Lactuca - L. virosa (Wild Lettuce)
I currently reside in California and I am therefore by definition an expert on gooooood bud! I was browsing the internet the other week when I came across a product called “legal herb.” Even though in my heart I knew that it must be bullshit, I was slightly intrigued, so decided to order some from a fancy looking web site that was chock full of great testimonials. In retrospect, the positive reviews absolutely had to have been written by the owners of the company!
I ordered four different samples that all had fancy names (e.g. Hawaiian gold bud, blueberry buds, Maui hybrid, Dutch haze). At least two of these products listed opium lettuce (Lactuca virosa) as an ingredient. Actually, the “Hawaiian gold bud” is comprised entirely of opium lettuce. They arrived today (4/23/06) and I was looking forward to giving them a try.
I wanted to have a clear head when I tried my “legal herb,” so did not smoke any dubie or drink and alcohol during the day.  I didn’t feel a thing, so I took a few more bong rips. I was finally beginning to feel a slight effect. Yes – Finally! Oh no, it’s only a headache! I then thought to myself, if someone gave this plant species the common name “opium lettuce,” it just has to get me high. Hence, I took a few more bong rips.
Conclusions: I was completely sober before smoking the lettuce. I didn’t feel even the slightest buzz after 6 healthy bong hits of lettuce.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


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Introduction
Why Bees?
Bee Life
Hive Building
Products
Addt'l Resources
References
Quiz
Certificate of Completion
has completed this course.


This inspection searches for usage of [TOC]
element which requires markdown processor
extension to generate table of contents vs. [TOC]: " "
which marks Markdown Navigator
generated table of contents, compatible with standard markdown processors.


| nrvr.util.nameserver | index /usr/lib/python2.7/site-packages/nrvr/util/nameserver.py |
nrvr.util.nameserver - Utilities regarding domain name servers
Class provided by this module is Nameserver.
As implemented works in Linux. Probably limited compatibility with Windows.
Idea and first implementation - Leo Baschy <srguiwiz12 AT nrvr DOT com>
Contributor - Nora Baschy
Public repository - https://github.com/srguiwiz/nrvr-commander
Copyright (c) Nirvana Research 2006-2015.
Simplified BSD License
| Modules | ||||||
|
| Classes | ||||||||||
|
|


Part 4: The Logic of the Script
Parse the command-line arguments and create the main logic of the script flow.
Argparse
When running a python file in the command line, Python has the ability to take arguments that are passed to the command line:
1 | (APIProj)$ python a_python_file.py --debug --output-file ~/MyDocuments/MyLogs/python_file.log
|
Certainly, we’d need to put some logic into our script in order to be able to parse arguments. Let’s think of all the arguments that we could possibly want to pass to our API Python script are:
- API key for Giantbomb
- path to CPI file
- URL to get CPI data (default will be our global
CPI_DATA_URL
we defined earlier) - Path to CSV file which will contain the data output
- Path to PNG file which will contain the graphed data output
- Output level for logging (whether just informational, or debugging, etc)
- Maximum number of platforms we want to look at, if any
Python’s standard library has a great module, argparse
that we’ll use. We’ll create separate parsing function as a helper to our main function that we’ll write out after this.
First, import argparse,
1 | import argparse
|
then let’s define our parsing function, and use argparse
’s ArgumentParser
to initialize a parser
class:
1 2 | def parse_args():
parser = argparse.ArgumentParser()
|
The ArgumentParser
class implicitly gives us an argument for free, the -h
and --help
flags for showing the usage of the script, python platform_pricing.py [options] [args]
, as well as a list of available commands and their help
strings we assign.
Now we should add all the arguments that could possibly be passed through from the command line with the add_argument
method that ArgumentParser
class gives us:
1 2 3 4 | def parse_args():
parser = argparse.ArgumentParser()
parser.add_argument('--giantbomb-api-key', required=True,
help='API key provided by Giantbomb.com')
|
The first parameter that we feed to add_argument
is the flag that is used in the command line:
1 | (APIProj)$ python platform_pricing.py --giantbomb-api-key <YOUR_API_KEY>
|
We also tell add_argument
that this is a required field by passing the required=True
parameter. The ArgumentParser
class will take care of erroring out for us if that argument isn't given in the command line.
Lastly, we pass in a string for our help
parameter – this text will show whenever a user passes the -h
or --help
flag.
The rest of our arguments:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 | def parse_args():
parser = argparse.ArgumentParser()
parser.add_argument('--giantbomb-api-key', required=True,
help='API key provided by Giantbomb.com')
parser.add_argument('--cpi-file',
default=os.path.join(os.path.dirname(__file__),
'CPIAUCSL.txt'),
help='Path to file containing the CPI data (also acts'
' as target file if the data has to be downloaded'
'first).')
parser.add_argument('--cpi-data-url', default=CPI_DATA_URL,
help='URL which should be used as CPI data source')
parser.add_argument('--debug', default=False, action='store_true',
help='Increases the output level.')
parser.add_argument('--csv-file',
help='Path to CSV file which should contain the data'
'output')
parser.add_argument('--plot-file',
help='Path to the PNG file which should contain the'
'data output')
parser.add_argument('--limit', type=int,
help='Number of recent platforms to be considered')
opts = parser.parse_args()
if not (opts.plot_file or opts.csv_file):
parser.error("You have to specify either a --csv-file or --plot-file!")
return opts
|
Note that when running this script, you don’t have to have the output files, CSV or PNG, already created – just tell the script where you want it saved and what you want it saved as by giving it the full directory path and desired filename.
The Python docs have a great tutorial on how to use the argparse
module if you’d like additional work on this module.
Main function
The CPIData
and GiantbombAPI
classes have been defined with their methods, as well as functions generate_plot
, generate_csv
, and is_valid_dataset
. Let’s now make one main()
function that runs whenever we call our platform_pricing.py
file (with arguments) that instantiates (uses) everything.
We’ll first want to take care of the arguments passed through the command line by calling our parse_args
function.
1 2 3 4 5 6 7 8 | def main():
"""This function handles the actual logic of this script."""
opts = parse_args()
if opts.debug:
logging.basicConfig(level=logging.DEBUG)
else:
logging.basicConfig(level=logging.INFO)
|
Here, we also handle the level of logging – if the user uses the --debug
flag (perhaps s/he wants extra level of detail of what is going on, or is troubleshooting), then we assign our logging
variable a level of DEBUG
, else, the default will be INFO
.
Since we did not specify any file to save our logs to, it will just write our logging statement that we defined in GiantbombAPI.get_platforms()
to the terminal when we run our Python program.
Next, we’ll instantiate both the CPIData
class and the GiantbombAPI
class and use some of the arguments that we parsed to pass the API key, the CPI URL (if we don't want to use the default defined in our global variable, CPI_DATA_URL
, and CPI file (if we gave it a file).
We also print to the console – using the print function imported from future (Python 3), rather than the print keyword in Python 2 – that gives a disclaimer to the user what the script will be doing.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 | # <-- snip -->
cpi_data = CPIData()
gb_api = GiantbombAPI(opts.giantbomb_api_key)
print ("Disclaimer: This script uses data provided by FRED, Federal"
" Reserve Economic Data, from the Federal Reserve Bank of St. Louis"
" and Giantbomb.com:\n- {0}\n- http://www.giantbomb.com/api/\n"
.format(CPI_DATA_URL))
if os.path.exists(opts.cpi_file):
with open(opts.cpi_file) as fp:
cpi_data.load_from_file(fp)
else:
cpi_data.load_from_url(opts.cpi_data_url, save_as_file=opts.cpi_file)
|
Now comes the part where the two classes interact.
We need to iterate over each platform (up to the limit if one is set as an argument from the command line) to fetch the adjusted price (the de/inflated price of the platform) based on the data we grabbed from the FRED. We build/append each piece of data to the platforms
list.
We then take our platforms
list and pass it to either generate_plot
or generate_csv
, depending on what arguments were passed from the command line.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 | # <-- snip -->
platforms = []
counter = 0
# Now that we have everything in place, fetch the platforms and calculate
# their current price in relation to the CPI value.
for platform in gb_api.get_platforms(sort='release_date:desc',
field_list=['release_date',
'original_price', 'name',
'abbreviation']):
# Some platforms don't have a release date or price yet. These we have
# to skip.
if not is_valid_dataset(platform):
continue
year = int(platform['release_date'].split('-')[0])
price = platform['original_price']
adjusted_price = cpi_data.get_adjusted_price(price, year)
platform['year'] = year
platform['original_price'] = price
platform['adjusted_price'] = adjusted_price
platforms.append(platform)
# We limit the resultset on this end since we can only here check
# if the dataset actually contains all the data we need and therefor
# can't filter on the API level.
if opts.limit is not None and counter + 1 >= opts.limit:
break
counter += 1
if opts.plot_file:
generate_plot(platforms, opts.plot_file)
if opts.csv_file:
generate_csv(platforms, opts.csv_file)
|
That’s all for our main()
function – just the final boilerplate code at the tail end:
1 2 | if __name__ == '__main__':
main()
|
Try it yourself
In your terminal, with your APIProj
virtual environment activated, and from within your API project directory, try your new script with different arguments (be sure to use your own directory paths instead of ~/Projects/new-coder/apis/*
unless you have that exact directory setup):
1 2 3 4 | (APIProj)$ python platform_pricing.py --giantbomb-api-key [YOUR_KEY] --plot-file ~/Projects/new-coder/apis/my_plot.png
(APIProj)$ python platform_pricing.py --giantbomb-api-key [YOUR_KEY] --csv-file ~/Projects/new-coder/apis/my_csv.csv
(APIProj)$ python platform_pricing.py --giantbomb-api-key [YOUR_KEY] --plot-file ~/Projects/new-coder/apis/my_plot.png --csv-file ~/Projects/new-coder/apis/my_csv.csv
(APIProj)$ python platform_pricing.py --giantbomb-api-key [YOUR_KEY] --debug --limit 40 --csv-file ~/Projects/new-coder/apis/my_csv.csv
|


Place Config: GitHub4Jive
The remote system (GitHub) requires you to grant access before proceeding.
Grant Access
Repo:
Submit
Authorize GitHub
GitHub Authorized - OK


Your tour
Welcome to your Valentine's day tour!
Get your stuff together, walk out of Joe's house, and then swipe over to the next slide.
Beginning
The tour actually begins at the bridge that goes from Joe's house to Leuchtstoff. It's called Hertabrücke. Walk to that bridge now. Here's some music to accompany you. Go to the next slide when you get to the start of sidewalk along the bridge.
At the bridge
You assignment as you cross the bridge is super simple. Just walk across the bridge while listening to this song, and add a little hip shake to your walk. It can be super subtle. No one would even notice that you're walking different than you normally do.
Walking to Leuchtstoff
You can keep walking with the hip shake or normally, as you like. If you want a new song, try this one. When you enter Leuchtstoff, swipe to the next slide.
In Leuchtstoff
Great! I love this place. Your first assignment is to find a place to sit with a table or desk. You need a surface on which you could write or
draw. You can share with someone if you need to. Or if you can only find a chair without such a surface, see if you can find a book you can use as a surface. When you're ready, swipe on.
Sitting in Leuchtstoff, pt 1a
You'll have two assignments here in Leuchtstoff. Each will take about 10 minutes, so 20 minutes in total. We're about to begin the first. To begin it, first get out your paper and pen, and put the paper on the surface. Now, you need to close your eyes and listen to this song. With your eyes closed, try to get in touch with the UNIVERSE. You are the servant of the universe. You feel what it wants. It's voice is within you. Swipe when the song is done and you are in touch with what the UNIVERSE wants.
Sitting in Leuchtstoff, pt 1b
Great. Your next task is to make a little performance, on paper, for the UNIVERSE. You're going to be drawing on paper, but think of it more like your hands, and the pen, and your body, is dancing. And this is a performance for the UNIVERSE. Do the best you can, while listening to this song.
Sitting in Leuchtstoff, pt 1c
How did you do? Do you think the UNIVERSE appreciated your performance? Do you think the UNIVERSE would consider you a BOSS? If not, you'll get another chance.
Sitting in Leuchtstoff, pt 2
Okay. One more assignment before leaving Leuchtstoff. You're going to listen to this song and look around at the people here. Look at them lovingly. When you've got that going on -- the song and the loving looks, swipe on.
Sitting in Leuchtstoff, pt 2b
Now just ask yourself, for each person you can see, what you would lovingly ask them to do. What I mean is--if you had their best interest at heart and were going to give them a task, an immediate task to do right now, that you think might help them... what would it be? Come up with such tasks for at least three people.
Sitting in Leuchtstoff, pt 2c
You are about to leave Leuchtstoff, but if you feel like it, you could suggest one of your tasks to one of the people. Be brave if you feel like it. In any case, leave Leuchtstoff and walk down to the S-Bahn.
Getting on the Ring-Bahn (West)
You'll be going West, towards the Tempelhof stop. Here's a song while you wait. Swipe when you're on the train.
On the Ring-Bahn
Time for another hip shake! Here's your dose of reggaeton. Be subtle if you want. Or go crazy! Get off at Tempelhof.
At S-Bahn Tempelhofer Feld
Walk down to the Feld. Try to find a spot on the Feld where you won't be watched. A spot where you can try some dance moves without feeling too shy. Here's a song for your walk.
On the Feld, pt 1
Okay, Joe should have whatsapped you a video explaining a contact improv exercise earlier. It starts by swinging your arms around. You're going to do that exercise now, while this song plays.
On the Feld, pt 2
Now that you're warmed up, you've got one more task here. It's another performance for the UNIVERSE. This time with your whole body. No one is watching except the UNIVERSE. Give it your best shot for a few minutes while this plays.
On the Feld, pt 2b
How did you do? Do you think the UNIVERSE appreciated your performance? Do you think the UNIVERSE would consider you a BOSS? If not, you'll get another chance.
Getting on the U6 (North)
Okay, back to transit.  Here's a song for your cooldown and walk. And swipe when you're on the u6.
On the u6
Back to this song. Here on the u6, ask yourself, again, for each person you can see, what you would lovingly ask them to do. Come up with tasks for at least three people.
Still on the u6?
If you still have time on the u6, take a break. Otherwise swipe on when you get off at Französische.
Meditation while walking to library
ASK YOURSELF: Do you feel more like doing something embodied, heart-centered, or intellectual? Do you feel like doing something wild, or constrained? Think of three embodied things you could do. Think of three heart-centered things. Think of three intellectual things. Think of three wild things. Now, again: Do you feel more like doing something embodied, heart-centered, or intellectual? Do you feel like doing something wild, or constrained?
The Lobby of the Library
Time for another hip shake! Here's your next dose of reggaeton. Be subtle if you want. Or go crazy! You can stay in the lobby while the song plays or dance your way up to the 3. OG / Bereich B.
Choosing a book
Go to the 6770 section on the 3. OG floor, section B. See if you can find a book that interests you. When you've got one, grab it to carry with you, and swipe. (Here's music for choosing a book if you want.)
Walking to the Study Area
Okay, on the same floor you're on, near you, is a study area where people sit at desks and read. It's in the giant atrium at the center of the library. Go there and find a desk towards the front. Make sure to stay on the same floor and the same side of the library. When you're seated, with your book, swipe on.
Sitting at the Study Area, pt 1
(Music) ASK YOURSELF: Do you feel more like doing something embodied, heart-centered, or intellectual? Dso you feel like doing something wild, or constrained? Think of three embodied things you could do. Think of three heart-centered things. Think of three intellectual things. Think of three wild things. Now, again: Do you feel more like doing something embodied, heart-centered, or intellectual? Do you feel like doing something wild, or constrained?
Sitting at the Study Area, pt 1b
If you feel like reading, read. If you feel like doing something embodied or heart centered, do that. Ask yourself every two minutes to make sure you're doing what you like.
When you get bored of this question, swipe on.
Sitting at the Study Area, pt 2
Are you really ready to go on? Swipe only if you are really ready.
Sitting at the Study Area, pt 2b
Look across the atrium, and see Joe on the other side. Queue up this song but don't press play. Then swipe right.
Sitting at the Study Area, pt 2c
Use your fingers to signal counting down from 5 to Joe on the other side. When you get to zero, you will both press play. Then swipe right.
Sitting at the Study Area, pt 2d
You're going to have a long-distance dance battle. You're going to be trading dance moves. You will start, then Joe will respond, then you will respond, and so on. Your first move can be really subtle, maybe just nodding your head or something. Make your move and then point at Joe so he knows it's his turn. You'll go back and forth like that.
Endgame
I hope you had fun. You can find Joe in the hall to your right (his left) and the adventure will continue beyond this tour.


hoardr class
| path | (character) a path to cache files in. required |
|---|---|
| type | (character) type of cache. One of "user_cache_dir" (default),
"user_log_dir", "user_data_dir", "user_config_dir", "site_data_dir",
"site_config_dir". Can also pass in any function that gives a path to a
directory, e.g., |
For the purposes of caching, you'll likely want to stick with
user_cache_dir
, but you can change the type of cache with the type
parameter.
hoard
is just a tiny wrapper around HoardClient$new()
, which isn't
itself exported, but you can use it if you want via :::
Methods
cache_path_get()
Get the cache path return: (character) path to the cache directory
cache_path_set(path = NULL, type = "user_cache_dir", prefix = "R", full_path = NULL)
Set the cache path. By default, we set cache path to
file.path(user_cache_dir, prefix, path)
. Note that this does not
actually make the directory, but just sets the path to it.
path (character) the path to be appended to the cache path set
by type
type (character) the type of cache, see rappdirs
prefix (character) prefix to the path
value. Default: "R"
full_path (character) instead of using path
, type
, and prefix
just set the full path with this parameter
list()
List files in the directory (full file paths) return: (character) vector of file paths for files in the cache
mkdir()
Make the directory if doesn't exist already
return: TRUE
, invisibly
delete(files, force = TRUE)
Delete files by name
files (character) vector/list of file paths
force (logical) force deletion? Default: TRUE
delete_all(force = TRUE)
Delete all files
force (logical) force deletion? Default: FALSE
details(files = NULL)
Get file details
files (character) vector/list of file paths
cache_info
, each with brief summary
info including file path and file sizekeys(algo = "md5")
Get a hash for all files. Note that these keys may not be unique if the files are identical, leading to identical hashes return: (character) hashes for the files
key(x, algo = "md5")
Get a hash for a single file. Note that these keys may not be unique if the files are identical, leading to identical hashes
x (character) path to a file
algo (character) the algorithm to be used, passed on to
digest::digest()
, choices: md5 (default), sha1, crc32, sha256,
sha512, xxhash32, xxhash64 and murmur32.
files()
Get all files as HoardFile objects return: (character) paths to the files
compress()
Compress files into a zip file - leaving only the zip file return: (character) path to the cache directory
uncompress()
Uncompress all files and remove zip file return: (character) path to the cache directory
exists(files)
Check if files exist
files: (character) one or more files, paths are optional
files: (character) file path
exists: (boolean) does it exist or not
(x <- hoard())#> <hoard> #> path: #> cache path:x$cache_path_set(path = "foobar", type = 'tempdir')#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/R/foobar"x#> <hoard> #> path: foobar #> cache path: /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/R/foobarx$path#> [1] "foobar"x$cache_path_get()#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/R/foobar"# Or you can set the full path directly with `full_path` mydir <- file.path(tempdir(), "foobar") x$cache_path_set(full_path = mydir)#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar"x#> <hoard> #> path: foobar #> cache path: /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobarx$path#> [1] "foobar"x$cache_path_get()#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar"#> character(0)#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo.txt"# add more files cat(letters, file = file.path(x$cache_path_get(), "foo2.txt")) cat(LETTERS, file = file.path(x$cache_path_get(), "foo3.txt")) # see if files exist x$exists("foo.txt") # exists#> files #> 1 /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo.txt #> exists #> 1 TRUE#> files #> 1 /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo.txt #> 2 /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo3.txt #> exists #> 1 TRUE #> 2 TRUE#> files #> 1 /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo.txt #> 2 /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo3.txt #> 3 /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/stuff.txt #> exists #> 1 TRUE #> 2 TRUE #> 3 FALSE# cache details x$details()#> <cached files> #> directory: /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar #> #> file: /foo.txt #> size: 0.049 mb #> #> file: /foo2.txt #> size: 0 mb #> #> file: /foo3.txt #> size: 0 mb #>#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo2.txt" #> [2] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar/foo3.txt"x$details()#> <cached files> #> directory: /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/foobar #> #> file: /foo2.txt #> size: 0 mb #> #> file: /foo3.txt #> size: 0 mb #># delete all files cat("one\ntwo\nthree", file = file.path(x$cache_path_get(), "foo.txt")) cat("asdfasdf asd fasdf", file = file.path(x$cache_path_get(), "bar.txt")) x$delete_all() x$list()#> character(0)#> [1] "fe28308b4b9c4b40998cf4d5927a15ed"#> [1] "fe28308b4b9c4b40998cf4d5927a15ed"#> [[1]] #> [1] TRUE #># compress and uncompress x$compress()#>x$uncompress()#># reset cache path x$cache_path_set(path = "stuffthings", type = "tempdir")#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/R/stuffthings"x#> <hoard> #> path: stuffthings #> cache path: /var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/R/stuffthingsx$cache_path_get()#> [1] "/var/folders/fc/n7g_vrvn0sx_st0p8lxb3ts40000gn/T//RtmpdPItE4/R/stuffthings"x$list()#> character(0)


public class FacetsPayloadProcessorProvider extends PayloadProcessorProvider
PayloadProcessorProvider
for updating facets ordinal references,
based on an ordinal map. You should use this code in conjunction with merging
taxonomies - after you merge taxonomies, you receive an
DirectoryTaxonomyWriter.OrdinalMap
which maps the 'old' payloads to the 'new' ones. You can use that map to
re-map the payloads which contain the facets information (ordinals) either
before or while merging the indexes.
For re-mapping the ordinals before you merge the indexes, do the following:
// merge the old taxonomy with the new one. OrdinalMap map = LuceneTaxonomyWriter.addTaxonomies(); int[] ordmap = map.getMap(); // re-map the ordinals on the old directory. Directory oldDir; FacetsPayloadProcessorProvider fppp = new FacetsPayloadProcessorProvider( oldDir, ordmap); IndexWriterConfig conf = new IndexWriterConfig(VER, ANALYZER); conf.setMergePolicy(new ForceOptimizeMergePolicy()); IndexWriter writer = new IndexWriter(oldDir, conf); writer.setPayloadProcessorProvider(fppp); writer.forceMerge(1); writer.close(); // merge that directory with the new index. IndexWriter newWriter; // opened on the 'new' Directory newWriter.addIndexes(oldDir); newWriter.commit();For re-mapping the ordinals during index merge, do the following:
// merge the old taxonomy with the new one. OrdinalMap map = LuceneTaxonomyWriter.addTaxonomies(); int[] ordmap = map.getMap(); // Add the index and re-map ordinals on the go IndexReader r = IndexReader.open(oldDir); IndexWriterConfig conf = new IndexWriterConfig(VER, ANALYZER); IndexWriter writer = new IndexWriter(newDir, conf); writer.setPayloadProcessorProvider(fppp); writer.addIndexes(r); writer.commit();
NOTE: while the second example looks simpler, IndexWriter may trigger a long merge due to addIndexes. The first example avoids this perhaps unneeded merge, as well as can be done separately (e.g. on another node) before the index is merged.
| Modifier and Type | Class and Description |
|---|---|
static class
|
FacetsPayloadProcessorProvider.FacetsDirPayloadProcessor
|
static class
|
FacetsPayloadProcessorProvider.FacetsPayloadProcessor
A PayloadProcessor for updating facets ordinal references, based on an ordinal map
|
PayloadProcessorProvider.DirPayloadProcessor
,
PayloadProcessorProvider.PayloadProcessor
,
PayloadProcessorProvider.ReaderPayloadProcessor
| Constructor and Description |
|---|
FacetsPayloadProcessorProvider
(
Directory
dir,
int[] ordinalMap,
FacetIndexingParams
indexingParams)
Construct FacetsPayloadProcessorProvider with FacetIndexingParams
|
| Modifier and Type | Method and Description |
|---|---|
PayloadProcessorProvider.ReaderPayloadProcessor
|
getReaderProcessor
(
IndexReader
reader)
Returns a
PayloadProcessorProvider.ReaderPayloadProcessor
for the given
Directory
,
through which
PayloadProcessorProvider.ReaderPayloadProcessor
s can be obtained for each
Term
, or
null
if none should be used.
|
getDirProcessor
public FacetsPayloadProcessorProvider( Directory dir, int[] ordinalMap, FacetIndexingParams indexingParams)
dir
- the
Directory
containing the segments to update
ordinalMap
- an array mapping previous facets ordinals to new ones
indexingParams
- the facets indexing parameters
public PayloadProcessorProvider.ReaderPayloadProcessor getReaderProcessor( IndexReader reader) throws IOException
PayloadProcessorProvider
PayloadProcessorProvider.ReaderPayloadProcessor
for the given
Directory
,
through which
PayloadProcessorProvider.ReaderPayloadProcessor
s can be obtained for each
Term
, or
null
if none should be used.
You should override this method, not
PayloadProcessorProvider.getDirProcessor(org.apache.lucene.store.Directory)
.
getReaderProcessor
in class
PayloadProcessorProvider
IOException


|
Sections
|
|
Research
I'm interested in computer vision, machine learning (deep learning in particular) and image processing. I have been working on 3D reconstruction of non rigid objects, gaze following, sketch based image retrieval and depth estimation using unsupervised methods.
Some papers I am currently working with:
|
|
|
Unsupervised Learning of Depth and Ego-Motion from Video
Tinghui Zhou, Matthew Brown, Noah Snavely, David Lowe
CVPR, 2017
project page
Unsupervised learning framework for monocular depth and camera motion estimation from unstructured video sequences
|
|
|
3D-R2N2: A Unified Approach for Single and Multi-view 3D Object Reconstruction
Christopher B. Choy, Danfei Xu, JunYoung Gwak, Kevin Chen, Silvio Savarese
ECCV, 2016
project page
Generate voxelised reconstruction of object given one or multiple views
|
|
|
Learning a Probabilistic Latent Space of Object Shapes via 3D Generative-Adversarial Modeling
Jiajun Wu, Chengkai Zhang, Tianfan Xue, William T. Freeman, Joshua B. Tenenbaum
NIPS, 2016
project page
Generates 3D objects from a probabilistic space by leveraging recent advances in volumetric convolutional networks and generative adversarial nets.
|
|
|
Where are they looking?
Adrià Recasens, Aditya Khosla, Carl Vondrick, Antonio Torralba
NIPS, 2015
project page
Given an image and the location of a head, the gaze of the person is followed and the object being looked at is identified.
|
|
Sketch based image retrieval
Anubhab Sen, Rohit Gajawada, Aditya Bharti, 2017
Given a sketch, search a database from images which are similar to the sketch and display them.
|
|
Ultimate tic tac toe bot (4x4x4x4)
Anubhab Sen, Rohit Gajawada, 2017
An AI bot to play a variation of ultimate tic tac toe (4x4x4x4) using minimax and alphabeta pruning along with iterative deepening and a heuristic to handle time limits.
|
|
WebGL Aquarium
Anubhab Sen, Megh Parikh, Sourabh Rajguru, Arun Garimella, 2016
An aquarium made using completely using WebGL and free resources like models and textures.
|
|
C-Shell
Anubhab Sen, 2017
A bash clone implemented in C. Some bash commands are implemented and the rest are invoked using execvp. A few additional commands such as pinfo, jobs, kjob and kill have been implemented to enhance productivity.
|
|
Introduction to Software Systems (Spring 2019) - Teaching Assistant
Course with over 200 undergraduates registered.
|
|
Machine Learning (Monsoon 2018) - Teaching Assistant
Course with over 250 students including Bachelors, Masters, PhD and professionals registered.
|
|
Computer Graphics (Spring 2018) - Teaching Assistant
Course with over 150 undergraduates registered.
|
|
Operating Systems (Monsoon 2017) - Teaching Assistant
Course with over 150 undergraduates registered.
|
|


{border-style COVID- coronavirus px;} #ffffff;} January novel clinical Health etÂ respiratory online patients pneumonia px; {font-family [published ahead font-size infected Chinese February SARS SARS-CoV cases collab: double; information outbreak print public reported risk virus > China, East Elsevier Engl World Wuhan, antiviral border-color border-width features health infection potential research severe solid; syndrome {font-style {font-weight Clinical Control Disease Institutes Med. bold centre combination courier; em; emerging lower pt;} resource transmission


The research, carried out by Plymouth Live, has found the number of children suspended from school because of sexual misconduct is on the rise in Devon, Plymouth and Torbay.
The investigation found there were 44 temporary suspensions for this reason in the academic year 2017/18. That was up from 32 the year before and is the highest number recorded since 2014/15.
Devon and Plymouth saw 17 suspensions each, while there were 10 in Torbay.

Campaigners warned though that children's claims were "trivialised or dismissed as lies" too often.
The figures show two of the 44 suspensions in 2017/18 were among primary pupils - both from Devon.
The number of suspensions does not necessarily reflect the number of students, because a pupil could be suspended more than once in a year.
In 2017/18, there were two secondary pupils - one in Devon and one in Plymouth - permanently excluded because of sexual misconduct.
The data does not reveal whether the sexual misconduct was committed against other students or staff members.
Iryna Pona, policy and research manager at The Children’s Society, said: "We know through our frontline work and our local well-being consultations with young people that inappropriate and harmful sexual behaviour among peers – both in school, outside school or online - is hugely traumatic for those affected.
"Much more needs to be done to ensure school staff are alert to signs of inappropriate sexual behaviour and that schools provide a supportive environment for pupils to learn about healthy relationships and seek help if they are concerned about sexual bullying or abuse in school.
"Too often we hear of children's claims being trivialised or dismissed as lies, and better training is needed to address shortcomings in the ability of school staff to recognise and respond to inappropriate sexual behaviour.
"It's also vital that schools work with agencies like police and councils to assess the needs of and offer help to young people who display inappropriate or harmful sexual behaviour - which may be a sign that a child is or has been a victim of abuse or exploitation themselves, or has other underlying needs.
"Both children who are subject to this behaviour and those children who are behind it should have access to a counsellor or therapy to help them recover or to address issues in their lives.
"It is positive that healthy relationships will form part of mandatory Relationships and Sex Education (RSE) in secondary schools, but it's vital staff receive the right training to ensure this curriculum is delivered appropriately across the country."
Across England, there were 2,069 temporary suspensions because of sexual misconduct in 2017/18 - 200 of which were among primary-school aged pupils.
There were also 100 students permanently excluded from schools that year, of which 12 were primary-school aged.


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Emotional intelligence is understanding your emotions. Using this knowledge allows individuals to manage and use emotions well. Emotional intelligence allows for reduced stress, awareness of others, effective communication, conflict resolution, ability to adapt and grow. Realisation that you are not your thoughts, you have an ego that wants to steer the ship is the first step to creating emotional intelligence. This can be practiced through an awareness of self and sensations in the body, tense muscles, headaches, sweating, etc. Also noticing thoughts that are coming up regularly, or in certain situations or with people.  From there you can assess what is correct and true and the next best action. The key is self-compassion for ourselves and others. I often say hi to these sensations in my body. I thank them for turning up and for trying to show me something, they are there for a reason. For example, when fear turns up, I say "I see you fear, thank you for being there, thank you for wanting to keep me safe, I understand why you are here, I can feel tension and unease in my body." In turn, I tell my body and fear that I am safe and ok, given it's not life-threatening, I scan my body through meditation which helps relax my muscles:) Emotional intelligence is having a window into yourself, others, and the world around you. It can be practiced in many ways, journaling, meditation, mindfulness or attention training, prayer, conscious listening.
“Eventually you will see that the real cause of problem is not life itself. It's the commotion the mind makes about life that really causes the problems.” ― Michael A. Singer, The Untethered Soul: The Journey Beyond Yourself
“True personal growth is about transcending the part of you that is not okay and needs protection.” ― Michael A. Singer, The Untethered Soul: The Journey Beyond Yourself
“There is nothing more important to true growth than realizing that you are not the voice of the mind - you are the one who hears it” ― Michael A. Singer, The Untethered Soul: The Journey Beyond Yourself
To realize that you are not your thoughts is when you begin to awaken spiritually. - Eckhart Tolle


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Copyright © 2020 | Created by Sajid and Segun


Hi. I'm Tiffany Deakin and I'm learning to be a web developer. If you're reading this now, you'll see that I'm most certainly still learning. However, if you check back in a few months, you'll see a lot of growth and progress... and much better code than you see now.
I was born and raised in central Illinois on a small diversified crop and livestock farm. Following high school, I attended the University of Illinois at Urbana-Champaign. After graduation from U of I, I took an involved role in my family's small business, The Banner Sheep Magazine, which is as it sounds, a magazine about sheep. We also manage a livestock auction company, and pre-COVID, designed websites for farmers. In taking this web development course, my aim is to apply knowledge and skills I learn to real life applications in my business.
Phone: 1-555-555-5555


CrimPapers
Articles published on 3 May 2019
On 3 May 2019, 11 new articles were published in 9 journals.
Exploring the Relationship Between Lasting, Quality Social Bonds and Intermittency in Offending
Transforming Rehabilitation: Probation Practice, Architecture and the Art of Distributions by Matt Tidmarsh
A Content-Adaptive Median Filtering Detection Using Markov Transition Probability Matrix of Pixel Intensity Residuals by Saurabh Agarwal, Satish Chand
A Multimodal Hand Recognition System Based on Finger Inner-Knuckle Print and Finger Geometry by Farah Bahmed, Madani Ould Mammar, Abdelaziz Ouamri
Triple Jeopardy: Women’s Employment Struggles Postincarceration by Susan Sered, Maureen Norton-Hawk
Socioeconomic Barriers to Child Contact With Incarcerated Parents by Batya Y. Rubenstein, Elisa L. Toman, Joshua C. Cochran
Predictive Policing: Not Yet, But Soon Preemptive? by Simon Egbert, Susanne Krasmann
Any Ordinary Day: Blindsides, Resilience and What Happens After the Worst Day of Your Life, By Leigh Sales Melbourne, Hamish Hamilton, 2018; Pb, 264 Pp, $a34.99, Isbn<PHONE_NUMBER>963 by Ian Freckelton
Sa Editorial About Next Phase of More Open Science by Michael Seto
Simply Small Men? Examining Differences Between Females and Males Radicalized in the United States by Rachel Yon, Daniel Milton
Understanding Police Misconduct Correlates: Does Gender Matter in Predicting Career-Ending Misconduct? by Janne E. Gaub


An Image Package is a directory contained in a Windows Image. It holds the file structure of one edition of Windows.
Slips7ream was designed to handle multiple Image Packages simultaneously, allowing for quick management of all editions of the Windows 7 installer.


Pat's Salmon Cookies
Home
About
Merchandise
Locations
Events
Owner
LOCATIONS
We currently have many five locations and counting
Alki
Capitol Hill
Seattle central
Seatac airport
First Pike


## ITEC 4220 - Advanced Data Analytics ### Module 5 - SQL/noSQL data sources #### Anca Doloc-Mihu, Fall 2022
### Good old relational databases:
Structured Query Language - SQL has been around for a while - Good for relational data - **Strengths:** Efficient with large data, join operations, expressive query language - **Weaknesses:** Requires data transformation into rigid table structures, not easily distributed Example retrieval query with conditions, grouping, and sorting: ```sql SELECT * FROM MyData WHERE date < 2019 GROUP BY course ORDER BY name DESC; ``` [Basic interactive SQL tutorials](https://sqlzoo.net/)
### An alternative: noSQL data via JSON - JSON: JavaScript Object Notation for describing name-value pairs ```javascript { "name": "Gunay", "room": "W-2117" } ``` - **Strengths**: Simple text format to describe structures, good for streaming - **Weaknesses**: No schema checking, no datatypes, no relationships - More complex example with arrays and nesting: ```javascript [ { "name": "Gunay", "pets": [ { "name": "fluffy", "age": "2"}, { "name": "mike", "type": "dog"} ] }, { "name": "..." } ] ```
### noSQL databases - Many to choose from: MongoDB, AWS DocumentDB, Cassandra, CouchDB, [more](http://nosql-database.org/) - Online services: mLab, AtlasDB, Firebase - JSON not exclusive to Javascript; pervasive in many languages
### JSON is the de-facto language for API calls - Used a lot for big data, streaming, API lookups - Here is a list of public APIs: [Todmotto](https://github.com/toddmotto/public-apis), [Postman collections](https://explore.postman.com/) Example CoinLore cryptocurrency exchange: ```bash curl -sL https://api.coinlore.com/api/tickers/?start=1&limit=10 ``` Result: ```json {"data":[{"id":"488","symbol":"POLY","name":"Polymath", "nameid":"polymath-network","rank":101,"price_usd":"0.088209", "percent_change_24h":"-2.43","percent_change_1h":... ```
### JSON Practice - Watch [introduction to JSON data video](https://courses.edx.org/courses/course-v1:StanfordOnline+SOE.YDB-SSD0001+2T2020/courseware/ch-json_data/seq-vid-json_introduction/?activate_block_id=block-v1%3AStanfordOnline%2BSOE.YDB-SSD0001%2B2T2020%2Btype%40sequential%2Bblock%40seq-vid-json_introduction) - Watch [JSON demo](https://courses.edx.org/courses/course-v1:StanfordOnline+SOE.YDB-SSD0001+2T2020/courseware/ch-json_data/seq-vid-json_demo/?activate_block_id=block-v1%3AStanfordOnline%2BSOE.YDB-SSD0001%2B2T2020%2Btype%40sequential%2Bblock%40seq-vid-json_demo) - Try to get more than 70% in this [JSON Quiz](https://courses.edx.org/courses/course-v1:StanfordOnline+SOE.YDB-SSD0001+2T2020/courseware/ch-json_data/seq-quiz-json/?activate_block_id=block-v1%3AStanfordOnline%2BSOE.YDB-SSD0001%2B2T2020%2Btype%40sequential%2Bblock%40seq-quiz-json) - Next: JSON made data _visualization_ with Javascript convenient
< Home


--- layout: post title: Not again, Startup Weekend. date: type: post published: false status: draft categories: [] tags: [] meta: google_plus_activity_id: z13ph1rynrnfz3p0c234i3fogkmne1adz author: login: admin email<EMAIL_ADDRESS>display_name: admin first_name: Carina C. last_name: Zon ---
Not again, Startup Weekend.
July: https://www.facebook.com/photo.php?fbid=10151019724534099
April: http://butyoureagirl.com/13451/everyone-has-a-voice-when-it-comes-to-tech-and-sexism/
March: https://plus.google.com/112325687234488662195/posts/hwdXxgG8zuG
Impact counts, not just lack of intent to be offensive.
Carina Zona - Google+ - The good: Mega Startup Weekend coming to Mountain View on…
The good: Mega Startup Weekend coming to Mountain View on April 21st! Mobile, gaming, robotics, woot! Make the products happen, y'all. The bad:…


From:Kam Keiser To:Nelson Ferries; Scott Neal Sent:2017-01-11T04:42:44.0000000Z Subject:TDC
Nelson,
I have booked the TDC deal for the remainder of the term. It is now in the
Gulf3 book at Tenn/Zone1. If locations need to change, and I'm sure they
will, please let me know and I will make sure it is hedged correctly.
sitara #778201
also, if you could use the same sitara number every month for the central
gas it would help make our reconciliation process much smoother.
Thanks,
Kam
***********
EDRM Enron Email Data Set has been produced in EML, PST and NSF format by ZL Technologies, Inc. This Data Set is licensed under a Creative Commons Attribution 3.0 United States License <http://creativecommons.org/licenses/by/3.0/us/> . To provide attribution, please cite to "ZL Technologies, Inc. (http://www.zlti.com)."
***********
California


TOPSY-TURVY A film review by David N. Butterworth Copyright 2000 David N. Butterworth
**1/2 (out of ****)
About two-thirds of the way into "Topsy-Turvy," the ambitious but ultimately disappointing new film from Mike Leigh ("Secrets & Lies"), there's a scene which hints at what might have been. William Gilbert, the librettist who formed a highly successful collaboration with composer Arthur Sullivan, is rehearsing three of his cast members in a scene from the latest comic opera by Gilbert and Sullivan.
That's right: these are *the* Gilbert and Sullivan of Victorian England, and Leigh's film is a bold departure from his grittily-realistic social dramas that featured working class stiffs, not the toast of London's West End. What's notable about the scene in question, however, is that Leigh is once again at the top of his game as a writer and director, infusing the sequence with humor, awkwardness, repetition, silly accents, sarcasm, disrespect, and much more besides. Had the entire film been this delightful, then moviegoers would be in for a treat with "Topsy-Turvy."
Unfortunately, everything prior to this point, some two hours of admittedly grand-looking screen time, has been dull as plainsong, tra la la on one note. There's a lot of talk, none of it particularly interesting, and several colorful musical numbers shot unimaginatively from the Savoy Theatre stalls. But there's no real inspiration here, let alone drama. Leigh himself appears to realize this, and crams enough sordid details of his characters' private lives into the film's final 40 (of a cramp-inducing 160) minutes to pad out an entire season of "Melrose Place": Gilbert's long-suffering wife Kitty longing for a child she can't have; Sullivan and his mistress discussing her next abortion; the operetta's leading lady hitting the sherry after performances, and another prominent member of the company shooting up before.
Bang bang bang bang--all four of these come at us right out of the blue, eliciting what one Gilbert and Sullivan critic refers to as "topsy-turvydom."
Advance notices might lead you to believe that "Topsy-Turvy" is a period piece about the making of "The Mikado" but it's not until, again, well into the film that Lucy "Kitty" Gilbert (played by longtime Leigh regular Leslie Manville) drags her husband along to a Japanese exhibition where the inspiration for Gilbert and Sullivan's most popular work is sparked.
Leigh has spared no expense on the look and feel of the production but what's missing is his trademark ability to get inside his characters. Jim Broadbent and Allan Corduner play the musical pair with authority, but we get little insight into what made their association so successful given that most of the film is spent with them stalemated at a creative impasse.
Leigh's last three films--"Career Girls," "Secrets & Lies," and "Naked"--were all "best film of the year" selections for me. "Topsy-Turvy" represents a change of direction for the director and in so doing takes us away from what Mike Leigh does best: kitchen sink-styled slices of life highlighted by true depth of character. This is a "Mikado" that is sadly missing its Yum-Yum.
-- David N. Butterworth<EMAIL_ADDRESS>Got beef? Visit "La Movie Boeuf" online at http://members.dca.net/dnb
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Alex Carter
San Francisco, CA
About Alex
Key Responsibilities
Skills
Karina Kalpaxis
Queens, NY
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Marcus Jones
Lawton, OK
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Joshua Doan
Hamilton, MO
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Seattle, WA
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SDE INTERN- Oracle IndiaMay - June 2020
- Interned with the Identity Management group
- Explored Helm charts and Kubernetes for Oracle Unified Directory
- Added extra functionalities to Helm charts for supporting user-defined
operations for Oracle Unified Directory server
ML INTERN - Sutherland Global ServicesMay - July 2019
- Interned with the Platforms Solution Group and developed an image processing module that auto-aligned skewed
documents in photographs
- Developed a custom trained UNet – based segmentation module in Tensorflow and OpenCV
- Achieved an accuracy bump of 40% over the previous implementation
Link: github.com/VishalS99/AutoAlignNN
WEB DEVELOPER - Spider R&D, NIT TrichySeptember'18 - May'21
- College's premier research and development club, focused on developing user friendly applications and ML projects.
- Developed multiple websites for the college (Scient Website, Document Request portal NITT, Synergy NITT)
- Held the position of Joint Treasurer during 2020-21
Link: spider.nitt.edu/


Overview
Memory
Operating System
A system must meet the following minimum requirements in order to run a Titanium environment.


--- layout: documentation title: DNSQuestionType ---
The DNSQuestionType specifies the components of a DNS Question, including the domain name queried, type, and class.
| Field Name | Type | Description |
|---|---|---|
| QName0..1 | URIObjectType |
The QName field specifies the domain name being queried. |
| QType0..1 | DNSRecordType |
The QType specifies the type of DNS query performed, in terms of the requested DNS record type. |
| QClass0..1 | StringObjectPropertyType |
The QClass field specifies the class of resource records being requested. |


Responsive Web Design
Design Process
Eduardo Kranz
@eduardokranz /<EMAIL_ADDRESS>My Background
- UI/UX Designer and Front End Developer
- +6 years of experience
- I love to answer questions
Overview for the day
- Define Responsive Web Design and a brief history of Web Design
- Challenges in Responsive Web Design
- Benefits
- Lunch Break
- Exercise
- Tools
- My suggested design process
Takeaways
- What Responsive Web Design brought to the table and why it matters
- Tools and concepts that will help you plan and execute your next responsive project
- Get developers to understand what you want and deliver what you need.
What is Responsive Web Design
It is an approach that aims to create websites that present its content adequately in a variety of devices, ranging from mobile devices to desktop computers.
But how did we get to Responsive Web Design?
Back in the day we used fluid layouts
- Comes from table layouts
- Really old fashion solution for a layout
- Layout can break quite easily and limited control over the content
- Flexible structure
- Department of Finance
Fixed Layouts
- Web 2.0 made it really popular
- Lots of control over the content
- Fixed structure
- NSW Government
Adaptive Design
- Iphones and Ipads started to become really popular
- The website has defined screen sizes that it should adapt to
- Flexible structure
- Changes parts of the design to adapt to the device visiting the website
- Cats Who Code Blog
Responsive Design
- We can't define what devices will be visiting our websites
- Mobiles, Tablets, Laptops, Desktops, Fridges, Cars, TV, Game Consoles
- Flexible Structure
- The website organically responds to a certains screen size or a change in size.
- Trent Walton
- Food Sense
Challenges in Responsive Web Design
1. Handling Images
- Small screens, big screens, Retina and HiDPI screens.
- Delivering big images to mobiles over 4G/3G
- Scaling images in the screen
1. Handling Images
2. Device Limitations
- Battery Life
- Connectivity and Download Speeds
- No Hover, no pointer, etc.
3. Preparing Content
- Designing content that can be viewed in different devices & screens
- Gather the content at an early stage of the project
4. Other Challenges
- It is much harder to design and develop for a Response website
- Create a "visual content delivery system"
It is hard but it has it's benefits
What is good about Responsive Web Design
- Single code base. Update in one place, reach all devices
- It is ready for future devices (to an extend)
- More accessible
- WOW factor of being able to resize your browser
- Medium
Exercise
- Plan a website that should be available on Mobile devices, Tablets, Laptops and Desktops.
- You have all the content for it
- It could be a blog, portfolio, brochure website or other topic of your interest
- You have got 20 min to list the steps that you would take to design it
- You can also sketch what it would look like on the templates that you have on your table.
What did you come up with?
If your steps look like something like this:
- Sketch ideas
- Create design concepts
- Create final mockup
- Update final mockup after revision 20 times
- Give mockups to the developement team
- Pray they will deliver what you had in mind
- Listen to the client saying that it isn't what he expected
- Cry!
You are doing it the painful way.
These are some tools that you can use for your advantage
- Sketching
- Wireframes
- Style Tiles
- Prototypes and Mockups
- Pattern Libraries
Wireframes
- More structured, possibility of using real content (text)
- Low to Mid fidelity
- Lowish cost
- You can create them in 2 ways:
- Code: Simplified version of the final website, with no styles and mainly using black, white and boxes
- Image: Created using Balsamiq, OmniGraffle or other image editor
- Wireframe Example
Style Tiles
- Style Tiles are a design deliverable consisting of fonts, colors and interface elements that communicate the essence of a visual brand for the web.
- Mid to High fidelity
- Mid cost
- You have a template
- Main goal is to showcase the look and feel that you have in mind, not the final design
- Great to do iterations as changes are focus on style not on a final design mockup.
- Style Tiles
Prototypes and Mockups
- High cost
- High fidelity
- High cost to make changes to mockups
- Lower cost to make changes to a prototype
- Mockups are static and precise
- Prototypes are dynamic and can also be precise.
- You can reuse the code from your prototype or use it as a stepping stone to try things before building the final website.
- Reference Viewer
Pattern Library
- It is a library of visual assets that will be used in the building process of the website. Preferably in HTML/CSS/JS, so developers can just copy and paste into their template.
- High fidelity
- Mid cost
- Creates consistency in the implementation and the library becomes a reference for anyone involved in the project
- Good codeing knowledge is needed
- It is like creating a small Twitter bootstrap for elements of your website
- Pure CSS
My Process
I do not have a defined process yet, as everyone one else in the industry I'm still experiementing with different tools.
- Content Planning
- Sketch my ideas
- Wireframe (previously on Photoshop, but now I'm aiming to start coding it)
- Style Tiles
- Prototype or Pattern Library
Why I chose those steps?
- Sketches: Quick to get ideas out of my head and onto paper
- Coded Wireframes: Allow stakeholders to visualize the content in different devices
- Style Tiles: Gives you a look and feel for the project, but allows the final design to come out at the end of the process
- Prototype: Great to communicate behaviour and style
- Pattern Library: Reusable code, defines the design for the project. This asset is more useful than a mockup as it can be easily updated and used to push changes to a series of website pages at once.
Thanks
Eduardo Kranz
@eduardokranz /<EMAIL_ADDRESS>Tomorrow we will look at the development side of RWD


Interface IDataStore
Direct known implementers
Datadepo\Api\DataStores\PdoDataStore
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Some recent reports, though, might make you think Mom’s take on breakfast is about as credible as other old wives’ tales.
Q. If I want to lose weight, why not skip breakfast? After all, two meals have fewer calories than three.
A. The desire to lose weight is one of the most frequently cited reasons for skipping breakfast. But many observational studies have found that people who skip breakfast are more likely to be overweight. The theory is that they more than make up for the missed calories in the morning by eating more at lunch or snacking all day.
“Overall, there’s still a similar intake or a lesser intake (of calories) over the whole day,”
Krista Casazza, PhD, RD.
Another small randomized trial published by Cornell University researchers in Physiology & Behavior in 2013 found that college students ate about 145 calories more at lunch when they ate nothing in the morning than they did on a day when they ate breakfast. Considering that their breakfasts averaged about 625 calories, skipping it still resulted in a savings of about 450 calories by day’s end, according to the study.
Comments
Creative Tim
Sep 11, 11:53 AM
Hello guys, nice to have you on the platform! There will be a lot of great stuff coming soon. We will keep you posted for the latest news.
Don't forget, You're Awesome!
Drake
Sep 11, 11:54 AM
Hello guys, nice to have you on the platform! There will be a lot of great stuff coming soon. We will keep you posted for the latest news.
Don't forget, You're Awesome!
Rick Ross
Sep 11, 11:56 AM
Hello guys, nice to have you on the platform! There will be a lot of great stuff coming soon. We will keep you posted for the latest news.
Don't forget, You're Awesome!


This section describes on the one hand the software behind our turbidostat (related to the proof of concept) and on the other the computer program that will control the administration of levothyroxine (related to Hormonic T3 biosensor).
Software
The turbidostat is controlled by the use of the open-source programming tool Node-Red, a browser based editor that uses a wide range of interconnected nodes to pursue several functions. The Firmata Library, which can be found within the Examples section of the Arduino software, enables the communication between the Arduino Board and the Node-Red software of the host computer.
Regarding the temperature regulation, a Proportional-Integral-Derivative (PID) controller is implemented, a regulation tool used in over 90% of control loops due to its great static performance and elimination of the steady state error [2]. Since rises in temperature can lead to proteic denaturalization and drops to decelerated catalysis [1], this non-vibrating static behavior provided by the PID controller becomes essential. However, its dynamical performance is known to be deficient for setpoint changes [2]. Even so, cell growth is most efficient at 37ºC; a temperature in which enzymatic activity and protein synthesis proceed optimally [1]. Therefore, no changes are required, making the PID regulation system optimal for this temperature tracking task.
This PID controller governs a heating and cooling process that aims to maintain the system at a steady temperature. In order to do so, it continuously computes an error value e(t) as the difference between the desired temperature r(t) and the measured one y(t) and applies a correction action u(t), which in this case is turning the heating resistors on or off.
The correction action is taken based on proportional (P), integral (I) and derivative (D) terms, which present different benefits regarding the correct track of the established setpoint. These can be empirically tuned in order to optimize the correction action and, therefore, the overall response of the system.
So as to implement the PID controller, a relation is established between the recorded analog value at the surface of the aluminum tube and the actual value of the medium in which the organisms are growing. Then, the inverse relation is applied to the defined setpoint, in order to compare it to the value given by the thermistor, and compute the corresponding correction action. This transfer function between the analog value and temperature is acquired by the realization of a temperature calibration process (for further details go to temperature calibration section in Experiments page.).
The density of cells in liquid culture can be regulated by the use of the bang-bang control method, which switches continuously between two states, either On or Off. In comparison with the PID controller, it has a greater dynamic performance, especially when it comes to setpoint changes or the presence of large disturbances, but has an oscillating behavior in steady state [2]. Therefore, although setpoint tracking will not be as accurate as for the PID system, different cell concentrations can be obtained, and all of that without the need of parameter tuning.
For this method, when the measured OD value y(t) exceeds a certain threshold r(t), the control action u(t) is taken: the controller is in its On state. However, if y(t) is under the threshold, no control action is taken: the controller is in its Off state.
The corresponding control action is characterized by a dilution process that aims to lower the cell density via small LB injections. However, in order to preserve the total volume and not exceed the vial’s capacity, a complementary control volume is exerted. Therefore, if the defined OD is exceeded, the LB injecting pump is actioned, followed by the waste extracting pump. The amount of time during which the pumps are activated is defined by a pump calibration process.
The desired OD value will be set as the threshold and, so that it is possible to compare it to the analog value given by the photodiode, the equivalence between both terms is found. The transfer function, which defines that relationship, is acquired by the realization of an OD calibration process.
The open-source programming tool Node-Red includes the dashboard library: a module that provides an iterative live data interface. It allows real time control of the turbidostat’s parameters and outcomes in a truly intuitive way for the user.
The interface is divided into three main columns:
It includes three main buttons:
Note that any of the components involved in the OD or temperature control can be turned on or off by the use of the various switches. Also note that all the OD and temperature values will be saved in excel documents.
How can we determine and regulate a correct dosification depending on the measured hormonal level? As stated at the Turbidostat’s Temperature Control section, the majority of control systems make use of PID controllers: regulation mechanisms that aim to maintain a system at a steady state by the use of feedback loops.
This control mechanism is intended to continuously compute an error as the difference between the desired hormonal level and the measured one, in order to later apply a correction action that compensates for that deviation: a levothyroxine injection that will be metabolized into T3 hormone.
This correction action will compensate for the error depending on proportional, integrative and derivative constants, which can be tuned so that the tracking of the hormonal level is optimal. In order to do so, the system’s response must be modeled in relation to the levothyroxine injection. However, the dynamics that play a role in the metabolization of levothyroxine into T3 are still unclear. In order to characterize this unknown process, a clinical trial should be carried out in which a patient's response to different levothyroxine injections is tracked by the use of our successfully engineered bionsensor. The obtained data could then be fitted into a mathematical model of subcutaneous injection of levothyroxine, like the one showed published at [3]:
Here x1 corresponds to the subcutaneous levothyroxine mass that is stored within the injection depot, x2 is the subcutaneous levothyroxine mass proximal to plasma, L is the plasma levothyroxine concentration and u(t) is the correction action, also known as the input function. The parameters kd and ke are the degradation rate in the depot and plasma respectively and Vd is the volume of plasma. Regarding the parameters related to the specific LT4 to T3 conversion, kb is the baseline production of the patient, kt is the transformation rate and kf is the degradation rate. It should be taken into account that the dynamics of the system may not fit into this model, and further investigation should be carried out as data is being collected.
Apart from the system’s characterization, several considerations must be taken into account when implementing this control: the reference value to which the measurements are compared is usually set at a fixed value. However, hormones tend to follow a circadian rhythm and, although it has not been yet characterized, experts have reasons to believe that thyroid hormones follow a temporal pattern of their own. Indeed, once again, this could be identified by the use of Hormonic, by monitoring the levels of T3 hormone of a healthy individual along time, so that the target value is not constant throughout the day but changes the same wait it does physiologically.
On top of that, it must be taken into account that the half life of levothyroxine is large and its metabolization into T3 slow, resulting in a long process that generates a delay. Consequently, it must be ensured that enough time is waited between measurements so that the registered values reflect the total effect of the previous injection, and not just partial. The uncontrolled continuous injection of diluted levothyroxine is quite risky: it could lead to hyperthyroidism!.Therefore, the biosensor should take discrete measurements and the rate of injection must never exceed the defined maximum rate of 100 mcg per minute [4].
[1] The Effects of Temperature and Atmospheric Perturbation During Cell Culture: The Silent Variables. (n.d.). Retrieved October 17, 2020, from https://www.essenbioscience.com/en/resources/articles/temperature-atmospheric-perturbation-cell-culture/
[2] Chen, S., Zhao, J., & Qian, J. (2007). A Design Method of Bang-Bang and PID Integrated Controller Based on Rough Set. Fourth International Conference on Fuzzy Systems and Knowledge Discovery (FSKD 2007). doi:10.1109/fskd.2007.17
[3] Li, J., & Johnson, J. D. (2009). MATHEMATICAL MODELS OF SUBCUTANEOUS INJECTION OF INSULIN ANALOGUES: A MINI-REVIEW. Discrete and continuous dynamical systems. Series B, 12(2), 401–414. https://doi.org/10.3934/dcdsb.2009.12.401
[4] PDR Search. (n.d.). Retrieved October 17, 2020, from https://www.pdr.net/drug-summary/Levoxyl-levothyroxine-sodium-2553


This dedicated mineral exporting port is on the NW coast of the Cape York Peninsula at the northern tip of Queensland.
It exports aluminium ore from the Comalco mine.
Position 12°37′S, 141°52′E.There is no clearance for yachts here.
There are no facilities for yachts.


Wenwei Weng's Blog
A small corner to record learning journey and share with others!
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Scrolling
So far out game has taken place inside of small rooms, we've discussed adding an overworld map where different screens are conneced trough hidden doors. This time let's make a proper overworld, one that scrolls!
Many RPG games like the early Final Fantasy or Fire Emblem games used overworld scrolling like this. Some early games like Super Mario also implemented scrolling.
There are two ways to approach scrolling. Move the world and shift the view. Lets take some time to talk about each method:
Move The World, like the name implies moves the entire world! In this method if you want to move the hero to the right you update the position of EVERYTHING, including the hero in the world to be moved the opposite direction of the hero (to the left), then move the hero to the right.
Because everything shifted left, but only the hero shifted right you get the illusion tha the hero is in the center and the world scrolls around him. As you can imagine this method will quickly fall appart with LARGE (Over 1000 tiles) game worlds becuase the cost of updating everything grows with each object added.
Shift the view: This method calulates how much offset the player would need to appear in the center of the screen. When it comes time to render anything (beit the player a tile or an enemy) that difference is subtracted from the visual position.
Note, only the visual position is changed, the world position and update logic remain in tact. This method is preferable because it doesn't break anything we've done so far, it's strictly visual.
Needless to say we are using the shift view method, which coincidentally is how a 3D camera works (Just with a z-dimension added)
Concept of a camera
This might be a bit confusing, but i'm going to try to explain the concept of a camera in a game. If it makes no sense, give me a call and we will talk about it. Don't worry, we're not making a camera class or anything, this is just to try to clear things up.
The way a camera works is kind of like in real life. We place a camera at a position in the world, then we see what the camera sees. The details of how this works are a bit more involved. In order to understand cameras we have to unserstand spaces.
World Space: World Space refers to all of the objects in their world position. For instance, when we put link at xPixel 90, yPixel 30, his world position is Point(90,30). Here is an image of all our game objects in world space:
Camera Space: Refered to as View Space if talking about 3D graphics, Camera Space if talking about 2D graphics. This is what your camera sees! Camera space is usually a subset of world space. Think of this as a shifted coordinate system. Think of it like this:
- Tile 0,1 is at position 0,1 in World Space
- The camera is located at positon 3, 2 in world space
- Relative to the camera, tile 0,1 is located at -3, -1
- Tile is located at -3,-1 in camera space
Why -3, -1? The camera has it's own reference point for where 0,0 is. This happens to be +3, +2 from world space. To go from world space to camera space, we must subtract the cameras world position -3, -2. From 0,1 if we take 3 away from the X and 2 away from the Y we are left with -3, -1.
That might sound complicated, but there is a simple formula to transform an object from world space to camera space:
Object Position In Camera Space = Object Position in World Space - Camera Position In World Space
This is what camera space for our game looks like (assuming a camera that is 8 tiles wide and 6 tiles tall):
The red square is camera space. Notice how the obstacle on the top left is at tile 5, 4 relative to the world, but at tile 0, 0 relative to the camera.... That's world space vs camera space! For us the camera is going to be centered around the character, it's position is tied to character position.
Screen Space, this is what actually appears on screen. Up until now we have seen the entire sceen! Really all Screen Space is just what you see on screen. For the most part we just want to see the bit of camera on screen. We want to chop off anything outside the camera view, and that's screen space. Here is a screenshot:
Implementation
Let's go ahead and actually implement scrolling. This should be pretty simple, much less complex than the theory that goes behind it.
The first thing to do is to make the map bigger. Go ahead and make room1 two, or maybe three times bigger. Running the game you will see that the screen resizes to fit your new room size. Go into the Initialization
function of game and make the window size be only 8 by 6 tiles:
window.ClientSize = new Size(8 * tileSize, 6 * tileSize);
Cool, now you should be able to walk off screen. The rest of this section is rendering related. In Game.cs find your render function. The first thing we need to do is determine a world to camera space transformation. We want the camera's to be centered around link. That means we want it's upper left to be 120 pixels (4 tileSize) to the left and 90 pixels (3 tileSize) to the top. This will center link.
This world to camera transformation is going to be stored as a PointF
. I'm going to call mine offsetPosition
. Simply make a new PointF
at the heros center and subtract half of the window width and height:
PointF offsetPosition = new PointF();
offsetPosition.X = hero.Position.X - (float)(4 * tileSize);
offsetPosition.Y = hero.Position.Y - (float)(3 * tileSize);
Now comes a bit of refactoring. Pass offsetPosition in to every render function that the Game's render function calls. Next track down each of these functions, and add a PointF offsetPosition
argument to them. Some functions call Render on other objects, Like the Map object calls Render on both EnemyCharacter and Tile. Add the argument to each of these as well. Every render function should take a PointF offsetPosition as an argument!
Inside each render function offset the X and Y positions of what is being rendered by the offsetPosition being passed in (subtract the camera offset from the x and y of what would be rendered). For example, this is what the Render function of Character
becomes.
public void Render(PointF offsetPosition) {
// This is where we would render in world space
Point renderPosition = new Point((int)Position.X, (int)Position.Y);
// Apply the camera offset, bring us to rendering in camera space
renderPosition.X -= (int)offsetPosition.X;
renderPosition.Y -= (int)offsetPosition.Y;
// Draw the character
TextureManager.Instance.Draw(Sprite, renderPosition, 1.0f, SpriteSources[currentSprite][currentFrame]);
}
Go ahead and implement this offsetting to every function. After adding this code to every render function run the game. Now the game should scroll around with link! This is scrolling in it's most basic form! If you have any questions, give me a call.
Optimization
There is one small optimization problem. Even tough we only see a small section of the map at a time ALL of it is rendered! Even the bits that are off-screen. You can confirm this by resizing the window, notice that ALL of the off-screen bits of the map are rendering here. This isn't an issue until we get HUGE maps, on the scale of thousands by thousands of tiles.
How can we optimize this? By rendering only what can be seen. This bit of code is going to go into the Map
class, because after all the Map class is responsible for rendering tiles. Unfortunitaley, we don't have enough information to do this at the moment! We could make some assumptions and figure out the bounds of the render rect, but that's a lot of effort. We're just going to add function arguments.
Find the Render function of Map
, add a new PointF
argument, call it cameraCenter. Next, we need to make 4 integers inside the function, Camera Min and Max X and Y. We're going to figure out the minimum X and Y pixels that are visible on screen. This is a bit hard to explain, but you basically take the center point, subtract half of the tiles (plus one tile for good measure) and you have the min. Now convert these to tile coordinates. Do the opposite for max. Here is how i did it in my code:
public void Render(PointF offsetPosition, PointF cameraCenter) {
// Find the visible corners of the screen in pixel position
int minX = (int)cameraCenter.X - 4 * 30 - 30;
int minY = (int)cameraCenter.Y - 3 * 30 - 30;
int maxX = (int)cameraCenter.X + 4 * 30 + 30;
int maxY = (int)cameraCenter.Y + 3 * 30 + 30;
// Convert visible corners to tile indexes
minX /= 30;
minY /= 30;
maxX /= 30;
maxY /= 30;
Finally, right under this bit of code is nested a for loop. This for loop goes trough all the tiles and render them. Change this loop so instead of looping from 0 to the number of rows or columns it loops from Min to Max. It's worth noting that Min and MAx might be out of bounds, so be sure to add bounds checks. Here is what mine looks like:
for (int h = minY; h < maxY; h++) {
for (int w = minX; w < maxX; w++) {
// Lower bounds check
if (h < 0 || w < 0) {
continue;
}
// Upper bounds check
if (h >= tileMap.Length || w >= tileMap[h].Length) {
continue;
}
tileMap[h][w].Render(offsetPosition);
}
}
Thats it! Now we're only rendering what is visible on screen! Want to confirm it? Resize your window! Make it larger and take not how only the area which is visible is being rendered. And that's it. We're done with basic scrolling.


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TextRenderer3D
Just a warning: This is very old. I provide it only for legacy's sake. These days, please look into WebGL and Three.js. I encourage you to look at my own three.js demos.
Introduction
The JOGL implementation of OpenGL for Java is an excellent in most respects. The addition of support for "2D" text rendering by the TextRenderer object was an excellent addition. However, this did not provide any true 3D text support, a la the wglUseFontOutline support that is available in the C++ implementation on Windows, for example. I was experimenting with overiding the TextRenderer code to walk the glyphs and generate the 3D rendering when I poking around in the jogl-utils sources I ran across the FontDrawer code.
The FontDrawer code (written by Erik Tollerud and Davide Raccagni of Sun Microsystems, Inc.) was an incomplete implementation of what I was experimenting with. I therefore took the FontDrawer code, renamed it TextRenderer3D and did some fairly singificant refactoring and bug fixing. The result is an object that allows one to draw arbitrary strings in 3D. one can specify the depth of the extrusion and some other (relatively unnecessary) attributes. It also provides the ability to generate display-lists very easily. This article details how it is done and some examples of its usage.
The complete sources are here.
Note: The TextRenderer3D class uses some objects from the vecmath package of Java3D so you will need to install Java3D to use this class. You can get it here. The Eclipse plugin version of Java3D can be obtained here.
Acknowledgements
Helping Out: If (when!) you see any errors, omissions, or misleading info, please let me know. I am always willing to learn and want to make these tutorials as accurate and helpful as possible<EMAIL_ADDRESS>TIA.
The Basic Algorithm
THe basic approach is that one instantiates a normal AWT Font then gets the path for the set of glyphs by obtaining the PathIterator from the font's GlyphVector:
GlyphVector gv = font.createGlyphVector(new FontRenderContext(new AffineTransform(), true, true),
new StringCharacterIterator(str));
GeneralPath gp = (GeneralPath) gv.getOutline();
PathIterator pi = gp.getPathIterator(AffineTransform.getScaleInstance(1.0, -1.0), flatness);
Note that the transform passed to the path Iterator has the why scale set to -1. This is because SWT has the old style coordinate system where the origin in Y is at the top of the screen. So we need to invert that to match OpenGL's coordinate system (otherwise all the text would be inverted :-).
Also note the flatness parameter. The glyphs are composed of points, lines and quadratic beziers. The beziers need to be flattened. This isn't hard, but fortunately the PathIterator will do it for us. Setting a large value such as 1.0 will result in a very blocky shape as the iterator will simply conclude that the set of points that comprise the control points are "flat enough". If you set an extremely small value the iterator will simply clamp it to a reasonable value. A little experimentation demonstrated that the flattening is very fast so unless you have some need for blocky text or want to keep the resulting display lists simple, set it to a small value like 0.001.
Then the resulting PathIterator is passed to a tesselation routine, which tesselates the path using
GLUtessellatorCallback aCallback = new GLUtesselatorCallbackImpl(gl);
GLUtessellator tess = glu.gluNewTess();
glu.gluTessCallback(tess, GLU.GLU_TESS_BEGIN, aCallback);
glu.gluTessCallback(tess, GLU.GLU_TESS_END, aCallback);
glu.gluTessCallback(tess, GLU.GLU_TESS_ERROR, aCallback);
glu.gluTessCallback(tess, GLU.GLU_TESS_VERTEX, aCallback);
glu.gluTessCallback(tess, GLU.GLU_TESS_COMBINE, aCallback);
The aCallback method is a simple method in a private class that extends the GLUtessellatorCallbackAdapter class. The class overrides three methods:
public void begin(int type) { gl.glBegin(type); }
public void vertex(java.lang.Object vertexData) { double[] coords = (double[]) vertexData;
gl.glVertex3dv(coords, 0); }
public void end() { gl.glEnd(); }
As you can see it just maps these to the appropriate GL calls to start and end a vertex list and maps the vertex data into a glVertex3d. Then the glyphs are tesselated by walking each glyph:
glu.gluTessBeginPolygon(tess, (double[]) null);
while (!pi.isDone()) { double[] coords = new double[3]; coords[2] = tessZ; switch (pi.currentSegment(coords)) { case PathIterator.SEG_MOVETO: glu.gluTessBeginContour(tess); break;
case PathIterator.SEG_LINETO: glu.gluTessVertex(tess, coords, 0, coords); break;
case PathIterator.SEG_CLOSE: glu.gluTessEndContour(tess); break; } pi.next(); }
glu.gluTessEndPolygon(tess);
Note that all the glyphs are walked as one complex face, not on a glyph by glyph basis. Note that the z-coordinate is set to tessZ. This is the depth of the font's extrusion. The tesselateFace Once the glyphs have been tesselated at depth zero, the process is repeated at the extrusion depth. The result is two complex polygonal faces that are parallel, separated by the extrusion depth. To complete the job, we have to build the sides.
The sides are built by walking the pathIterator one more time, this time generating four vertexes for each step:
- The current vertex at depth 0
- The current vertex at the extrusion depth
- The previous vertex at the extrusion depth
- The previous vertex at depth 0
Then the normal is generated for this new rectangle. This is done for all the edges of all the glyphs. And then we're done!
The Methods
The class is constructed quite simply:
public TextRenderer3D(Font font, float depth)
The font is a normal AWT font. Note that it must be a built-in AWT font or a TrueType font. The AWT PathIterator apparently cannot handle the CFF glyphs of an OpenType font. If you choose an OpenType font the iterator will fall back (silently) to a built-in font. The depth is simply the extrusion depth of the font.
There are a number of methods available on the class, but only 3 are really of any great interest:
public void draw( String str, float xOff, float yOff, float zOff, float scaleFactor )
public int compile( String str, float xOff, float yOff, float zOff, float scaleFactor )
public void call( int index )
The draw method simply creates all the vertexes and renders the text immediately. Note the scalefactor argument. This simply scales the font by calling glScalef(scaleFactor, scaleFactor, scaleFactor).
The compile method is identical to the draw method except that it compiles the glyphs into a GL display list and returns the index of the resulting list. This value can then be stored away and used directly by calling glCallList or by using the convenience method call which does the same thing.
Finally, there are also methods to get the bounding box in X and Y (you can get Z from getDepth()).
Rectangle2D getBounds( String str )
Rectangle2D getBounds( String str, float scaleFactor )
Usage
Using the class couldn't be much easier. Here is how to render a single simple string:
TextRenderer3D tr3 = new TextRenderer3D(new Font("Times New Roman", Font.TRUETYPE_FONT, 3), 0.25f);
tr3.draw(str, -offX, offY, -offZ, 1.0f);
Using the compile method is just as easy:
TextRenderer3D tr3 = new TextRenderer3D(new Font("Times New Roman", Font.TRUETYPE_FONT, 3), 0.25f);
int index = tr3.compile(str, X, Y, Z, 1.0f);
tr3.call(index);
I created two simple demo programs TestRenderer3D and BouncingText3D. The former is a Hello World usage of the draw method. The latter is more complex and uses the compile method to bounce dozens of text strings around in 3D space. The sources for both as well as the TextRenderer3D class are here.


| Modifier and Type | Class and Description |
|---|---|
class |
DependencyOrderWalker
A walker to walk graphs in dependency order.
|
class |
DepthFirstWalker
Do a depth first traversal of the graph.
|
class |
ReverseDependencyOrderWalker
Visit a plan in the reverse of the dependency order.
|
class |
ReverseDependencyOrderWalkerWOSeenChk
Visit a plan in the reverse of the dependency order.
|
class |
SubtreeDependencyOrderWalker |
| Modifier and Type | Field and Description |
|---|---|
protected PlanWalker |
PlanVisitor.currentWalker
Guaranteed to always point to the walker currently being used.
|
| Modifier and Type | Method and Description |
|---|---|
PlanWalker |
ReverseDependencyOrderWalkerWOSeenChk.spawnChildWalker(OperatorPlan plan) |
PlanWalker |
ReverseDependencyOrderWalker.spawnChildWalker(OperatorPlan plan) |
abstract PlanWalker |
PlanWalker.spawnChildWalker(OperatorPlan plan)
Return a new instance of this same type of walker for a subplan.
|
PlanWalker |
DepthFirstWalker.spawnChildWalker(OperatorPlan plan) |
PlanWalker |
DependencyOrderWalker.spawnChildWalker(OperatorPlan plan) |
| Modifier and Type | Method and Description |
|---|---|
protected void |
PlanVisitor.pushWalker(PlanWalker walker)
Push the current walker onto the stack of saved walkers and begin using
the newly passed walker as the current walker.
|
| Constructor and Description |
|---|
PlanVisitor(OperatorPlan plan,
PlanWalker walker) |
| Constructor and Description |
|---|
AllSameExpressionVisitor(OperatorPlan plan,
PlanWalker walker) |
ExpToPhyTranslationVisitor(OperatorPlan plan,
PlanWalker walker,
LogicalRelationalOperator op,
PhysicalPlan phyPlan,
Map<Operator,PhysicalOperator> map) |
LogicalExpressionVisitor(OperatorPlan p,
PlanWalker walker) |
| Constructor and Description |
|---|
AllExpressionVisitor(OperatorPlan plan,
PlanWalker walker) |
AllSameRalationalNodesVisitor(OperatorPlan plan,
PlanWalker walker) |
| Constructor and Description |
|---|
LogicalRelationalNodesVisitor(OperatorPlan plan,
PlanWalker walker) |
| Constructor and Description |
|---|
ScalarVariableValidator.ProjectFinder(OperatorPlan p,
PlanWalker walker) |
| Modifier and Type | Class and Description |
|---|---|
class |
PreOrderDepthFirstWalker |
| Modifier and Type | Method and Description |
|---|---|
PlanWalker |
PreOrderDepthFirstWalker.spawnChildWalker(OperatorPlan plan) |
Copyright © 2007-2012 The Apache Software Foundation


Word2Vec example with p5.js. Using a pre-trained model on common English words.
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"x" "1" "LALONDE,RT AND LEO,HR, INTERACTIVE CHLORINE-BY-BROMINE ANDHYDROGEN-BY-HYDROXYL GROUP REPLACEMENT EFFECTS IN 2(5H)-FURANONE MUTAGENICITY,CHEM. RES. TOXICOL. 7(6):779-783, 1994"


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AdvType
: semantic class of adverb
| Values: | Loc | Tim |
This lexical feature is applied to those traditionally adverbial elements which are not derived from adjectival bases and which express spatiotemporal relations. As such, it distinguishes only between the two semantical subclasses of space (Loc
) and time (Tim
).
For these kinds of deictic elements, it is not always easy to identify the reference as a point in space or a moment in time, since lexical strategies for both categories often overlap or are derived one from the other. In Latin, we note the (universally widespread) tendency for spatial expression to extend metaphorically to include temporal ones (Haspelmath, 1997), so that in ambiguous cases a preference is given to the former, especially when terms of pronominal/determinantal nature are involved. In any case, the value for AdvType
is selected on a lexical basis, and is not determined by context (or other semantic nuances, like succession) in the sentence: the same lexeme will always receive the same AdvType
value.
Expressions of location and time are usually reflected at the syntactic level by the semantic lmod
and tmod
subrelations respectively, which are applied both to obl
and advmod
relations, and thus represent the phenomenon independently from its morpholexical realisation.
The actual morphosyntactic nature of spatiotemporal as traditionally labelled ADVs might be challenged, as they show deviant behaviour from other adverbs, and lean towards pronouns.
Loc
: spatial expression
Expression of location, without differentiating modes like state, movement to or from, transition…, even if Latin has specialised terms for some of them. Many terms in this category are ultimately derived from pronouns or determiners.
Examples
- hic ‘here (state)’, hinc ‘hence’
- effectively part of the paradigm of hic ‘this (one)’, using among others the crystallised locative case
- quo ‘whither’
- ubi ‘where’, unde ‘whence’
- procul ‘far away’ (related to procello ‘to drive away’)
- sometimes considered to act as a preposition
Tim
: temporal expression
Expression of time. The origin of these terms is usually more varied than for spatial expressions, and they often incorporate nominal or prepositional elements.
Examples
- quando ‘when’
- mox ‘soon’
- interim ‘meanwhile’ (from inter ‘between’ and an accusative form of is ‘he’)
- diu ‘for a long time’ (from an ablative form of archaic U-stem dius, for dies ‘day’)
References
Haspelmath, M. (1997). From Space to Time: Temporal Adverbials in the World’s Languages, LINCOM Studies in Theoretical Linguistics 03, Munich, Germany: LINCOM EUROPA.
AdvType in other languages: [arr] [gn] [la] [mdf] [myv] [quc] [tpn] [u]


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