This page contains some notes on how to configure the Slug crawler.
Slug requires a configuration file in order to configure a number of settings that describe how the crawler will operate. Collectively these settings are known as a profile.
These settings include details such as:
The Slug distribution includes a sample config file config.rdf
that
demonstrates how to configure all of the current components.
The configuration file is expressed as RDF/XML. A given configuration file
may contain entries for more than one profile.
Therefore when running the scutter one must provide the identifier of a
Scutter described in the configuration. This is specified with the -id
parameter, see Running the Scutter.
The complete schema for the Scutter configuration is available in
etc/schema/config.rdfs
in the distribution. It is also
available online
The namespace URI is http://purl.org/NET/schemas/slug/config/
.
The preferred namespace prefix is slug
.
The following sections describe some of the key classes and relationships.
The slug:Scutter
class describes an individual crawler. A given
configuration file may describe more than one crawler.
For now see config.rdf for example configurations.


The values of a form parameter that you get from the request object (via getForm() or getParameter() ) can be one of three things: a plain string, a list (of strings) or a FormUploadedFile object (when the user has uploaded a file). Import the class like this:
from snakeserver.webform import FormUploadedFile, FormFileUploadError
The following attributes are defined on that object:
| attribute | description |
|---|---|
| name | form field name |
| file | file object to read file contents from |
| filename | filename (the base name; i.e. without any path) |
| mimeType | mime type of the uploaded file (such as 'image/gif') |
| disposition | disposition (such as 'form-data') |
| dispositionOptions | disposition options (dict) |
| typeOptions | type options (dict) |
Don't forget the maxPOSTsize attribute of the Request object. It is 200000 (200 Kb) by default, if you need bigger POSTs, increase this value (request.setMaxPOSTsize() ) before calling Request.getForm(). If a form upload is bigger than maxPOSTsize, you will get a snakeserver.webform.FormFileUploadError
exception .


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java.lang.Object coins.alias.util.BitVector
BitVector class:
Unlike java.util.BitSet
class, this class offers
methods for non-destructive bit operations, where the result
of the operation will be stored in the last argument of
such methods.
| Field Summary | |
protected int |
fBitLength
Length of this BitVector . |
protected int |
fLongWordLength
Length of the long array that internally holds data. |
protected static int |
fShiftMax
Maximum possible shift of bits within a long word, or 63. |
protected long[] |
fVectorWord
Array of long s that internally holds data. |
| Constructor Summary | |
BitVector(int pBitLength)
Creates an instance of BitVector with the specified length. |
| Method Summary | |
BitVectorIterator |
bitVectorIterator()
Returns the BitVectorIterator that is backed by
this BitVector . |
boolean |
equals(java.lang.Object pObject)
The equality for two BitVector objects is specified
by vectorEqual |
int |
getBit(int pInx)
Returns bit state at the specified position. |
int |
getBitLength()
Returns the length of this BitVector . |
long[] |
getVectorWord()
Returns the long array that internally holds data for this BitVector . |
int |
getWordLength()
Returns the length of the long array that internally
holds data for this BitVector . |
boolean |
isSet(int pInx)
Queries if the specified bit is set. |
boolean |
isZero()
Queries if all the bits of this BitVector 's is unset. |
void |
resetBit(int pInx)
Resets bit at the specified position. |
void |
setBit(int pInx)
Sets bit at the specified position. |
java.lang.String |
toString()
Returns a String representation of this
BitVector . |
java.lang.String |
toStringDescriptive()
Returns a String representation of this
BitVector , which is at least as descriptive
as the one returned by toString() . |
BitVector |
vectorAnd(BitVector pOperand2,
BitVector pResult)
Performs the bitwise AND operation between this BitVector
and the argument pOperand2 , and stores the result
into pResult . |
BitVector |
vectorCopy(BitVector pResult)
Copies the contents of this BitVector into
the specified argument. |
boolean |
vectorEqual(BitVector pOperand2)
Compares this BitVector with the specified
argument for equality. |
BitVector |
vectorNot(BitVector pResult)
Performs the bitwise NOT operation on this BitVector
and store the result into the specified argument. |
BitVector |
vectorOr(BitVector pOperand2,
BitVector pResult)
Performs the bitwise OR operation between this BitVector
and the argument pOperand2 , and stores the result
into pResult . |
BitVector |
vectorReset()
Resets all the bits of this BitVector . |
BitVector |
vectorSub(BitVector pOperand2,
BitVector pResult)
Performs the bitwise subtraction operation between this BitVector and the argument pOperand2 ,
and stores the result into pResult . |
BitVector |
vectorXor(BitVector pOperand2,
BitVector pResult)
Performs the bitwise exclusive OR (XOR) operation between this BitVector and the argument
pOperand2 , and stores the result into
pResult . |
| Methods inherited from class java.lang.Object |
clone, finalize, getClass, hashCode, notify, notifyAll, wait, wait, wait |
| Field Detail |
protected final long[] fVectorWord
long
s that internally holds data.
protected final int fLongWordLength
long
array that internally holds data.
protected final int fBitLength
BitVector
.
protected static final int fShiftMax
long
word, or 63.
| Constructor Detail |
public BitVector(int pBitLength)
BitVector
with the specified length.
pBitLength
- the length of the BitVector
| Method Detail |
public void setBit(int pInx)
pInx
- the index (position) of the bit to be set.public void resetBit(int pInx)
pInx
- the index (position) of the bit to be reset.public int getBit(int pInx)
pInx
- the index (position) of the bit to get.
public boolean isSet(int pInx)
pInx
- the index (position) of the bit to query.
public boolean isZero()
BitVector
's is unset.
public int getBitLength()
BitVector
.
BitVector
.public long[] getVectorWord()
long
array that internally holds data for this BitVector
.
long
array that internally holds data.public int getWordLength()
long
array that internally
holds data for this BitVector
.
long
array that internally
holds data.public BitVectorIterator bitVectorIterator()
BitVectorIterator
that is backed by
this BitVector
.
BitVectorIterator
that is backed by
this BitVector
.public BitVector vectorNot(BitVector pResult)
BitVector
and store the result into the specified argument. The argument
must have the same length as this BitVector
.
pResult
- the BitVector
where the result of
the NOT operation is stored.
pResult
, the result of the NOT operation.public BitVector vectorAnd(BitVector pOperand2, BitVector pResult)
BitVector
and the argument pOperand2
, and stores the result
into pResult
. Both pOperand2
and
pResult
must have the same length as this
BitVector
.
pOperand2
- the BitVector
with which this
BitVector
is ANDed.pResult
- the BitVector
where the result of
the AND operation is stored.
pResult
, the result of the AND operation.public BitVector vectorOr(BitVector pOperand2, BitVector pResult)
BitVector
and the argument pOperand2
, and stores the result
into pResult
. Both pOperand2
and
pResult
must have the same length as this
BitVector
.
pOperand2
- the BitVector
with which this
BitVector
is ORed.pResult
- the BitVector
where the result
of the OR operation is stored.
pResult
, the result of the OR operation.public BitVector vectorXor(BitVector pOperand2, BitVector pResult)
BitVector
and the argument
pOperand2
, and stores the result into
pResult
. Both pOperand2
and
pResult
must have the same length as this
BitVector
.
pOperand2
- the BitVector
with which
this BitVector
is XORed.pResult
- the BitVector
where the
result of the XOR operation is stored.
pResult
, the result of the XOR operation.public BitVector vectorSub(BitVector pOperand2, BitVector pResult)
BitVector
and the argument pOperand2
,
and stores the result into pResult
.
Both pOperand2
and pResult
must
have the same length as this BitVector
.
pOperand2
- the BitVector
by which amount
this BitVector
is reduced (the second operand
of the bitwise subtraction operation).pResult
- the BitVector
where the result
of the subtraction operation is stored.
pResult
, the result of the subtraction
operation.public BitVector vectorCopy(BitVector pResult)
BitVector
into
the specified argument. The argument must have the same
length as this BitVector
.
pResult
- the destination of the copy operation.
pResult
, the result of the copy operation.public boolean vectorEqual(BitVector pOperand2)
BitVector
with the specified
argument for equality. Two BitVector
s are equal
when they have the same contents (bit sequences). The argument
must have the same length as this BitVector
.
pOperand2
- the BitVector
to be compared
with this BitVector
.
BitVector
and those of the argument are equal.public boolean equals(java.lang.Object pObject)
BitVector
objects is specified
by vectorEqual(). This method returns true if and
only if the specified argument pObject
is an
instance of BitVector
, its length is equal to
the length of this BitVector
, and
vectorEqual((BitVector)pObject)
returns true.
- Parameters:
pObject
- the object to be compared with this
BitVector
.
- Returns:
- true if the specified argument
pObject
is a BitVector
having the same length as this
one and vectorEqual((BitVector)pObject)
returns true. - See Also:
vectorEqual(coins.alias.util.BitVector)
public BitVector vectorReset()
BitVector
.
BitVector
with all the bits reset.public java.lang.String toString()
String
representation of this
BitVector
. The resultant String
contains the bit positions of the set bits separated by spaces.
String
representation of this
BitVector
.public java.lang.String toStringDescriptive()
String
representation of this
BitVector
, which is at least as descriptive
as the one returned by toString()
. It should
usually contain the String
representation of
the objects that are associated with the set bits.
This method returns the same String
as
toString() for this class.
- Returns:
- the
String
representation of this
BitVector that is possibly more detailed than that
returned by toString.
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THE SEVEN SAMURAI (SHICHININ NO SAMURAI) A Film Review Copyright Dragan Antulov 2000
Work of art can have its quality measured by other works of art it inspired through time. The world of seventh art has plenty of such examples, and the best known are those which had inspired numerous remakes through decades. Among those remade movies the best are those that contain images, stories and characters deeply ingrained in the collective unconsciousness of their viewers, regardless of their cultural background. Probably the best known of such films is SEVEN SAMURAI, 1954 film by famous Japanese director Akira Kurosawa. This is equally famous for being the best example of "jidai-geki" (samurai picture) genre - Japanese equivalent of western - and for being inspiration for numerous other authors which had used its basic concept for movies set in different time periods, different locations and belonging to different genres.
The plot of this movie, loosely based on ancient Japanese legend, is set in late 16th Century Japan. The country is in the middle of civil war, the government authority has collapsed and the countryside is left the roaming hordes of bandits. One of such gangs made a habit out of plundering a mountain village after each harvest and leaving barely enough food for peasants to survive. This time the village had been hit by especially hard times, and after one of the peasants accidentally overhears bandits discussing plans for their next visit, village council is ready to listen to young Rikichi (played by Yoshio Tsuchiya) who wants to fight bandits. But the villagers also know that they lack combat skills necessary to match dozens of well- armed thugs. Village elder Gisaku (played by Kokoden Kodo) advises them to go to town and hire services of ronins, masterless samurais, whose martial expertise would defend the village. When the group of peasants come to town, they see plenty of ronins, many of them penniless, but almost none would humiliate himself by offering his services to common peasants for three meals of rice per day. Their search is fruitless until they meet Kambei Shimada (played by Takashi Shimura), old, experienced but kind-hearted samurai who agrees to help them. He and his apprentice/disciple Katsushiro (played by Isao Kimura) gather four other ronins and six of them head for the mountains, followed by vagabond and samurai wannabe Kikujiro (played by Toshiro Mifune). The small army arrives in the village, greeted by scepticism, fear and distrust from the peasants, but they nevertheless begin preparations for defence.
When Kurosawa died, many obituaries called him the God of Cinema, and it was hardly an exaggeration. Anyone who watches THE SEVEN SAMURAI would understand why. Fans of Peckinpah, Lucas, Spielberg, Millius, Cameron and almost any respected modern-day action director would see many familiar scenes and motives in this film, made almost a half century ago. The influence Kurosawa had on future filmmakers is immeasurable, yet his films still look fresh, original and very modern. THE SEVEN SAMURAI, despite its black-and-white photography and despite its huge length (203 minutes in original cut), can be put in the same category with action classics like DIE HARD and ALIENS. This also explains why Kurosawa's work sticks out as the only B&W classic among entries in many personal Top 10 or Top 100 movie lists.
This movie is so successful because of its flawless direction and very balanced combination of powerful human drama and exciting action. Unlike most of the action directors today, Kurosawa knew that the audience wouldn't be satisfied just with the elaborate action scenes; audience needs characters to identify with it. Script by Kurosawa, Shinobu Hashimoto and Hideo Oguni is based on the very simple plot, but this plot is used as base for the whole series of interesting subplots and character studies. Never allowing the film to become stale and boring, Kurosawa slowly but methodically unfolds the plot and develops his characters, less through dialogue and more through the simple but revealing gestures. For that Kurosawa had to rely on very talented actors and he was very lucky to have more than adequate crew for the job. The top of the list is Takashi Shimura, descendant of real life samurai, who gives quiet yet powerful performance as the leader of small army; every community in the world would probably appreciate having someone like him in times of need. Seiji Myaguchi is also remarkable in the role of ascetic yet deadly samurai Kyuzo, same as Isao Kimura as young Katsushiro, forced to learn some ugly lessons in life. Yoshio Tsuchiya is great as Rikichi, hotheaded peasant who is deeply traumatised by personal tragedy. The best known of them all is, of course, Toshiro Mifune, Kurosawa's favourite actor, who gives more than memorable portrayal of Kikujiro, lowlife who begins the film as comic relief and gradually evolves into real hero.
Kurosawa, having such great characters and such great actors on his disposal, established rather interesting interactions, but that didn't interest him only on individual level. Like very few action movies before and after, THE SEVEN SAMURAI actually deals with broader social issues. In the context of 16th Century Japan this issue was class conflict between peasants and feudal class, embodied in samurai. Kurosawa always keeps viewers aware of such conflict - peasants and samurai can live and work together, but this relationship is temporary and based only on short- term interest. Both classes are inimical towards each other - samurai look on the peasants like inferior beings, while peasants mistrust samurai. Character of Kikujiro explicitly explains this class conflict through memorable and powerful monologue. This social dimension of THE SEVEN SAMURAI, although it could be replanted from feudal Japan through different times and places, wasn't very convincingly used in this film's remakes (which is especially the case with American 1960 version).
Despite having a story with universal appeal, Kurosawa has put a lot of effort for historical accuracy in THE SEVEN SAMURAI. Clothes, houses and folklore of 16th Century rural Japan are painstakingly recreated, as well as the weapons and armour of the samurai. But the best thing about this historical reconstruction is Kurosawa's great care about combat scene. Fighting in THE SEVEN SAMURAI doesn't just look exciting, it is very realistic and, unlike most of the war and action movies, it actually makes sense. Individuals play very limited role, just like in any other war; unlike Rambo movies with superhuman heroes that eliminate hundreds of well-armed opponents, superior numbers, tactics, training and firepower does matter. Samurai might be superior in one-on-hand and hand-to-hand combat (such fights are very short and decided in matter of seconds), but even they are powerless against bandits' firearms. Victory comes out of collective action, with few making painful sacrifices for the benefits of the many. Same as in any military textbook from Sun Zi to this day, good planning in THE SEVEN SAMURAI plays more important role in acquiring victory than actual fighting itself. It is marvel to watch scenes in which Kambei, like any other good general, surveys and sketches the future battlefield and makes mental notes about best ways to defeat the enemy. This dimension of THE SEVEN SAMURAI is also missed from all latter remakes.
Kurosawa was very pedantic about scenes depicting the war, but THE SEVEN SAMURAI could hardly be seen as militaristic propaganda. Realism in battle scenes also means that the death in war happens without any rules; characters often die in agony or covered with mud or similar prosaic circumstances. War equally brings out the best and worst from people, the latter being symbolised in brutal acts of violence and succumbing to animalistic desires, even among the most innocent and idealistic characters like Katsushiro. Wars, even when they are justified and when they end with victory, are hardly something that should be celebrated. Kurosawa underlines this message with bittersweet finale scene.
With the sole exception Fumio Hayasaka's musical score that sounds a little bit old- fashioned for today's standards, THE SEVEN SAMURAI withstood the test of time. But this is just one of many reasons why this film earned its rightful place as the timeless gem of world cinema.
RATING: 9/10 (++++)
Review written on June 3rd 2000
Dragan Antulov a.k.a. Drax Fido: 2:381/100 E-mail<EMAIL_ADDRESS>E-mail<EMAIL_ADDRESS>E-mail<EMAIL_ADDRESS>Filmske recenzije na hrvatskom/Movie Reviews in Croatian http://film.purger.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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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


Greg has been programming SQL databases since 1997 and PostgreSQL since 2002. He's been actively involved with PostgreSQL development since 2006 when he submitted his first contribution, concurrent index builds.
Originally from Montreal, Canada, Greg now works for Google at their Dublin office.
One of Postgres's more powerful features is the EXPLAIN utility statement which details a step-by-step plan for your query. Explain can show you where time is being spent in your queries and why, and is critical to optimizing performance. We'll survey the supported plan nodes in Postgres and demonstrate some of the tricks of the trade used to understand query plans.


The format's main focus is simplicity and readability.
GitBook uses a convention on top of markdown files.
A book is a Git repository containing at least 2 files: README.md and SUMMARY.md.
Typically, this should be the introduction for your book. It will be automatically added to the final summary.
The SUMMARY.md defines your book's structure. It should contain a list of chapters and sub-chapters, linking to their respective pages.
Example:
# Summary
This is the summary of my book.
* [section 1](section1/README.md)
* [example 1](section1/example1.md)
* [example 2](section1/example2.md)
* [section 2](section2/README.md)
* [example 1](section2/example1.md)
Files that are not included in SUMMARY.md will not be processed by GitBook.
GitBook supports building books written in multiple languages. Each language should be a sub-directory following the normal GitBook format, and a file named LANGS.md
should be present at the root of the repository with the following format:
* [English](en/)
* [French](fr/)
* [Español](es/)
You can see a complete example with the Learn Git book.
Allows you to specify terms and their respective definitions to be displayed in the glossary. Based on those terms, gitbook will automatically build an index and highlight those terms in pages.
The GLOSSARY.md format is very simple :
# term
Definition for this term
# Another term
With it's definition, this can contain bold text and all other kinds of inline markup ...
GitBook will read the .gitignore
, .bookignore
and .ignore
files to get a list of files and folders to skip. (The format inside those files, follows the same convention as .gitignore
)


Proof of Life * * (out of * * * * )
Directed by Taylor Hackford. Cast: Russell Crowe, Meg Ryan, David Morse, Pamela Reed, David Caruso, Margo Martindale. 2000 - 135 minutes Rated R (for violence, blood, and profanity). Reviewed by Dustin Putman, December 8, 2000.
Taylor Hackford's new drama, "Proof of Life," bears more than a passing resemblance to 1999's Harrison Ford-Kristen Scott-Thomas box-office dud, "Random Hearts." Although their storylines are very much different, both pictures feature an attractive, mature pair of actors in a movie that gradually turns into a romance. The problem with "Proof of Life," however, is the same problem that "Random Hearts" had, which is that the movie is just not a solid or effective example of successful filmmaking. Frigid and dreary, "Proof of Life" yearns to develop a touching romance between two people that can't, and probably shouldn't, get together, but we as the audience simply don't care about the outcome. The fact that stars Russell Crowe (2000's "Gladiator") and Meg Ryan (1998's "You've Got Mail") entered into the tabloids while filming due to a real-life romance that blossomed between the two, should have at least made the on-screen proceedings charismatic and lively, but they are not. The whole movie, ambitious as it may be, relentlessly flaps there like a fish suddenly pulled out of the water, gasping for its last few breaths.
Based on both a "Vanity Fair" article by William Prochnau, and a book by Thomas Hargrove entitled "The Long March to Freedom," Meg Ryan stars as Alice Bowman, a woman living in South America with her husband, Peter (David Morse), a dam engineer. Alice yearns to return to the U.S. and get back to her own life, but Peter keeps them put, as he is too dedicated on his latest project to give it up. When Peter is unexpectedly kidnapped by a group of guerilla-terrorists, being held for a $3-million ransom, expert hostage negotiator Terry Thorne (Russell Crowe) is hired to ensure that he is not killed. But first, Terry insists that his newest clients give him and Alice proof that Peter is still alive. As the days tick by and Peter grows increasingly weak, weary, and bearded, Alice and Terry form a close, platonic work relationship that threatens to turn into something more.
That final piece of the premise is actually so inconsequential and next-to-non-existent up until the final twenty minutes of the lumbering 135-minute running time that director Taylor Hackford fails miserably when he attempts to inject bittersweet poignancy to the final scene. As played out, it is entirely ineffectual and only leaves you wondering what, exactly, the point was.
What comes beforehand really isn't much better. While the plot is adequately intriguing and could have certainly been made into a genuinely suspenseful pot-boiler, the deliberately slow pace evaporates whatever tension might have been evoked with a stronger screenplay and tighter editor. The film simply sits there, immobile, for ridiculously long stretches that include exposition scene after exposition scene so poorly conceived you are akin to forgetting what was said by the next sequence.
In an obvious attempt to break free of the cutesy romantic comedies she is best known for, the usually reliable Meg Ryan is surprisingly mediocre as the grieving Alice. Either overacting to the point of annoyance, striking a superficial performance note, or misreading her character's supposed motivations, this is not one of Ryan's high points as an actress. It isn't entirely her fault, though; the role is so thanklessly two-dimensional that she does very little throughout but look upset and hold a cigarette (which, oddly enough, she not once is ever shown inhaling).
The supporting roles are stronger and more assured, but equally underdeveloped. David Morse (2000's phenomenal "Dancer in the Dark") is put through a great ordeal as he is shown being held captive and being put through torture from the beginning to end of the movie, but does little else. Pamela Reed (1990's "Kindergarten Cop"), as Peter's worried sister, is particularly funny and gets most of the good scenes in the first half. Finally, David Caruso, as Terry's wisecracking partner, is wasted.
There is one asset of "Proof of Life" that saves it from being an all-out, big-budget disaster. Russell Crowe, in his first starring role since the critically-acclaimed, audience-favorite "Gladiator," proves yet again why he is quickly becoming one of the most popular male actors in showbiz. So self-assured and brilliant in every respect, Crowe carries himself with a red-hot intensity that cannot be denied, and his work as Terry Thorne is yet another masterful turn in his gradually rising and hugely respectable filmography. Although his character, like all of the others, gets very little help from the thin written page, he is able to flesh out his role immensely just by a simple look, or the way he handles his lines. From 1992's "Romper Stomper," to 1997's "L.A. Confidential," to 1999's "The Insider," Russell Crowe does not play his characters as much as he lives and breathes through his personal creation of them. Simply put, he is the most talented actor appearing in films today.
Take Russell Crowe away from "Proof of Life" and what you ultimately have is a complete failure. Whenever he is onscreen, the film is tolerable and occasionally even interesting. Whenever he is absent, the movie threatens to drown in its own mustiness. Either way, director Hackford, whose 1997 thriller "The Devil's Advocate" was far superior, has put a lot of time and money into a motion picture that adds up to very little, and practically screams out for a reedit. "Proof of Life" is right; without Crowe, the only proof of life in this unfortunate misfire would be the physical movements of the camera.
- Copyright 2000 by Dustin Putman Http://us.imdb.com/ReviewsBy?Dustin+Putman Reviews by Dustin Putman
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


A Verified Information-Flow Architecture
Commented Coq development (Basic Machine)
December, 2013
The complete sources can be downloaded from
here (licence).
Contents
Entry point
- Main.v: a recap of the main theorems of the paper
Common definitions
- Instr.v: instruction shared by all machines
- Semantics.v: generic definition of a machine semantics
- TINI.v: definition of non-interference
- Refinement.v: definition of a refinement between two semantics
Abstract machine
Symbolic abstract machine
- Rules.v: definition and evaluation of the DSL for rules
- QuasiAbstractMachine.v: semantics of the quasi-abstract machine (= symbolic abstract machine)
Concrete machine
DSL compiler - Fault-handler generation
- CodeGen.v: definition of generic codegenerators
- CodeTriples.v: definitions and lemmas about triples
- CodeSpecs.v: triples and lemmas about generic code generators
- Encodable.v: type class for types that can be encoded as integers
- FaultRoutine.v: definition and correctness proof of the fault handler generator


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Zunder Zifflin
Introduction
This project case is about Zunder Zifflin (fiction), a growing paper company based in Alexandra, Virginia. Zunder Zifflin has been known to be one of the companies in the US to be on the lookout as their numbers are off the charts, even without the help of online shopping/e-commerce. Our aim here is to create logo as well as a website for online shopping matters so that Zunder Zifflin can be revived and compete with the big chains. The requirements for the website is it must provide information regarding their company, registration as a member, products that they sell, promos, and a way to contact Zunder Zifflin.
Basic Requirements
First of all, there are some requirements from Zunder Zifflin that needs to be fulfilled. The first one is about the logo. It has to represents the image of their company that has professional principles and consider the customer segment, shape and colors when designing the logo. The second one is about creating a blueprint of the website and must have header, navigation, content, and footer as its structure. The last one is about the contents, the website should provide information regarding their company, registration as a member, and products that they sell. Since I didn't work alone, I was helped by my team for the creation of logo design and blueprints and I handled the implementation of the blueprint in the code.
Blueprint
For such a professional company, my team thought that it would be better to make a website that looks clean, neat, and spacious. In order to implement that look, on the home page we put promos banner in image carousel, a few new collection showcase, a 'why us' section, and a footer that contains their social media hyperlinks. Other pages will be hyperlinked into buttons in a menu button on the right side of home page. We also make the web page responsive so no matter what device the user use, they can access and see the website with no problem at all.
Implementation
For the web part, there are a few conditions that I have to follow in each pages. On the home page, they wants to give an image-slider (using jQuery) showing promos that are available right now. Optionally we can add several images to show what kind of products available. And they want to convince the customer that Zunder Zifflin is the best choice for them by showing them a list of advantages they have over their competition.
On the product page, they want informations such as product name, price, rating, and brief description is provided.
On the company profile page, the information that needs to be provided is company description and company's moto.
On the contact page it should provides information about the companies headquarter and all their branches from all over the place and also other information auch as email addresses and phone numbers.
And for the registration page it should help customer to register and become a member by filling some personal information such as name, email, gender, address, city, and agreement to company terms and services. 5 kinds of validation using JavaScript is needed to validate the given personal information.


G. Pape
socklog
socklog - network logging
Logging through TCP
Logging through UDP
Logging via network connection cannot be made reliable. There is always
a possibility for failures. The network connection itself may be down or
the receiving machine has crashed for example. So there must be a
decision, what to do in such cases.
-
logging is still done locally through
svlogd.
-
the log is transmitted through a network connection (if possible)
when svlogd
decides that current is big enough, using
svlogd's
processor feature.
-
since this transmission cannot be made reliable, there is a tool
tryto that limits the time to try this
transmission. See below for examples.
-
if the transmission of current fails, the log will be saved
locally,
svlogd
remembers the failure in its state and
tryto includes the error messages into
the transmission on the next run, so the remote machine gets the
information of log transmission failures.
There are no restrictions on how to transmit the log data, a separate
process of your choice will do the work, e.g. netcat or
tcpclient.
This modularity lets you easily insert authentication, compression,
encryption and other things.
Example setup
Log Server (machine receiving log data)
Setup a socklog-ucspi-tcp service as described in
Configuration with the following
socklog-ucspi-tcp/run and socklog-ucspi-tcp/log/run
scripts:
socklog-ucspi-tcp/run:
#!/bin/sh
PORT=10116
exec 2>&1
exec tcpsvd -vl0 -unobody 0 "$PORT" socklog ucspi TCPREMOTEIP
socklog-ucspi-tcp/log/run:
#!/bin/sh
exec chpst -ulog svlogd -t main/main main/<IP_ADDRESS>
and socklog-ucspi-tcp/log/main/<IP_ADDRESS>/config
# cat <IP_ADDRESS>/config
-*
+<IP_ADDRESS>:*
You will then find all log data from remote hosts that was successfully
transmitted in main/main/. Log data from <IP_ADDRESS>
will additionally be saved in main/<IP_ADDRESS>/.
Log client (machine sending log data)
Change the socklog configuration to use a processor to transmit
the log data:
socklog-unix/log/run:
#!/bin/sh
exec chpst -ulog svlogd ./main/main
socklog-unix/log/main/main/config
s4096
n20
!tryto -pv nc <IP_ADDRESS> 10116
and restart the log service:
# sv restart socklog-unix/log
On each rotation of
svlogd's
current, the data will be transmitted to
<IP_ADDRESS>:10116 using tryto
and netcat, failures will be noticed and notified on the next run.
Transmitting log messages through UDP should only be used within private
networks.
Logging through UDP doesn't ensure that the log messages actually reach the
log server, and doesn't provide authentication and authorization.
It's the old-style UNIX syslog remote logging, and supported by
socklog for compatibility reasons.
Example setup
Log Server (machine receiving log data)
Setup a socklog-inet service as described in
Configuration with the following
socklog-inet/run and socklog-inet/log/run scripts, and
the following socklog-inet/log/main/config log configuration:
socklog-inet/run:
#!/bin/sh
exec 2>&1
exec chpst -Unobody socklog inet 0 514
socklog-inet/log/run:
#!/bin/sh
exec chpst -ulog svlogd -t main/main main/<IP_ADDRESS>
and socklog-inet/log/main/<IP_ADDRESS>/config:
# cat <IP_ADDRESS>/config
-*
+<IP_ADDRESS>:*
You will then find all log messages from remote hosts that were successfully
transmitted in main/main/.
Log messages from <IP_ADDRESS> will additionally be saved in
main/<IP_ADDRESS>/.
Log client (machine sending log data)
Tell socklog to write raw syslog messages without converting syslog
priority and facility to names by adding the -R option:
socklog-unix/run:
#!/bin/sh
exec 2>&1
exec chpst -Unobody socklog -R unix /dev/log
Then change the configuration of socklog's main log directory to tell
svlogd to transmit
log messages through UDP:
/var/log/socklog/main/config:
s9999
n2
U<IP_ADDRESS>:514
Restart the service, and tell the log service to reload its configuration:
# sv restart socklog-unix
# sv hup socklog-unix/log
Now each log message will be sent through UDP to <IP_ADDRESS>:514, and
not written to the log directory.
If svlogd has trouble
transmitting data through UDP, and is able to detect an error, it logs an
error message followed by the log message to the log directory.
Of course you can configure socklog to log through UDP while keeping
local logging enabled, and also select log messages to be transmitted through
UDP by pattern.
See the documentation of
svlogd for details.
Gerrit Pape<EMAIL_ADDRESS>$Id: network.html,v 1.19 2006/03/06 12:56:33 pape Exp $


const lucy = require("bindings")("lucy");
/**
* @class IndexSearcher
* @description Use the IndexSearcher class to perform search queries against an index. IndexSearchers operate against a single point-in-time view or Snapshot of the index. If an index is modified, a new IndexSearcher must be opened to access the changes.
* @example
* const index_searcher = new lucy.IndexSearcher("path/to/lucy_index");
*
* @param {String} lucy_index is the path to the Lucy Index file
*/
lucy.IndexSearcher = lucy.IndexSearcher;
/**
* @class Schema
* @description A Schema is a specification which indicates how other entities should interpret the raw data in an inverted index and interact with it. Once an actual index has been created using a particular Schema, existing field definitions may not be changed. However, it is possible to add new fields during subsequent indexing sessions.
* @example
* const schema = new lucy.Schema();
*/
lucy.Schema = lucy.Schema;
/**
* @class EasyAnalyzer
*
* EasyAnalyzer is an analyzer chain consisting of a StandardTokenizer, a Normalizer, and a SnowballStemmer.
*
* @example
* const easy_analyzer = new lucy.EasyAnalyzer("en"); // new
*
* @example
* const easy_analyzer = lucy.EasyAnalyzer("en"); // No new
*
* @param {String} lang is the two letter language id to analyze
*/
lucy.EasyAnalyzer = lucy.EasyAnalyzer;
/**
* @class FullTextType
*
* FullTextType is an implementation of FieldType tuned for “full text search”.
* Full text fields are associated with an Analyzer, which is used to tokenize and normalize the text so that it can be searched for individual words.
* For an exact-match, single value field type using character data, see StringType.
*
* @param {EasyAnalyzer} easy_analyzer is the EasyAnalyzer that tokenizes and normalizes the text
*/
lucy.FullTextType = lucy.FullTextType;
module.exports = lucy;


Introduction
Starting from the research question, we used the main query, “Web personalization”, to investigate how this topic is discussed in newspapers like the NY Time, The Guardian and the news collector Google News.
The protocol starts disconnecting from the personal Google account and opening an incognito window. For each of the three newspapers the protocol move on setting the research terms: searching the query “web personalization” by relevance and filtering by date (from the first dai of the year 2014 to the last day of the same year). For each page of results some informations as link, author, title, date, category were asked to be extracted.
With a manual search all the urls necessary for the total research was collected and then used with kimono to obtain the entire dataset. After having analyzed all articles, 43 of them were kept for the New York Times, 20 for the Guardian and 76 for Google News.
The analysis has led to determine which articles were Pros or Con or not relevant.
The outputs are three graphs:
1. An overall of the articles obtained with Kimono, where the articles are disposed, by year, by kind and by position about the debate;
2. A comparison between the categories and the opinions;
3. A general “trend” for each newspaper, for year and in general.


[%- page.import({
title => 'Installing Perl on Unix/Linux',
section => 'installing',
description => "How to install Perl on Unix/Linux",
keywords => "Perl, Unix/Linux, Installing Perl on Unix/Linux, Perl setup on Unix/Linux",
})
-%]
A good setup for Perl on Unix/Linux based systems:
-
Install a compiler, such as
gcc through your system package management (e.g. apt, yum).
- Open a Terminal
and copy & paste the command below
into it (then press the 'return' key).
[% WRAPPER code_snippet %]curl -L http://xrl.us/installperlnix | bash[% END %]
If you are interested in the details of the setup above..
- To build and install Perl and many of the thousands of useful
Perl modules you need to have a compiler.
- To interact with the command line and run Perl commands, a terminal
application is needed.
- The Perlbrew website lists many
of it's advantages. We recommend it here because it separates your
installation from the system Perl, this makes upgrading your OS less likely
to cause issues with your own Perl setup. It also means you can use a newer
Perl than the default one which comes with your OS.
-
App-cpanminus
provides the
cpanm
tool, which makes installing modules very simple to do.


I am an experimental particle physicist working at the ATLAS experiment of the Large Hadron Collider (LHC) at CERN. Comprehensive background in data analysis, mathematical modelling and statistical analysis. R&D of silicon particle detectors and online event selection systems. Several years of experience in creating scientific and educational capacity development initiatives for social progress. I am currently working as a researcher at the LPNHE, a lab of the French National Center for Scientific Research (CNRS) and I am co-coordinator of the LA-CoNGA Physics project. See my curriculum vitae for more information.
I have been engaged in several forms of outreach and education over the past few years: public seminars, physics masterclasses for high school students, guided visits to CERN, mentorship programs for girls in STEM.
A program to foster the development of the higher-level physics education and research carried out in Venezuela, through a fellowship program starting in 2019 for professors in the country.
The program brings physics to under-represented people around the world. The team has organized projects in many countries around the world. So far I have planned and led activities in Venezuela, Colombia, Peru, Ecuador, Uruguay and Argentina.
CEVALE2VE promotes high energy physics in Latin-America through webinars, virtual courses and career & opportunities sessions. Partnerships with institutions in Venezuela, Colombia, Peru and Ecuador.
My professional and social development experience taught me the importance of inclusiveness and diversity in leadership positions, both inside and outside academia. That is how I got involved with the Homeward Bound Project (HP), a one year long leadership program for women with a science background to learn the skills to influence policy and decision makers about global challenges. The program culminates in a 3-week expedition to Antarctica. The HB aims to create and equip a network of 1,000 women by selecting around 80 women from around the globe each year to make an impact on the way we care about the planet. I am honored and happy to be part of the 2020 team. You can follow my Homeward Bound journey here (blogging in English and French)


-
Join us on Slack
Get updates about the project, meet other community members, and get your questions answered in our community Slack.
-
Report an issue
Submit bug reports, suggest new features, or follow development on our GitHub repo.
-
More ways to get help
- Post your RethinkDB questions on Google Groups or Stack Overflow.
- Reach us on Twitter.
- Join us on Discord.
- Join us on IRC (#rethinkdb on Freenode).


Drugs are good for you and can be fun depending on your situation. But it'sour belief that they're not the first go-to solution, nor is it for everybody.
In a perfect world (and it is far from a perfect world), we want you to live an exciting fulfilling life with the least amount of chemicals into your body (with the exception of food, food is good).
You've always wanted to try MDMA. You've heard it helps some people with trauma and stories of good times. A hot girl walks up to you and offers you what she says is MDMA.
You'll never be sure what she's offering is safe, but you can be safer