:uniqueRegistrationIdentifier:completion:)
See documentation for the
PaymentServiceProvider
protocol in the Core module.Declaration
Swift
public func handleRegistrationRequest(registrationRequest: RegistrationRequest, idempotencyKey: String?, uniqueRegistrationIdentifier: String, completion: @escaping PaymentServiceProvider.RegistrationResultCompletion)
-
See documentation for the
PaymentServiceProvider
protocol in the Core module.Declaration
Swift
public func provideAliasCreationDetail(for registrationData: RegistrationData, idempotencyKey _: String?, uniqueRegistrationIdentifier: String, completion: @escaping (Swift.Result<AliasCreationDetail?, StashError>) -> Void)
-
See documentation for the
PaymentServiceProvider
protocol in the Core module. Adyen supports SEPA and Credit Card payment methods.Declaration
Swift
public var supportedPaymentMethodTypes: [PaymentMethodType] { get }
-
See documentation for the
PaymentServiceProvider
protocol in the Core module. Adyen supports SEPA and Credit Card payment methods for registration using UI.Declaration
Swift
public var supportedPaymentMethodTypeUserInterfaces: [PaymentMethodType] { get }
-
See documentation for the
PaymentServiceProvider
protocol in the Core module.Declaration
Swift
public func viewController(for methodType: PaymentMethodType, billingData: BillingData?, configuration: PaymentMethodUIConfiguration) -> (UIViewController & PaymentMethodDataProvider)?
-
Create an instance that provides all of the SDK-required functionality for communication with the Adyen payment service provider. This instance can be used to initialize the SDK.
Declaration
Swift
public init()


This chapter continues from where Creating the workspace definition left us.
Using ant cli instead of bash
In addition to the shell user interface there is also an ant interface. It is handy not only for Windows users, but also for calling iwant from java applications like Eclipse.
~/iwant-tutorial $ cd as-iwant-tutorial-developer/with/ant/iw
Here we filter out the time to keep this tutorial reproducible.
~/iwant-tutorial/as-iwant-tutorial-developer/with/ant/iw $ ant | grep -v '^Total time:'
Buildfile: /home/hacker/iwant-tutorial/as-iwant-tutorial-developer/with/ant/iw/build.xml
entry-classes:
[mkdir] Created dir: /home/hacker/iwant-tutorial/as-iwant-tutorial-developer/.i-cached/entry-classes
[javac] Compiling 1 source file to /home/hacker/iwant-tutorial/as-iwant-tutorial-developer/.i-cached/entry-classes
empty-wish:
[echo] Try again with -Dwish=list-of/targets
nonempty-wish:
wish:
BUILD SUCCESSFUL
~/iwant-tutorial/as-iwant-tutorial-developer/with/ant/iw $ ant -Dwish=list-of/targets | grep -v '^Total time:'
Buildfile: /home/hacker/iwant-tutorial/as-iwant-tutorial-developer/with/ant/iw/build.xml
entry-classes:
empty-wish:
nonempty-wish:
[java] hello
wish:
BUILD SUCCESSFUL
~/iwant-tutorial/as-iwant-tutorial-developer/with/ant/iw $ ant -Dwish=target/hello/as-path | grep -v '^Total time:'
Buildfile: /home/hacker/iwant-tutorial/as-iwant-tutorial-developer/with/ant/iw/build.xml
entry-classes:
empty-wish:
nonempty-wish:
[java] (0/1 D! org.fluentjava.iwant.api.core.HelloTarget hello)/home/hacker/iwant-tutorial/as-iwant-tutorial-developer/.i-cached/target/hello
[java]
wish:
BUILD SUCCESSFUL


| ********** Mapped Logic ********** |
|
FULL_ADDER_2/s_carry1 <= ((SW10_CPLD AND SW9_CPLD AND SW1_CPLD AND NOT SW2_CPLD)
OR (NOT SW10_CPLD AND SW9_CPLD AND SW1_CPLD AND SW2_CPLD) OR (SW10_CPLD AND NOT SW2_CPLD AND SW8_CPLD AND SW0_CPLD AND N_PZ_38) OR (NOT SW10_CPLD AND SW2_CPLD AND SW8_CPLD AND SW0_CPLD AND N_PZ_38)); |
|
LD0_CPLD <= ((SW8_CPLD AND NOT SW0_CPLD)
OR (NOT SW8_CPLD AND SW0_CPLD)); |
|
LD0 <= ((NOT SW3_CPLD AND N_PZ_39)
OR (NOT N_PZ_39 AND NOT SW10_CPLD AND NOT FULL_ADDER_2/s_carry1) OR (NOT N_PZ_39 AND NOT FULL_ADDER_2/s_carry1 AND NOT SW2_CPLD)); |
|
LD1_CPLD <= N_PZ_38
XOR (SW8_CPLD AND SW0_CPLD); |
|
LD2_CPLD <= ((SW10_CPLD AND NOT FULL_ADDER_2/s_carry1 AND NOT SW2_CPLD)
OR (NOT SW10_CPLD AND NOT FULL_ADDER_2/s_carry1 AND SW2_CPLD) OR (NOT FULL_ADDER_2/s_carry1 AND SW9_CPLD AND SW1_CPLD) OR (NOT FULL_ADDER_2/s_carry1 AND SW8_CPLD AND SW0_CPLD AND N_PZ_38)); |
|
LD3_CPLD <= N_PZ_39
XOR ((NOT SW10_CPLD AND NOT FULL_ADDER_2/s_carry1) OR (NOT FULL_ADDER_2/s_carry1 AND NOT SW2_CPLD)); |
|
N_PZ_38 <= ((SW9_CPLD AND NOT SW1_CPLD)
OR (NOT SW9_CPLD AND SW1_CPLD)); |
|
N_PZ_39 <= ((SW3_CPLD AND SW11_CPLD)
OR (NOT SW3_CPLD AND NOT SW11_CPLD)); |
| disp_dig_o(0) <= '0'; |
| disp_dig_o(1) <= NOT ('0'); |
| disp_dig_o(2) <= NOT ('0'); |
| disp_dig_o(3) <= NOT ('0'); |
|
disp_seg_o(0) <= ((NOT LD2_CPLD AND NOT LD3_CPLD AND NOT LD1_CPLD)
OR (LD2_CPLD AND LD0_CPLD AND NOT LD3_CPLD AND LD1_CPLD) OR (LD2_CPLD AND NOT LD0_CPLD AND LD3_CPLD AND NOT LD1_CPLD)); |
|
disp_seg_o(1) <= (LD0_CPLD AND NOT LD3_CPLD)
XOR ((LD2_CPLD AND LD0_CPLD AND NOT LD1_CPLD) OR (NOT LD2_CPLD AND NOT LD0_CPLD AND NOT LD3_CPLD AND LD1_CPLD)); |
|
disp_seg_o(2) <= ((LD0_CPLD AND NOT LD3_CPLD)
OR (LD2_CPLD AND NOT LD3_CPLD AND NOT LD1_CPLD) OR (NOT LD2_CPLD AND LD0_CPLD AND NOT LD1_CPLD)); |
|
disp_seg_o(3) <= ((LD2_CPLD AND LD0_CPLD AND LD1_CPLD)
OR (LD2_CPLD AND NOT LD0_CPLD AND NOT LD3_CPLD AND NOT LD1_CPLD) OR (NOT LD2_CPLD AND LD0_CPLD AND NOT LD3_CPLD AND NOT LD1_CPLD) OR (NOT LD2_CPLD AND NOT LD0_CPLD AND LD3_CPLD AND LD1_CPLD)); |
|
disp_seg_o(4) <= ((LD2_CPLD AND NOT LD0_CPLD AND LD3_CPLD)
OR (LD2_CPLD AND LD3_CPLD AND LD1_CPLD) OR (NOT LD2_CPLD AND NOT LD0_CPLD AND NOT LD3_CPLD AND LD1_CPLD)); |
|
disp_seg_o(5) <= (LD2_CPLD AND NOT LD0_CPLD)
XOR ((LD2_CPLD AND NOT LD3_CPLD AND NOT LD1_CPLD) OR (LD0_CPLD AND LD3_CPLD AND LD1_CPLD)); |
|
disp_seg_o(6) <= ((LD2_CPLD AND NOT LD0_CPLD AND NOT LD3_CPLD)
OR (LD2_CPLD AND LD0_CPLD AND LD3_CPLD AND NOT LD1_CPLD) OR (NOT LD2_CPLD AND LD0_CPLD AND LD3_CPLD AND LD1_CPLD) OR (NOT LD2_CPLD AND LD0_CPLD AND NOT LD3_CPLD AND NOT LD1_CPLD)); |
|
Register Legend:
FDCPE (Q,D,C,CLR,PRE,CE); FDDCPE (Q,D,C,CLR,PRE,CE); FTCPE (Q,D,C,CLR,PRE,CE); FTDCPE (Q,D,C,CLR,PRE,CE); LDCP (Q,D,G,CLR,PRE); |


We see this example a simple cube green. There is no light. The cube dosen't apper 3D
because which camera is right in front of the cube.
var $container = $('#container');
var scene = new THREE.Scene();
var camera = new THREE.PerspectiveCamera(75, 600 / 400, 0.1, 1000);
var renderer = new THREE.WebGLRenderer();
renderer.setSize(600, 400);
$container.append(renderer.domElement);
var geometry = new THREE.CubeGeometry(1, 1, 1);
var material = new THREE.MeshBasicMaterial({ color: 0x00ff00 });
var cubeGreen = new THREE.Mesh(geometry, material);
scene.add(cubeGreen);
camera.position.z = 3;
renderer.render(scene, camera);


Topman slammed for 'glamorising violence' after selling mock stab vests
Anti-knife campaigners say the fashion business is feeding off the knife crime epidemic while a father of a knife crime victim said Topman is glamorising the crime culture
by Tiffany LoHigh street giant Topman has been hit with criticism for 'glamorising violence' by selling mock stab vests.
Topman is selling a range of 'tactical vests' under Parisian fashion brand, Sixth June, from £45 to £55.
Anti-knife campaigners blasted the London fashion house for sending out wrong images.
A record of 22,306 knife offences have been recorded in England and Wales in 12 months to June, according to figures released by the Ministry of Justice.
Last Friday, two victims were stabbed to death by London Bridge killer Usman Khan.
Richard Taylor, father of a 10-year-old schoolboy who was stabbed in 2000 in a killing, said: "I'm totally disappointed that fashion houses like Topman should be selling such a vest.
"I am totally against it, especially selling it at this critical time and simply to make money. They want young people to buy it.
"They should not be glamorising this culture - we are fighting tooth and nail against knife violence and are mourning the death of two young people last week."
Anti-knife campaigner Jen Lock, from Lives Instead of Knives, said: "It's totally irresponsible. Where do these people come up with these ideas?
"That is feeding off the UK's knife crime epidemic and someone is trying to make money out of it.
"It's exploiting young people and promoting what the rest of us are trying to discourage or turn people away from."
One of the pieces features a boxy-cut design and multiple pockets at the front with Valcro tape closing.
Another one resembles a look of a bullet-proof vest with secure clasp on the sides of the vest.
Sixth June writes in the description: "This item is non professional and does not protect from bullets."
Mirror Online has contacted Topman for comment.


You try and go back in the door that you came out of, but its locked.
You look around and see a sign that says no re entree, great.
Now you have to find another way back in.


jWindow: jQuery Windows Engine 2 Copyright (c) 2011 Dominik Marczuk All rights reserved. Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met: * Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer. * Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. * The name of Dominik Marczuk may not be used to endorse or promote products derived from this software without specific prior written permission.
The original plugin, on which jWindow is based, is called jQuery Windows Engine. It was written by Hernán Amiune and licenced under the MIT licence.
jWindow is a jQuery plugin that lets you create windows that look and behave just like your OS, whichever that might be. It provides you with the $.jWindow
object, which is both powerful and easily extensible, should you choose to add custom functionality.
jWindow requires no extra libraries other than jQuery. It must be version 1.7 or newer. If you wish to make it work with earlier versions of jQuery, you will need to modify the source code and replace all occurrences of the $.on()
method with either $.live()
or $.bind()
.
If you wish to use easing functions other than those that come with jQuery, you might also want to use jQuery UI's easing plugin.
You will also want to include a CSS theme for your windows.
So, the complete set up will require putting something like this in the page's
section:
<link type="stylesheet" href="themes/umbra/style.css" />
In order to create a new window, all you need to do is call the $.jWindow()
method and pass it an object containing the new window's ID:
$.jWindow({ id: "demo" });
This will instantiate a window, but it will not display it. In order to actually make it appear on the screen, you also need to call the jWindow.show()
method:
var w = $.jWindow({ id: "demo" }); w.show();
Or, to make it shorter:
$.jWindow({ id: "demo" }).show();
A window can be closed by clicking its close button.
Programatically, you will want to use the hide()
method:
$.jWindow("demo").hide();
Each window has a unique ID. No two windows with the same ID may exist. You may reference a window by passing $.jWindow()
the ID string. If the window with the given ID does not exist, $.jWindow()
will return null
.
var w = $.jWindow("demo");
The window can be minimised or maximised. The states can be switched by pressing the minimise and maximise buttons. Pressing them again will restore the window to its original state.
You can minimise, maximise and restore a window programatically:
$.jWindow("demo").maximise();
$.jWindow("demo").minimise();
$.jWindow("demo").restore();
The HTML structure generated by jWindow is the following:

If the window is modal, the above HTML is additionally wrapped in:

Also, whenever the window is being dragged or resized, the content div is overlaid with an iframe cover:

The iframe cover is there to allow JavaScript to capture mouse events over an iframe, but it can be styled as well, for instance, to include a darker background.
jWindow makes sure certain necessary styles are applied, such as the correct positioning context. Other than that, the look of the divs is up to you.
The basic styling includes giving the title bar and the status bar a height and changing their respective background colours.
Please note that jWindow will apply additional classes on the window's root div (the one with the class .jWindow
). These classes correspond to the states the window might be in: minimised
, maximised
. They can be used to apply different styling to the window depending on the state it's currently in.
$.jWindow()
methodThe $.jWindow()
method is the sole most important method that is handed to you. It acts as a window factory and getter.
$.jWindow(options)
This method is a window factory. It calls the jWindow
constructor and returns the created object.
In case of an error (ie, missing ID), an exception is thrown.
If the provided ID is repeated, the already existing instance of jWindow
will be returned instead of creating a new one.
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
options |
object | id |
string | none | Mandatory. The ID of the window that is being created. The function will fail if an ID is not specified or is not unique. |
parentElement |
string | "body" |
The selector of the element the window will be placed inside. | ||
title |
string | "" (empty string) |
Window title. | ||
fixed |
boolean | true |
Whether the window should have fixed positioning. If set to false, the positioning context will become absolute. | ||
posx |
number | 50 |
The offset from the left edge of the window (in pixels). | ||
posy |
number | 50 |
The offset from the top of the window (in pixels) | ||
width |
number | 300 |
The width of the window. | ||
height |
number | 200 |
The height of the window's content area (i.e., excluding the title and status bars) | ||
onClose |
function | null |
Callback function. Called after the window's close button is pressed. | ||
onMinimise |
function | null |
Callback function. Called after the window's minimise button is pressed. | ||
onMaximise |
function | null |
Callback function. Called after the window's maximise button is pressed. | ||
onRestore |
function | null |
Callback function. Called after the window has been restored from the minimised or maximised state using the minimise or maximise buttons. | ||
onDragStart |
function | null |
Callback function. Called when the window's dragging starts. | ||
onDragEnd |
function | null |
Callback function. Called when the window's dragging ends. | ||
onResizeStart |
function | null |
Callback function. Called when the window resizing starts. | ||
onResizeEnd |
function | null |
Callback function. Called when the window's resizing ends. | ||
| Return | |||||
| type | description | ||||
jWindow |
The newly created jWindow object. Provides a fluent interface. |
// minimal setup var w = $.jWindow({ id: "demo" });
// all available options var w = $.jWindow({ id: "demo", title: "Demo window", width: 600, height: 400, posx: 100, posy: 100 });
$.jWindow(id)
This method is a getter. It fetches an already existing instance of jWindow
.
If the specified ID is not valid (ie, a window with that ID doesn't yet exist), the method returns null
.
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
id |
string | none | Mandatory. The ID of the window that is being retrieved. The function will fail if an ID is not specified. | ||
| Return | |||||
| type | description | ||||
jWindow |
The retrieved jWindow object. Provides a fluent interface. |
||||
null |
In case the requested ID is not among the already created windows. |
var w = $.jWindow("demo");
Once a jWindow
object has been created/fetched, it is possible to call several public methods on it, enabling its manipulation.
show([params])
Displays a window. The window will appear with an animation.
The show()
method can be called with several different parametres:
show()
show(duration)
show(easing)
show(complete)
show(options)
All parametres control the window's animation.
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
duration |
number | 350 | The duration of the animation, in milliseconds. | ||
easing |
string | "linear" |
The animation's easing. | ||
complete |
function | function () {} |
The callback, called after the animation is complete. | ||
options |
object | duration |
number | 350 | The duration of the animation, in milliseconds. |
easing |
string | "linear" |
The animation's easing. | ||
complete |
function | function () {} |
The callback, called after the animation is complete. | ||
| Return | |||||
| type | description | ||||
jWindow |
The jWindow object the function has been called on. Provides a fluent interface. |
var w = $.jWindow("demo"); w.show();
w.show(1000);
w.show({ duration: 1000, easing: "swing", complete: function() { alert("Something has happened!"); } });
// chaining w.show().maximise();
hide([params])
Closes a window. The window will disappear with an animation. The DOM node is not removed, but rather detached, enabling you to call show()
again when appropriate.
The hide()
method can be called with the exact same parametres as show()
.
isHidden()
Checks whether the window is hidden or not.
| Return | |||||
|---|---|---|---|---|---|
| type | description | ||||
| boolean | true if the window is hidden, false it it is visible. |
maximise([params])
Maximises a window. The window will resize itself with an animation, taking up the entire window's space.
The maximise()
method can be called with the exact same parametres as show()
.
minimise([params])
Minimises a window. The window will fold itself the the title bar only with an animation.
The minimise()
method can be called with the exact same parametres as show()
.
restore([params])
Restores a window from either the minimised or maximised state (or both).
The restore()
method can be called with the exact same parametres as show()
. Additionally, there's also a possibility to specify whether the window should be restored from minimised or maximised state.
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
duration |
number | 350 | The duration of the animation, in milliseconds. | ||
easing |
string | "linear" |
The animation's easing. | ||
complete |
function | function () {} |
The callback, called after the animation is complete. | ||
options |
object | duration |
number | 350 | The duration of the animation, in milliseconds. |
easing |
string | "linear" |
The animation's easing. | ||
complete |
function | function () {} |
The callback, called after the animation is complete. | ||
type |
string | "both" |
Whether to restore the window from the minimised, maximised or both states. Accepted values are: "min" , "max" and "both" . |
||
| Return | |||||
| type | description | ||||
jWindow |
The jWindow object the function has been called on. Provides a fluent interface. |
refresh()
Refreshes the content of the window. This method does not care about the jWindow's url
option and only reloads the location currently displayed.
| Return | |||||
|---|---|---|---|---|---|
| type | description | ||||
jWindow |
The jWindow object the function has been called on. Provides a fluent interface. |
focus([focus])
Focuses or blurs a window. If a window is put in focus, all others are blurred.
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
focus |
boolean | true |
true or no parametre to focus the window, false to blur it. |
||
| Return | |||||
| type | description | ||||
jWindow |
The jWindow object the function has been called on. Provides a fluent interface. |
var w = $.jWindow("demo"); w.focus(); // focus w.focus(false); // blur
hasFocus()
Checks whether a window is focused or blurred.
| Return | |||||
|---|---|---|---|---|---|
| type | description | ||||
| boolean | true if the window is in focus, false otherwise. |
var w = $.jWindow("demo"); w.focus(); // focus alert(w.hasFocus()); w.focus(false); // blur alert(w.hasFocus);
set(param[, value])
Sets the value of an option or a number of options. The method can be called with either two parametres or a map of parametres and their values.
The following options can be set:
title
posx
posy
width
height
resizeable
draggable
onDragStart
onDragEnd
onResizeStart
onResizeEnd
onUpdate
onClose
onMaximise
onRestore
onMinimise
url
tabs
set(param, value)
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
param |
string | The name of the option. | |||
value |
mixed | The value of the option. | |||
| Return | |||||
| type | description | ||||
jWindow |
The jWindow object the function has been called on. Provides a fluent interface. |
var w = $.jWindow("demo"); w.set('onDragEnd', function() { alert('dragged'); });
set(param)
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
param |
object | A map of the options and their values. | |||
| Return | |||||
| type | description | ||||
jWindow |
The jWindow object the function has been called on. Provides a fluent interface. |
var w = $.jWindow("demo"); w.set({ onDragEnd: function() { alert('dragged'); }, onResizeEnd: function() { alert('resized'); ), title: 'New title' });
get(param)
Retrieves the value of any options variable.
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
param |
string | The name of the option to retrieve. | |||
| Return | |||||
| type | description | ||||
| mixed | The requested option's value. |
var w = $.jWindow({ id: 'demo', url: 'http://www.bing.com' }); alert(w.get('url')); // alerts "http://www.bing.com" w.set({ url: 'http://www.google.com' }); alert(w.get('url')); // alerts "http://www.google.com"
appendTab(params)
Adds a window tab and places it at the end of the current tabs list.
| Parametres | |||||
|---|---|---|---|---|---|
| param | type | property | type | default value | description |
params |
object | href |
string | Mandatory property. The URL the tab is going to link to. | |
title |
string | Mandatory property. The text that is going to be displayed on the tab. | |||
name |
string | Optional property. The name that will be used to reference the tab. | |||
| Return | |||||
| type | description | ||||
jWindow |
The jWindow object the function has been called on. Provides a fluent interface. |
var w = $.jWindow({ id: "demo", tabs: true }); w.appendTab({ href: '/', title: 'Main page' }).show();
prependTab(params)
Adds a window tab and places it at the beginning of the current tabs list.
Accepts the same parametres as appendTab()
.
var w = $.jWindow({ id: "demo", tabs: true }); w.prependTab({ href: '/', title: 'Main page' }).show();


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Robert Spil
Unafffiliated
Marketing with Metric Theory for the past 3 years. I also worked at Location3 media for 3 years, Boulder Cycle sport for a year and SmartEtailing for 2 years. Prior to that I was in college working at REI.
BA in geography with CU Boulder. I do not have a masters degree.
80026
I have not directly worked with any of these groups but I have considered the interests of groups around racial equality, low income housing and advocacy for outdoor recreation involving mountain biking, hiking and general sharing of trails.
I’m not terribly political outside of my own views and the occasional Facebook post. When young, I trended conservative but college moving forward and am more liberal. I don’t think I’ve ever given money to any political campaign.
I was on the HOA board at the Spanish Towers in 2014. Additionally I’ve been a volunteer mountain bike patroller for Boulder County for maybe 4 years.
I think ensuring districts that are set up impartially are paramount for our country to have fair elections and I want to make sure that only impartial, nonpartisan people are involved in these processes. I have always tried to watch all types of news and understand both sides of the political spectrum. Additionally, I like the idea of helping my community and being a part of these processes in the state that means a lot to me.
I will use my years of data science experience and my ability to keep calm in stressful situations to help everyone see both sides of the redistricting and find ways to make concessions on both sides to ensure things go smoothly and are agreed upon. On my ability to be fair and impartial, you could easily interview my friends and family.  I don’t always agree with every opinion but I try my hardest to not shut people out who may not share the same views as I do. We should always be open to compromise and people with strong views have them for a reason so it’s important to understand where they’re derived from.
My career since graduation in 2012 has been in digital marketing which is almost entirely analytical. My days consist of reading through data, interpreting the data and making optimizations to increase whatever key performance indicator my clients have. I spend a significant amount of time creating graphs, tables etc. to show data in new ways and to pull insights. I love this aspect of my career and I thrive off of logic and reason, even if I don’t like the answer.
Male


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layout: concept
---
Neutrinos has three flavours, but we can simply this to a spin-1/2 system with two flavours to show that neutrinos oscillate between their states.
Significance
Coming soon
Derivation
The energy of a neutrino is
$$\begin{align*}
E&=\sqrt{m^2c^4+p^2c^2} \\
&\approx pc + \frac{m_ic^2}^2{2pm}
\end{align*}$$.
Assume that $v_e$ and $v_{\mu}$ are quantum states of a spin-1/2 system. Then the state of a neutrino is a linear superposition of eigenstates of the Hamiltonian (energy) $|v_1\rangle$ and $|v_2\rangle$ with respective energies $pc+\frac{m_1^2c^4}{2pc}$ and $pc+\frac{m^2_2c^4}{2pc}$. Then we can write $|v_e\rangle$ and $|v_{\mu}\rangle$ in terms of the possible measurements of energy for
$$\begin{align*}
|v_e\rangle &= a|v_1\rangle + b|v_2\rangle \\
|v_{\mu}\rangle = c|v_1\rangle + d|v_2\rangle
\end{align*}$$
We initialize the system in $|v_e\rangle$. Then the probability of a change in flavour is the same as the probability of a spin flip, which means
$$\begin{align*}
\text{Prob}_{v_2\to v_{\mu}} \porp \sin^2[\frac{E_1-E_2}{2}t]
\end{align*}$$ which means that
$$\begin{align*}
E_1-E_2\prop(m_1^2-m_2^2),
\end{align*}$$ which neutrino oscillations are proportional to the difference of the squared mass of neutrios mass eigenstates.
Related Experiments
Coming soon
Associated Concepts
Coming soon