To create a new page for the website, you need to
how-to-vote.html
file to my-new-page.html
layout
selects the header/footer frame from _layouts/
title
is optional and should only be given, if this new page shall be visible in the main header- & footer-menus. It specifies the translation key for the new page’s title -> this key needs to be added (translated) in _i18n/en.yml
-> pages:
namespace
is a unique id of this page (same for all languages), and can be used to link to this page via the translate_link my-new-page
macropermalink
is the browser visible URL of this page, should be SEO friendly---
layout: default
title: pages.myNewPage
namespace: my-new-page
permalink: /my-new-page/
---
_i18n/en/my-new-page
folder, which contains section1.md
& section2.md
translate_file my-new-page/section1.md
macro_i18n/en/my-new-page/
folder, which you include into your HTML via the translate_file
macro._sass/my-new-page.scss
and import it via _sass/custom.scss
-> @import 'my-new-page.scss';
my-new-page.html
page frame (first line of HTML, directly after the front-matter): <div class="my-new-page">
my-new-page.scss
, which only apply for this page, e.g.: .my-new-page p { color: red }


 It stars Gene Hackman, Mikhail Baryshnikov, and Kurtwood Smith. Rated PG-13 for language and some violence.
COMPANY BUSINESS describes itself as a "post-cold war thriller." Half true insofar as it is indeed set in the post-cold war environment, but it hardly thrills. It is a pleasant entertainment, nicely photographed, competently acted, with some touches of satire and humor; but for one thing events in the real world, such as it is, have so far outstripped the script as to make it an historical curiosity and not the terribly au courant statement of this particular brave new world. For another, the story is complicated and the complications take too long to be set up in the beginning. The story and the characters are also curiously uninvolving, sans loyalties, sans countries, sans any vision except getting out.
It has some individual moments. The subway sequence, for example, is as close to thrilling as the movie gets. The ironic performances of Hackman and Baryshnikov are charming, if not exactly engrossing. I think, by the way, that this might be the first time I've seen Misha in a film in which he did no dancing at all. The film's observations of the difficulties of certain types to adjusting to this new world provide the most interest and could have developed into a true political satire. Instead, Meyers retreated to the less risky ground of Spy-Vs-Spy. Loss of nerve, I call it.
Some of you might enjoy this film at matinee prices, but in general I really cannot recommend it except as a cheap, future rental.
-- Frank Richard Aloysius Jude Maloney .
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


Dream a spectacular dream of heaven
What Dreams May Come A Film Review By Michael Redman Copyright 1998 By Michael Redman
**** (Out of ****)
Philosopher physician Deepak Chopra has a story about two people who ride a roller coaster. For the first, this is a frightening experience and it fills his body with unhealthy adrenaline. The second loves the thrills and his body creates healthy endorphins. "It's not the ride," he says, "it's the rider."
That we create our own realities is a concept the "New Age" -- whatever that means -- borrowed from eastern religions and has become accepted as truth even among the western medical community. Stress and attitude are thought to be the leading cause of illness. How we see the world is how the world is. We control the ride, not the other way around.
Chris Nielsen (Robin Williams) can create his own realm. Literally. The only problem is that he had to die first.
Chris and Annie (Annabella Sciorra) have the perfect marriage. Soulmates, he is a pediatrician; she, a painter. They have two wonderful children. Then things fall apart. The kids are killed in a tragic car wreck and full-of-life Annie is devastated with all of her joy wrenched away. After an attempted suicide, she is institutionalized.
Four years later Annie has recovered and is back at work. Chris stops to help an accident victim and is killed when a car flips over onto him. When he comes to, he is in a wondrous afterlife where anything he imagines comes true. He can have anything he wants. Except Annie.
The death of her life partner sends Annie into a depression spiral and she succeeds in her second suicide attempt. People who kill themselves don't go to the same place that Chris did. He's informed that he can never see her again.
Chris refuses to accept this and begins his Orpheus-like journey into the underworld to rescue his lover.
Before I go on, I have to tell you that this is the most visually stunning film in recent memory. The movie is extraordinary. Far too often, special effects cause the audience to think "That's cool. I wonder how they did it."  "Dreams" only allows "That's…" as you sit, mouth agape, in astonishment. You are not watching the film, you _are_ the film.
Chris' heaven is based on paintings.  When he picks and squeezes a brilliant blue flower, it liquefies into pigment. As he runs down a hill stepping on bright reds and yellows, the ground squishes beneath his feet flowing into streams of combined colors. At first his world looks like someone went overboard with Photoshop on a Macintosh.
The heavenly city is a wonderful living Maxfield Parrish poster. Hell is a frightening combination of H. R. Giger and German Expressionism. The hundreds of condemned souls surrounding Chris' boat is more chilling than even the similar scene in "Titanic". When he reaches Annie, the color palate becomes monochromatic reflecting her state of mind.
The team of director Vincent Ward ("The Navigator"), effects supervisors Ellen Ward, production designer Eugenio Zanetti and cinematographer Eduardo Serra have given us a film that visually is beyond words. I'm wearing out my thesaurus looking up synonyms for "awesome."
Like myths of old, the story is a metaphor for life. Chris' afterlife is brilliant and full of wonders because that is how he sees the world. Annie's is gloomy and without hope because that's her view. The one message that I have doubts is that it is possible to save the damned by joining them in hell. That path leads not to salvation, but madness.
Annie's willingness to accept responsibility for the deaths (her housekeeper drove the children on their fatal trip because Annie was too busy, Chris was running an errand for her) is symptomatic of the depressed.
Every actor in the film is excellent. Williams exhibits none of his manic over-the-top personality yet is intense, determined and at the same time filled with joy. Sciorra is remarkable as Annie sinks further and further into the depths. Before her melancholy, there is a scene on a hill near Switzerland where, dressed in gauze, she is one of the most alluring women in cinematic history.
Chris' first heavenly guide is Albert, played likably by Cuba Gooding, Jr. In another excellent effect, when he first appears, he is blurry, out of synch with Chris. As he comes more into focus, he explains to Chris that "Thought is real. Physical is the illusion. Ironic, isn't it?"
Max von Sydow is the "Tracker," Chris' guide through hell. His extreme screen presence prepares us for the trip into the abyss. In another film he would stand out but here there is no character that it is possible to take your eyes off of.
Like the movie itself, the reviews for this are all over the spectrum from people who hated it to those who were amazed. Aside from obvious technical aspects, movie-going is often a subjective experience. What one person finds trite, another may experience as profound. What you bring into the theater is an important part of what you take out.
I suppose that I was ready for this film. There are problems: the final scene is a bit corny, some of the truisms are simplistic. But I didn't care. It blew me away.
After leaving the movie, I was in no shape to drive home. Walking over to the edge of the parking lot and gazing into the moonlit forest across the street, I lighted a cigarette and wondered why so often we chose to live in the gray world of hell when there is so much Maxfield Parrish out there.
(Michael Redman has written this column for over 23 years and has never seen anything like this on the screen before. You are free to disagree if you like, but you'd be wrong. Send spectacular visions to<EMAIL_ADDRESS>[This appeared in the 10/8/98 "Bloomington Indpependent", Bloomington, Indiana. Michael Redman can be contacted at<EMAIL_ADDRESS>--<EMAIL_ADDRESS>This week's film review at http://www.indepen.com/ Film reviews archive at http://us.imdb.com/M/reviews_by?Michael%20Redman
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


--- layout: post title: '30 Days in April: Day 25' date: 2009-04-26 00:04:00.000000000 -07:00 type: post published: true status: publish categories: - 30 Days in April tags: [] meta: _publicize_pending: '1' _edit_last: '6192' aktt_tweeted: '1' original_post_id: '279' _wp_old_slug: '279' author: login: falsefridays email<EMAIL_ADDRESS>display_name: Jim Withington first_name: '' last_name: '' ---
I might have already written something about this before, but I'm hoping not.
In the very first week of activities in The Artist's Way, Cameron implores you to take the bad things that you tell yourself about your creativity and turn them into affirmations. It's a simple technique--just writing out, say, "I am a bad writer" if you feel that way and then changing it to "I'm an excellent writer," and so on. This method goes right along with the fact that Cameron sort of frames this process as your "artist's recovery."
Anyway, the weird thing for me was how many of these things came out rather quickly the next time I wrote after reading it. I began bracketing them with <> in my paper journal and then writing the affirming starements right after them.
Now, I've gotta say, a lot of Cameron's recovery language really feels over the top to me, because I feel more like I am cleaning out the cruft than that I am spiritually exorcising demons of self-doubt. But while I think of myself as someone who totally supports people as creators--"Dude, if you're writing, you're a writer, PLUS, you're an artist," that sort of thing-- I'm finding, through this exercise, that, as always, I'm better at supporting others than at taking my own supportive advice.
So I'm working on it. This project has taken up enough of that late night "free time" that I've dropped the daily morning pages and weekly exercises of TAW, to pick them back up in May. But I will keep thinking about (and discovering how much I limit myself, so that hopefully, I'll stop doing it so much.


Module: Homebrew::Diagnostic Private
- Defined in:
- diagnostic.rb,
extend/os/mac/diagnostic.rb,
extend/os/linux/diagnostic.rb
Overview
This module is part of a private API. This module may only be used in the Homebrew/brew repository. Third parties should avoid using this module if possible, as it may be removed or changed without warning.
Module containing diagnostic checks.
Defined Under Namespace
Class Method Summary collapse
Class Method Details
.checks(type, fatal: true) ⇒ Object
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 |
# File 'diagnostic.rb', line 32 def self.checks(type, fatal: true) @checks ||= Checks.new failed = T.let(false, T::Boolean) @checks.public_send(type).each do |check| out = @checks.public_send(check) next if out.nil? if fatal failed ||= true ofail out else opoo out end end exit 1 if failed && fatal end |
.missing_deps(formulae, hide = nil) ⇒ Object
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
20 21 22 23 24 25 26 27 28 29 30 |
# File 'diagnostic.rb', line 20 def self.missing_deps(formulae, hide = nil) missing = {} formulae.each do |f| missing_dependencies = f.missing_dependencies(hide: hide) next if missing_dependencies.empty? yield f.full_name, missing_dependencies if block_given? missing[f.full_name] = missing_dependencies end missing end |


Langton's Ant
Langton's Ant moves according to the rules:
- At a black square, turn 90 degrees counter-clockwise, flip the color of the square, move forward one unit.
- At a white square, turn 90 degrees clockwise, flip the color of the square, move forward one unit.


"With EngAGE, homebound senior citizens can keep on being active even if they cannot leave their homes..."


The Book of Five Rings (Gorin no sho), similar to other pre-modern East Asian philosophical texts, is comprised of brief passages under headings that deal with different issues. Written by Miyamoto Musashi, a swordsman of mythical proportions, the book serves as a guide to both the martial arts and military strategy. In this guide,Ehowever, Musashi rarely goes into specific details on techniques or actual tactics but rather gives advice on the general picture of how one should react in a given situation. The booksEformat and ambiguities might be compared to Sun Tzus Art of War, another book on military strategy from the East Asian tradition.
The Book of Five Rings and
Zen Buddhism
Zen Buddhism had a great influence
on Musashis teachings. Indeed, the austerity and simplicity in
his teachings are similar to the doctrines of Zen. Musashi insisted
that knowledge is full circle, meaning that the most elementary teachings
are also the more important. The last chapter of the book, the Scroll
of Emptiness,Eemphasizes the importance of understanding and recognizing
the existence of nothingness. For in order to focus the mind completely
on the attainment of the way, one must be free from the distractions of
worldly matters. Ultimately then, the sword becomes no swordEas
one is able to see the way of other things through the way of the warrior.
The Book of Five Rings and
Japans Economic Boom
The Book of Five Rings has attracted
a great deal of attention as some sort of salarymans bible.
Some have attributed Japans economic boom during the 70s and 80s to
the bushidô legacy. And consequently, the Book of the Five
Rings has been credited with playing a role in developing both corporate
strategy and the single-mindedness of Japanese white-collar types.
In fact, Musashi did deal with the subject of moneymaking directly in
his work. For example, in the chapter titled Ground Book,EMusashi
wrote that the way of the merchantEis always to live by taking profit.E/font>
Miyamoto Musashi
Shinmen Musashi no Kami Fujiwara no
Genshin, or as he is more commonly known to Japanese, Miyamoto Musashi
(1584-1645), was born to a family of powerful samurai retainers.
His mother died when he was very young, and his father abandoned him soon
after, so he was brought up by relatives. Dedicated to kendô
at a very early age, young Musashi was said to have killed a man for the
first time at age thirteen. The combative Musashi found abundant
opportunities to hone his skill, having been born in the midst of the
unification campaigns first undertaken by the powerful daimyo warlord,
Oda Nobunaga. With more than sixty duels under his belt by the time
he was twenty-nine, Musashi decided to abandon real swords once and for
all and fashioned a wooden sword instead. By the time he was fifty-five,
Musashi understood the way of strategy. He lived out his final years
in a cave, away from luxury, where he wrote the Book of Five Rings.
English Translations
There are four different English translations
of Miyamoto Musashis Book of Five Rings available. Each
is listed below with some brief comments on the comparative strengths
and weaknesses of the various translations.
A Book of Five Rings: A Guide
to Strategy translated by Victor Harris (Woodstock: The Overlook Press,
1974)
This version does an excellent job
of situating Musashi in a historical context. The book begins with
a fascinating piece about Japan during Musashis lifetime, including a
discussion about the political system and the unification process that
was about to change Japan. The next section is a biography of Musashi
with interesting anecdotes about his various duels. Portraits of
Musashi, pictures of swords he used, and paintings by Musashi appear throughout
the book. Not coincidentally, the author/translator is a curator
at the British museum and an authority on Japanese swords. The translation
of the work itself is easy to understand and provides footnotes for Japanese
terms that appear in the text.
The Book of Five Rings translated
by Thomas Cleary (Boston & London: Shambhala, 1993)
This edition, from Buddhist scholar
Thomas Cleary contains disappointingly little on the historical background
of Musashi and his times. The lack of any interesting pictures,
maps, or footnotes also make reading this book a rather dry experience
on the whole. The translation, however, is easily readable, and he avoids
using any Japanese terms. Perhaps his goal was to make the text
as easy to read as possible. The small label, Business/ Martial
Arts,Eappears on the back cover, suggesting that the book might be for
businessmen who do not have the time or inclination to learn more about
Japanese history and culture. Clearys biggest contribution is his
ability to make abstract religious concepts understandable to the reader.
This is especially important in the final chapter of the work, the Book
of Emptiness,E which is regarded as the chapter most heavily influenced
by Musashis Zen Buddhist background.
Consider the following passage in the Harris translation: What is called the spirit of the void is where there is nothing. It is not included in mans knowledge. Of course the void is nothingness. By knowing things that exist, you can know that which does not exist. That is the void.Enbsp; Cleary translates these esoteric concepts in a more comprehensible way: The meaning of emptiness is that the realm where nothing exists, or cannot be known, is seen as empty. Of course, emptiness does not exist. Knowing of nonexistence while knowing of existence is emptiness.Enbsp; Cleary gives the reader a better chance of understanding the material in this difficult chapter.
The Book of Five Rings: The
Real Art of Japanese Management translated by Nihon Services Corporation:
Bradford J. Brown, Yuko Kashiwagi, William H. Barrett, and Eisuke Sasagawa
(New York: Bantam Books, 1982)
This translation, as its title suggests,
seems to promise businessmen a fast track up the corporate ladder through
understanding the secrets of Eastern mysticism. The cover features
a salaryman and a samurai standing opposite each other in a similar pose,
suggesting some sort of equivalency between the two figures. Despite
its kitschy appearance, the translation is not as bad as might be expected.
A short commentary precedes every scroll in the book, summarizing the
contents of each scroll. Their language, however, is rather awkward,
and they are not all that helpful. The translation itself is more
readable, but the wording is slightly clumsy, and the translators fail
to provide explanatory footnotes for Japanese terms.
Consider the following excerpt: In Heiho as it pertains to large numbers, it is important to chase the opponent so as not to lose the moment afforded by seizing the rhythm of the opponents collapse. If you lose the moment afforded by the opponents collapse, the opponent may recover.Enbsp; In the Harris book, this excerpt is translated in a more succinct and fluid manner: In large-scale strategy, when the enemy starts to collapse you must pursue him without letting the chance go. If you fail to take advantage of your enemiesEcollapse, they may recover.Enbsp; The repetitiveness and wordiness in the Nihon ServicesE translation can be tedious for the reader. This translation does seem to offer a more literal translation (which would probably explain the clumsy and repetitive wording).
The Martial Artists Book of Five
Rings: The Definitive Interpretation of Miyamoto Musashis Classic Book
of Strategy translated by Steve Kaufman (Rutland, VT: Charles E. Tuttle,
1999)
Steve Kaufman, a karate expert living
in New York City, has produced a responsible translation of Miyamoto Musashis
classic. Although there is little in terms of historical context
and background, Kaufman does an excellent job of translating the text.
Not as concise as HarrisEtranslation, Kaufman nonetheless avoids the
wordiness of the Nihon ServicesEversion. Kaufman points out in
his introduction that this is not another book about Japanese business
strategy,Epointing to the obvious, yet often ignored, difference between
not getting a deal signed and having your head cut off.Enbsp; It would
be safe to assume then, that Kaufman would not be too pleased to learn
that the back cover of the book has Martial Arts/ BusinessEwritten on
it. Aimed at martialistsE(not to be confused, Kaufman adds, with
martial-artists, for the concept of artEin the context of battle can
be problematic), the book conveys a vital sense of physicality in its
writing. This version pays additional attention to passages that
discuss individual combat. As compared to other translations, Kaufman
goes into much more detail when discussing the martialistEmaterial in
the book.
In the section titled Holding the Long Sword,EKaufman gives a very descriptive account on how the swordsman should conduct himself: It is important for you to understand the proper manner in which to hold the long sword. The grip should be both loose and tight at the same time. What I mean by this is that you should hold the sword firmly and resolutely, yet at the same time your hand and wrist must be pliable. Hold the sword as you would a fishing rod and strike with it as if you were casting a fish line. Hold the sword tightly with the bottom two fingers to give yourself the added support you need to wield the long sword correctly. Direct the sword with your thumb and forefingerE Kaufmans long-winded translation contrasts sharply with HarrisEbrevity as he omits the first half of the passage: Grip the long sword with a rather floating feeling in your thumb and forefinger, with the middle finger neither tight nor slack, and with the last two fingers tight. It is bad to have play in your hands.Enbsp; Overall, Kaufmans translation comes out sounding precisely like it was written by the man he claims to be, one who has practiced karate for over forty years and studied the ringsEfor another ten.


| CSL_Status | CSL_aif2Init (CSL_Aif2Context *pContext) |
| Peripheral specific initialization function. More... | |
| CSL_Aif2Handle | CSL_aif2Open (CSL_Aif2Obj *paif2Obj, CSL_InstNum aif2Num, CSL_Aif2Param *paif2Param, CSL_Status *pStatus) |
| Opens the instance of AIF2 requested. More... | |
| CSL_Status | CSL_aif2Reset (CSL_Aif2Handle pAif2Handle) |
| Reset whole AIF2 module. More... | |
| CSL_Status | CSL_aif2Close (CSL_Aif2Handle haif2) |
| CSL_Status | CSL_aif2HwSetup (CSL_Aif2Handle hAif2, const CSL_Aif2Setup *aif2Setup) |
| CSL_Status | CSL_aif2HwControl (CSL_Aif2Handle hAif2, CSL_Aif2HwControlCmd cmd, const void *arg) |
| Controls AIF operation based on the control command. | |
| CSL_Status | CSL_aif2GetHwStatus (CSL_Aif2Handle hAif2, CSL_Aif2HwStatusQuery Query, void *response) |
| Get the status of different operations. | |
| CSL_Status CSL_aif2Close | ( | CSL_Aif2Handle | haif2 | ) |
The Close call releases the resources of the peripheral
Usage Constraints: Both CSL_aif2Init() and CSL_aif2Open() must be called successfully in that order before CSL_aif2Close() can be called.
Example:
CSL_Aif2Handle hAif2; ... CSL_aif2Close(hAif2);
| haif2 | Pointer to the object that holds reference to the instance of AIF link requested after the CSL_aif2Open(...) call |
| CSL_Status CSL_aif2HwSetup | ( | CSL_Aif2Handle | hAif2, |
| const CSL_Aif2Setup * | aif2Setup | ||
| ) |
This function initializes the device registers with the appropriate values provided through the HwSetup Data structure.
Usage Constraints: Both CSL_aif2Init() and CSL_aif2Open() must be called successfully in that order before CSL_aif2HwSetup() can be called. The user has to allocate space for & fill in the main setup structure appropriately before calling this function
Example:
CSL_AifHandle hAif2; CSL_Status status; CSL_Aif2HwSetup Aif2Setup; CSL_Aif2HwGlobalStup globalSetup = {?; CSL_Aif2HwCommonLinkSetup commonSetup = {?; CSL_Aif2HwLinkSetup linkSetup[0~5] = {?; Aif2Setup.globalSetup = &globalSetup; Aif2Setup.commonSetup = &commonSetup; Aif2Setup.linkSetup = &linkSetup[0~5] ; ; status = CSL_aif2HwSetup (hAif2, &Aif2Setup);
| hAif2 | Pointer to the object that holds reference to the instance of AIF2 requested after the call |
| aif2Setup | Pointer to setup structure which contains the information to program AIF2 to a useful state |
| CSL_Status CSL_aif2Init | ( | CSL_Aif2Context * | pContext | ) |
Peripheral specific initialization function.
This is the peripheral specific intialization function. This function is idempotent in that calling it many times is same as calling it once. This function initializes the CSL data structures, and doesn't touches the hardware.
Usage Constraints: This function should be called before using any of the CSL APIs in the AIF2 module.
Example:
* ... * CSL_Aif2Context Aif2Context * if (CSL_SOK != CSL_aifInit(&AifContext) { return; }
| pContext | AIF2 specific context information |
| CSL_Aif2Handle CSL_aif2Open | ( | CSL_Aif2Obj * | paif2Obj, |
| CSL_InstNum | aif2Num, | ||
| CSL_Aif2Param * | paif2Param, | ||
| CSL_Status * | pStatus | ||
| ) |
Opens the instance of AIF2 requested.
The open call sets up the data structures for the particular instance of AIF device. The device can be re-opened anytime after it has been normally closed if so required. The handle returned by this call is input as an essential argument for rest of the APIs described for this module.
Usage Constraints: AIF must be successfully initialized via CSL_AIFInit() before calling this function. Memory for the CSL_AifObj must be allocated outside this call. This object must be retained while usage of this peripheral.
Example:
CSL_AifObj aifObj; CSL_Status status; CSL_AifParam aifParam; aifParam.linkIndex = CSL_AIF2_LINK0 ; ... hAif = CSL_aifOpen(&aifObj, CSL_AIF, &aifParam, &status);
| paif2Obj | Pointer to the object that holds reference to the instance of AIF2 requested after the call |
| aif2Num | Instance of AIF2 to which a handle is requested |
| paif2Param | Module specific parameters; |
| pStatus | This returns the status (success/errors) of the call. Could be 'NULL' if the user does not want status information. |
| CSL_Status CSL_aif2Reset | ( | CSL_Aif2Handle | pAif2Handle | ) |
Reset whole AIF2 module.
The open reset whole AIF2 devices and MMRs The handle returned by this call is input as an essential argument for rest of the APIs described for this module.
Usage Constraints: AIF must be successfully initialized via CSL_AIF2Init(), CSL_AIF2Open() before calling this function. Memory for the CSL_Aif2Obj must be allocated outside this call. This object must be retained while usage of this peripheral.
Example:
CSL_Aif2Handle haif2; ... status = CSL_aif2Reset(haif2);
| pAif2Handle | Pointer to the object that holds reference to the instance of AIF2 requested after the call |


{% extends "base.html" %} {% block content %}
Click on any of the steps below to edit that step.
Note: Complete steps are marked green; incomplete steps are marked yellow; unstarted steps are marked red.
You can view or print the full dossier with the link below:
Full Dossier


|
MoraLife
1.3.4
A Digital Conscience for your iOS device.
|
Implementation: Generate the data to be used in the ReportPieViewController. More...
#import <ReportPieModel.h>
Instance Methods | |
| (id) | - initWithModelManager: |
| Builds model with dependency injection. More... | |
Properties | |
| BOOL | isGood |
| is current view for Virtues or Vices More... | |
| BOOL | isAscending |
| current order type More... | |
| BOOL | isAlphabetical |
| current sort type More... | |
| NSArray * | reportNames |
| report types More... | |
| NSArray * | moralNames |
| display names for Moral listings More... | |
| NSArray * | pieValues |
| percentage of pie chart More... | |
| NSArray * | pieColors |
| color assigned to moral for name/pie slice More... | |
| NSDictionary * | moralImageNames |
| moral icon More... | |
Implementation: Generate the data to be used in the ReportPieViewController.
Aggregate all virtue/vice user entries and dilemmas, calculate percentages and populate appropriate view necessities (color, icon, display name, etc.)
| - (id) initWithModelManager: | (ModelManager *) | modelManager |
Builds model with dependency injection.
| modelManager | ModelManager for either production or testing |
|
readwritenonatomicassign |
current sort type
|
readwritenonatomicassign |
current order type
|
readwritenonatomicassign |
is current view for Virtues or Vices
|
readnonatomicstrong |
moral icon
|
readnonatomicstrong |
display names for Moral listings
|
readnonatomicstrong |
color assigned to moral for name/pie slice
|
readnonatomicstrong |
percentage of pie chart
|
readnonatomicstrong |
report types


{% extends 'database/base.html' %} {% block title %}Thunder Games - User created{% endblock %} {% block body %}
You have successfully created your account and are now logged in.
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From:Enron Center South Technology To:Acevedo Sent:2017-01-11T04:42:05.0000000Z Subject:Enron Center South Technology Watch
Welcome to Enron Center South. As you have probably already noticed, things look a little different here. We wanted to orientate you to your new environment and inform you about the future technology coming on-line in the coming weeks.
Occupancy Guidebook To Enron Center South
You will find this handy guide on your desk; it contains information concerning the enhanced printer environment, the new easy access keyboards and telephony procedures.
NEC Monitors
The NEC monitors have an internal anti-glare screen to help reduce eye strain and eliminate the need to install an additional screen cover. Additionally, an integrated speaker has been installed on one monitor for each desk.
Turret Users
An "Alliance MX turret quick reference guide" has been placed on your desk; this includes important information about the new features such as "Caller ID" and "Voicemail Indication".
Increased Information Access
There are many NEC 50" Plasma screens installed on the 5th and 6th floors. While many of these will be displaying information designed for the specific unit, others will be displaying various television channels. The audio to these television channels can be accessed via any of your telephony equipment. Here's how:
Ten audio channels have been set up for access from your either your Avaya telephone, Stentophon, or IPC Turret. The channels have been defined on Page 15 of your Turret. To access the audio from either your Avaya or Stentophon, simply dial the extensions shown in the table below:
Wireless Telephony
You may notice the cellular phone coverage is not consistent across the floor, and some areas have virtually no coverage at all. We are implementing a multi-network "in-building" system to provide consistent high quality service for the campus, keeping you in touch while you are on the move.
Wireless LAN
The infrastructure to support Wireless LAN technology is in place and is being tested. We will be implementing multi level encryption and security to keep our intellectual property safe from eavesdroppers or hackers.
Amtel Replacement
As a move to provide a more flexible "Plug n Play" environment and to help with the reduced desk footprint, we have replaced the Amtel message boxes with Microsoft Exchange Instant Messaging. The Global Messaging Team is testing additional software products to provide some of the features not available with Exchange Instant Messaging; these include one-touch response keys, external LED display, and printing. Updates will be provided as they become available.
Keeping an Open forum
We will keep you informed of the changes and developments as the migration to the building continues, please feel free to respond with any comments, queries or suggestions to<EMAIL_ADDRESS>***********
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)."
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California


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@* * Copyright 2021 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import models._ @import uk.gov.hmrc.play.views.html.{helpers => govHelpers} @import uk.gov.hmrc.play.views.helpers.MoneyPounds @import views.html.helpers._ @import play.api.Application @import config.ApplicationConfig @(otherReliefsForm: Form[OtherReliefsModel], hasExistingReliefAmount: Boolean, chargeableGain: BigDecimal, gain: BigDecimal)(implicit request: Request[_], messages: Messages, application: Application, applicationConfig: ApplicationConfig) @main_template(Messages("calc.otherReliefs.question")) { @Messages("calc.base.back") @errorSummary(otherReliefsForm, "other-reliefs-rebased")


BTS' Jungkook being investigated after causing car accident
by jennywillBTS' Jungkook went under police investigation after causing a car accident.
According to the Seoul Yongsan Precinct, Jungkook broke an unspecified traffic law, and is currently being investigated. He was driving his Benz in Yongsan's Hannam on the 2nd, and then crashed into a taxi after breaking the said unspecified traffic law. Both Jungkook and the taxi driver received minor injuries and were treated at the hospital.
The police said, "We cannot reveal the details. We are currently investigating details."