System Architect Picture "Fundamental Characteristic"
Parent Diagram:
Subject Characteristic
(OMT Object Model)


{% load i18n %}
{% trans "Choose the virtual machine time." %}
{% trans "multi screen configuration is 1." %}
{% trans "by default, the USB control default to yes." %}
{% trans "The Cloud Desktop allows access to the Clipboard option by default." %}
{% trans "the disk type default to virtro, choose ide for xp." %}
{% trans "When you select the shutdown restore is yes, the desktop will restore system to the initial state after you shutdown, the system does not save any user action. In addition, create and restore incremental snapshots of the desktop with shutdown restore is no sense." %}


This is Loris, an image server that implements the IIIF Image API Level 2.
See http://iiif.io/api/image/2.0/ for details
and https://github.com/loris-imageserver/loris.
This is Loris, an image server that implements the IIIF Image API Level 2.
See http://iiif.io/api/image/2.0/ for details
and https://github.com/loris-imageserver/loris.


CHAPTER 3.4.2: Pipelined Reliable Data Transfer Protocol
Utilization of the sender (or the channel) is the fraction of time the sender is actually busy sending bits into the channel:
Usender = (L/R)/(RTT + L/R)
The stop-and-wait protocol has a rather dismal sender utilization.
The solution to this particular performance problem is simple: Rather than operate in a stop-and-wait manner, the sender is allowed to send multiple packets without waiting for acknowledgments
This technique is called Pipelining
Consequences for rdt:
The range of sequence numbers must be increased (not only 1 and 0).
The sender and receiver sides of the protocols may have to buffer more than one packet. Minimally, the sender will have to buffer packets that have been transmitted but not yet acknowledged.
The range of sequence numbers needed and the buffering requirements will depend on the manner in which a data transfer protocol responds to lost, corrupted, and overly delayed packets. Two basic approaches toward pipelined error recovery can be identified: Go-Back-N and selective repeat.
1. Go-Back-N
The range of permissible sequence numbers for transmitted but not yet acknowledged packets can be viewed as a window of size N over the range of sequence numbers.
In our GBN protocol, an acknowledgment for a packet with sequence number n will be taken to be a cumulative acknowledgment, indicating that all packets with a sequence number up to and including n have been correctly received at the receiver.
Suppose now that packet n is expected, but packet n + 1 arrives. Because data must be delivered in order, the receiver could buffer (save) packet n + 1 and then deliver this packet to the upper layer after it had later received and delivered packet n. However, if packet n is lost, both it and packet n + 1 will eventually be retransmitted as a result of the GBN retransmission rule at the sender.
Problem: unnecessary retransmissions.
2. SR
Selective-repeat protocols avoid unnecessary retransmissions by having the sender retransmit only those packets that it suspects were received in error (that is, were lost or corrupted) at the receiver.
SR sender events and actions
Data received from above: When data is received from above, the SR sender checks the next available sequence number for the packet. If the sequence number is within the sender’s window, the data is packetized and sent; otherwise it is either buffered or returned to the upper layer for later transmission, as in GBN.
Timeout: Timers are again used to protect against lost packets. However, each packet must now have its own logical timer, since only a single packet will be transmitted on timeout.
ACK received: If an ACK is received, the SR sender marks that packet as having been received, provided it is in the window. If the packet’s sequence number is equal to send_base, the window base is moved forward to the unacknowledged packet with the smallest sequence number. If the window moves and there are untransmitted packets with sequence numbers that now fall within the window, these packets are transmitted.
SR receiver events and actions
If the packet was not previously received, it is buffered. If this packet has a sequence number equal to the base of the receive window, then this packet, and any previously buffered and consecutively numbered (beginning with rcv_base) packets are delivered to the upper layer.
Packet with sequence number in [rcv_base-N, rcv_base-1] is correctly received. In this case, an ACK must be generated, even though this is a packet that the receiver has previously acknowledged.


childrenCaptionAlignment – defines the alignment of child components. Two options are available: LEFT and RIGHT. The default value is LEFT. Applicable only when the captionPosition attribute is LEFT.
childrenCaptionAlignment
LEFT
RIGHT
captionPosition


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NIGHT ZOO A film review by Jeff Meyer Copyright 1988 Jeff Meyer
Seen at the Seattle Film Festival: NIGHT ZOO (Canada, 1987) Director/Screenwriter: Jean-Claude Lauzon Cast: Roger Le Bel, Gilles Maheu, Lynne Adams, Lorne Brass, Germain Houde
NIGHT ZOO had a lot of good "word of mouth" before it reached the festival, and I was looking forward to seeing it. Set in Montreal, it talks about an ex-con named Marcel who is released after serving a sentence for drug-smuggling. Upon returning to his apartment, he is rousted by a pair of sadistic cops who he sold the drugs for; Marcel hid the money before getting inside, and the cops want it back. At the same time, his father and he are estranged, and his father is in very poor health. As Marcel's situation with the two cops becomes more tense, the wall between father and son crumbles, and he plans to take his father away from the cesspool of the city.
NIGHT ZOO has mainly been praised for being able to move between dark, very brutal crime drama and the tender relationship between Marcel and his father. I'd agree with that up to a point; the scenes with Marcel and his father fishing, and their gradual reconciliation, are quite good. However, the final "hunting trip" at the end just becomes odd, and the drug smuggling plot is resolved as an afterthought.
The photography is quite good, and reminded me somewhat of DIVA -- slick city views, combined with romantic shots of the country. The story, though, lacks staying power, and the performances, while good, need more support from the story.
Moriarty, aka Jeff Meyer INTERNET<EMAIL_ADDRESS>Manual UUCP: {uw-beaver, sun, microsoft}!fluke!moriarty
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'Photomontage.'
London: Thames and Hudson.
'Modern Welding.'
Illinois: The Goodheart-Willcox Co.
'The Collection of W.F.P. Burton.'
Johannesburg: University Art Galleries.
'The Empire Writes Back.'
London: Routledge.
'The Automatic Battlefield.'
In
'The Independent on Sunday.'
January 20: 10.
'For a Critique of the Political Economy of the Sign.'
St. Louis: Telos Press.
'Simulations.'
New York: Semiotics.
'The Coming of a Post-Industrial Society:
A Venture in Social Forecasting.'
New York: Basic Books.
'The Life of Henry Moore.'
London: Faber and Faber.
'Dictionary of Symbols.'
New York: Facts of Life.
'Judgement on Gotham.'
New York: DC Comics.
'The Intelligence War.'
London: Salamandar.
'Andries Botha.'
Durban: Catalogue, The Standard Bank Young Artist Award.
'Young Artists, Defiance Behind a Smiling Facade.'
In
'The New York Times.'
September 29: 53.
'Dogwatch.'
Sandton: Catalogue, The Goodman Gallery.
'Terminal Identity.
The Virtual Subject in Post-Modern Science Fiction.'
Durham: Duke University Press.
'Naked Lunch.'
London: Flamingo.
'Theories of Modern Art.'
Los Angeles: University of California Press.
'A Dictionary of Symbols.'
London: Thames and Hudson.
'The Predicament of Culture.'
Massachusetts: Harvard University Press.
'Waiting for the Barbarians.'
London: Penguin Books.
'Garry Hill. Beyond Babel.'
Amsterdam: Catalogue, Stedelijk Museum Amsterdam.
'Andy Warhol.'
London: Thames and Hudson.
'The science and practice of welding.
Volume 2. The practice of welding'
London: Cambridge University Press.
'Second Variety.'
New York: Ballantine Books.
'Beyond the Barricades.'
Durham: Aperture in association with Documentary Studies,
Duke University.
'Art of Protest.'
In
'Leadership Magazine.'
Cape Town: Vol. 5. No.6: 60.
'Cyberpunk.'
In
'Time Magazine.'
March 1: 39.
'Postmodern Culture.'
London: Pluto Press.
'Discipline and Punish: The Birth of the Prison.'
Middlesex: Penguin Books.
'New, Used, Improved: Art of the Eighties.'
New York: Abbeville Press.
'Philisophical Foundations of Cybernetics.'
Kent: Abacus Press.
'Bionica. Schakel tussen bioloog en ingenieur'
The Netherlands: Wereldakademie, Meulenhoff en De Haan.
'William Kentridge. Drawings and Projections.'
Sandton: The Goodman Gallery.
'The Transported: A South African Odyssey.'
Durham: Aperture in association with Documentary Studies,
Duke University.
'Illuminating Video. An Essetial Guide to Video Art.'
Durham: Aperture in association with the Bay Area Video Coalition,
New York: Aperture Foundation.
'Expanded Forms, Notes Towards a History.'
In
'Art and Design, World Wide Video.'
London: The Academy Group.
'The White Tribe of Africa.'
Johannesburg: Macmillan South Africa.
'John von Neumann and Norbert Wiener.
From Mathematics to the Technologies
of Life and Death.'
Cambridge, Massachusetts: The MIT Press.
'The Myth of Primitivism.'
London: Routledge.
'The Iron Age of Sculpture.'
In
'Time Magazine.'
May 17:61.
'The Shock of the New.'
London: Thames and Hudson.
'Nothing if Not Critical:
Selected Essays on Art and Artists.'
London: Harvill.
'USS Cor-Ten: High-Strength Low-Alloy Steel.'
Pretoria: Pamphlet, ISCOR Market Development.
'Postmodernism, or,
The Cultural Logic of Late Capitalism.'
London: Verso.
'Introduction'
to Conrad, J.
'Heart of Darkness and Typhoon.'
Parklands: A.D. Donker.
'Baudrillard: A Critical Reader.'
Oxford: Blackwell.
'The Hollywood Film Industry.'
London: Routledge.
'Rauschenberg / Art and Life.'
New York: Abrahms.
'The Race to Rewire America.'
In
'Fortune Magazine.'
April 1993: 29Ð38.
'Postmodern Currents;
Art and Artists in the Age of Electronic Media.'
Michigan: UMI Research Press.
'My Traitor's Heart.'
London: The Bodley Head.
'Storming the Reality Studio:
A Casebook of Cyberpunk and Postmodern Fiction.'
Durham: Duke University Press.
'Understanding Media.'
London: Abacus.
'The Medium is the Message.'
London: Random House.
'Letters of Marshall McLuhan.'
Toronto: Oxford University Press.
'1984.'
London: Penguin Books.
'Picasso Cubism (1907-1917).'
New York: Rizzoli.
'Lost Magic Kingdoms and
Six Paper Moons From Nahuatl.'
London: British Museum Publications.
'Bill Viola: Unseen Images.'
London: Catalogue, The Whitechapel Art Gallery.
'The Soft Machine: Cybernetic Fiction.'
New York: Methuen Inc.
'Nadir: A Graphic Interpretation of Dispossession
and Aspects of Conflict.'
Cape Town: University of Cape Town.
'Modern Sculpture: A Concise History.'
London: Thames and Hudson.
'Rauschenberg.'
New York: Random House.
'Cybernetics: Machines That Make Decisions.'
London: Collins Publishers.
'Mondo 2000: A User's Guide to the New Edge.'
London: Thames and Hudson.
'Approaching Intercultural Communication.'
In Porter, R. (ed.)
'Intercultural Communication: A Reader.'
California: Wadsworth Publishing Company.
'Paolozzi.'
New York: Abrahms.
'Constantin Brancusi.'
New York: Abbeville Press.
'Modern Conditions, Postmodern Controversies.'
London: Routledge.
'The Political Mythology of Apartheid.'
New Haven: Yale University Press.
'The Cybernetic Imagination in Science Fiction.'
Massachusetts: The MIT Press.
'Once More: The Computer Revolution.'
In Dertouzoz, M. (ed.)
'The Computer Age: A Twenty Year View.'
London: MIT Press.
'The paradoxical role of the computer.'
The Netherlands: Holst Memorial Lecture,
Technische Hogeschool Eindhoven.
'Magritte.'
London: The South Bank Centre.
'The Human Use of Human Beings,
Cybernetics and Society.'
New York: Avon Books.
'Resistance Art in South Africa.'
Cape Town: David Philip.
'PhotoVideo.'
London: Rivers Oram Press.
'Virtual Worlds.'
London: Penguin Books.
'Art of the South African Townships.'
London: Thames and Hudson.
'Koperberg.'
Cape Town: Catalogue, The Standard Bank Young Artist Award.
'Interview with Bill Viola.'
In
'Art and Design, World Wide Video.'
London: The Academy Group.


My favorite places
This is a list of my favorite places:
London, England
Portland, Oregon
My favorite places
This is a list of some of my favorite places:
Redwoods, California
San Fransico, California


6.3 Implementation and Analysis of
Stacks
The structure
Stack is the stack data structure. One way to
implement a stack is as a linked list. A simple way to do this
is to typedef Stack to List
(see Example
6.1). In addition to simplicity, using a typedef has the benefit of making the stack
somewhat polymorphic.
Informally, polymorphism is a
principle normally associated with object-oriented languages that allows an object (a variable) of
one type to be used in place of another. This means that
because the stack is a linked list, and hence has the same
properties as a linked list, we can use linked list operations
on it in addition to those of a stack. Thus, the stack can
behave like a linked list when we want it to.
As an example, suppose we want to traverse
the elements of a stack, perhaps so we can display them or
determine whether a specific element resides in the stack. To
do this, we get the element at the head of the list using
list_head and traverse the list
using list_next. Using only
stack operations, we would have to pop the elements one at a
time, inspect them, and push them onto another stack
temporarily. Then, after accessing all of the elements, we
would need to rebuild the original stack by popping the
elements off the temporary stack and pushing them back onto
the original one. This method would be less efficient and
undoubtedly would look less than intuitive in a program.
Example 6.1.
Header for the Stack Abstract Datatype /*****************************************************************************
* *
* ------------------------------- stack.h -------------------------------- *
* *
*****************************************************************************/
#ifndef STACK_H
#define STACK_H
#include <stdlib.h>
#include "list.h"
/*****************************************************************************
* *
* Implement stacks as linked lists. *
* *
*****************************************************************************/
typedef List Stack;
/*****************************************************************************
* *
* --------------------------- Public Interface --------------------------- *
* *
*****************************************************************************/
#define stack_init list_init
#define stack_destroy list_destroy
int stack_push(Stack *stack, const void *data);
int stack_pop(Stack *stack, void **data);
#define stack_peek(stack) ((stack)->head == NULL ? NULL : (stack)->head->data)
#define stack_size list_size
#endif
6.3.1 stack_init
The stack_init operation initializes a
stack so that it can be used in other operations (see Example
6.1). Since a stack is a linked list and requires the same
initialization, stack_init is
defined to list_init.
The runtime complexity of stack_init is the same as list_init, or O (1).
6.3.2 stack_destroy
The stack_destroy operation destroys a
stack (see Example
6.1). Since a stack is a linked list and requires being
destroyed in the same manner, stack_destroy is defined to list_destroy.
The runtime complexity of stack_destroy is the same as list_destroy, or O (n),
where n is the number of
elements in the stack.
6.3.3 stack_ push
The stack_
push operation pushes an element onto the top of a
stack by calling list_ins_next
to insert an element pointing to
data at the head of the list (see Example
6.2).
The runtime complexity of stack_ push is the same as list_ins_next, or O (1).
6.3.4 stack_ pop
The stack_
pop operation pops an element off the top of a stack by
calling list_rem_next to remove the element at the head of the
list (see Example
6.2). The list_rem_next
operation sets data to point to the data from
the element removed.
The runtime complexity of stack_ pop is the same as list_rem_next, or O (1).
6.3.5 stack_ peek, stack_size
These macros
implement two simple stack operations (see Example
6.1). The stack_ peek macro
provides a way to inspect the element at the top of a stack
without actually popping it, and stack_size evaluates to the size of a
stack. Both of these operations work by accessing members of
the Stack structure.
The runtime complexity of these operations is
O (1) because accessing members
of a structure is a simple task that runs in a constant amount
of time.
Example 6.2.
Implementation of the Stack Abstract Datatype /*****************************************************************************
* *
* ------------------------------- stack.c -------------------------------- *
* *
*****************************************************************************/
#include <stdlib.h>
#include "list.h"
#include "stack.h"
/*****************************************************************************
* *
* ------------------------------ stack_push ------------------------------ *
* *
*****************************************************************************/
int stack_push(Stack *stack, const void *data) {
/*****************************************************************************
* *
* Push the data onto the stack. *
* *
*****************************************************************************/
return list_ins_next(stack, NULL, data);
}
/*****************************************************************************
* *
* ------------------------------ stack_pop ------------------------------- *
* *
*****************************************************************************/
int stack_pop(Stack *stack, void **data) {
/*****************************************************************************
* *
* Pop the data off the stack. *
* *
*****************************************************************************/
return list_rem_next(stack, NULL, data);
}
|


--- layout: default title: Makisu | Makisu path: home ---
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GLADIATOR
Reviewed by Harvey Karten Dreamworks Pictures/Universal Pictures Director: Ridley Scott Writer: David Franzoni and John Logan and William Nicholson, story by David Franzoni Cast: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Richard Harris, Derek Jacobi, Djimon Hounsou,
If this review were limited to two words, these words would reflect the grandiloquent gesture of the 50,000 spectators in the Roman Colosseum: "Pollice sursum." Thumbs up. The expected huge audience for this $100 million movie is likely to be as excited by its realization as the 50,000 fans at Rome's Colosseum had been when watching the victorious combat of the title hero, Maximus, also known simply as "Gladiator." While grand spectaculars are commonplace for the big Hollywood studios, biblical marvels like "The 10 Commandments" and historical epics centering on ancient Rome have been largely missing from the big screen for the past thirty-five years--victims of cost and perhaps the feeling by studio execs that mainstream moviegoers have lost interest in historical drama.
But thanks to the marvels of modern technology imposed on a fictionalized, historical past, Judah Ben-Hur's chariot in motion looks like a scooter ride at Coney Island when contrasted with the thunder and hoofbeats of the legionnaires in Ridley Scott's robust and bloody tale of revenge. If the lavish spectacles of the fifties and early sixties brought audiences to the theaters for what they could not see on their small TV screens, "Gladiator" will likely pile up box office numbers as well, especially given its sincere, vigorous, wholly credible and consistent action with nary a campy moment for unintentional laughter.
While "Gladiator" is not officially a sequel to any previous effort, the movie takes off where Anthony Mann's 1964 effort "The Fall of the Roman Empire" leaves off. Like Ridley Scott's labor, Mann's picture, starring Sophia Loren and Stephen Boyd, possesses a solid screenplay, masterful direction and terrific ensemble acting and is likewise set in the year 180 A.D. and opening in the Germania forests. This time, Roman legions are fighting the last stronghold of the barbarians, a fully bearded, strange lot of people who are ultimately trashed by an army under the command of Maximus (Russell Crowe). The film opens with photographer John Mathieson's close-up of the face of the great general, a man whose pensive, exhausted look serves effectively enough in place of the lengthy speechifying we'd have expected from seeing earlier historical screenplays such as Joseph L. Mankiewicz's "Cleopatra" and George Stevens's "The Greatest Story Ever Told"--both products of the sixties when the genre was at its height.
When a Roman messenger carrying a request for surrender to the German forces returns on horseback to his own side minus a head, the general's right-hand man quips, "They say no." Maximus gives his final pep talk to the troops before the great battle--a combat scene that could almost be compared for bloodletting with Steven Spielberg's opening of "Saving Private Ryan." "If you find yourself in a green field with the sun on your face, do not be troubled. You're in Elysium and you're already dead," Maximus intones almost poker-faced to the amusement of the spear-and-sword carrying men. Burning the forest that serves as protection for the men of Germania in much the way the U.S. utilized napalm to destroy the shielding groves of Vietnam, Maximus emerges triumphant, impressing the then-reigning emperor Marcus Aurelius (Richard Harris) enough to be named successor to the dying man. When Aurelius--who is troubled that only four of his twenty years was time spent in peace--fails to convey his wishes to the Senate, Aurelius's son Commodus (Joaquin Phoenix) declares himself emperor. The envious neurotic orders the execution of the popular general.
Escaping the executioner, Maximus is captured, sold as a slave by Proximo (Oliver Reed), and turned into a gladiator, where his success in the African ring leads Proximo to take him to the Roman Colosseum for the big time. The remainder of the story alternates political scheming with Maximus's combat in the ring against a varied assortment of foes from other slaves to legionnaires with tigers in tow. Commodus and his allies deal in their own ways with the big man's opponents--particularly renegade Senator Gracchus (Derek Jacobi) who favors a return to a republic, and the emperor's own two-timing sister, the beautiful Lucilla (Connie Nielsen), with whom the emperor is in lust. As we hear the bantering of these statesmen, we cannot help thinking of politics in our own times. Leaders plot to displace one another legally or otherwise and legislatures demand a greater say in the decisions of our era as the U.S. Congress recently did during the impeachment and trial of President Clinton.
Filmed principally in Malta, and also in the southern city of Ouarzazarte, Morocco (standing in for the Roman province of Zucchabar), "Gladiator" boasts some intriguing travelogue photography, the most impressive being the mud houses and 500-year-old casbah of the touristic Moroccan city. Ridley Scott does not dare to make any of his many battles redundant, pitting Maximus first against the amateurs in North Africa, later against legionnaires on chariots with spokes on their wheels designed to cut opponents in half, then throwing in a tiger or two (actual, tame cats were used in this production), and finally a reasonably tense one-on-one between Maximus and the emperor himself--after Commodus conveniently delivers a gruesome stab wound to his opponent's back while the latter stands chained inside the Colosseum walls.
Joaquin Phoenix makes for a formidable villain, the epitome of pure evil that Claudius and Nero themselves would envy.  He moreover shows his disdain for the general by describing the way his men executed Maximus's family, the brood to which Maximus wishes to return and do farming after the final battle with Germania.  For her part, Connie Nielsen looks bewitching as the unhappy sister of the emperor, siding with Senator Gracchus and with General Maximus in their desire to rid the vast empire--housing one- quarter of the human population and stretching from North Africa to Britain--of its malicious ruler.
Perhaps to no one's great surprise, Russell Crowe is already being touted for the Best Actor Oscar of the year 2000, an award on which he barely missed out courtesy of a crackerjack performance by Kevin Spacey in yet another DreamWorks production, "American Beauty." Had this actor in the role of research scientist in Michael Mann's "The Insider" been afforded the weaponry he uses in this movie, none of the seven lying CEO's of the tobacco giants would be alive today. Crowe shows an uncanny ability to exchange the bearings of a paunchy, middle-aged high-school teacher in "The Insider" for the lean, mean, bearded general this time around. He's the guy that will bring in the women for a picture that's hardly a chick flick, while the youthful crowd will be captivated by chariots crashing and dismantling against the walls of the Colosseum, heads rolling, torsos bloodied, and tigers maimed. "Gladiator" is fast and furious, its physical action tempered with the verbal sounds of Machiavellian political maneuvers. This is not a movie that can wait for video nor should it be ruined months from now by inserting a tape or DVD into your home entertainment system. Savor "Gladiator" for the big screen in all of John Mathieson's wonderful wide-screen action replete with an array of smashing costumes, defensive armor, and determined weaponry.
Rated R. Running time: 154 minutes. (C) 2000 by Harvey Karten<EMAIL_ADDRESS>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


R/emyweather-package.R
This package contains climatic data from the Greek National Meteorological Service, as well as a number of useful other related data sets.
The climatic data are taken from the Greek National Meteorological Service and come from 21 weather stations, with a time step of 3 hours. The time period is from 1975 to 2004. The variables are: air pressure, temperature (dry, wet, max and min), relative humidity, wind (direction and speed), visibility, total cloud amount and precipitation. These time series were not checked for consistency or errors.
The stations' data are taken from the Greek National Data Bank for Hydrological and Meteorological Information, Hydroscope. The variables are: stations' id, coordinates, altitude and water division.
The variables are created using the function tidy
from the
broom
package for use with the ggplot2
package.
The data are retrieved from:
Useful links:


|
AZX (AppZone eXtensions) documentation
1.1.9-CxL
A set of companion utilities that make AZ development easier
|
Functions that can be used to perform FTP operations. More...
Data Structures | |
| struct | AZX_FTP_XFER_TAG |
| Generic transfer information structure. More... | |
| struct | AZX_FTP_NET_BUF_TAG |
| Ftp Client parameters structure. More... | |
| struct | AZX_FTP_FILE_INFO |
| Generic file information structure. More... | |
Typedefs | |
| typedef INT32(* | azx_ftp_dataCallback) (CHAR *data, UINT32 datalen, INT32 ev) |
| FTP data callback. More... | |
| typedef struct AZX_FTP_XFER_TAG | AZX_FTP_XFER_T |
| Generic transfer information structure. More... | |
Enumerations | |
| enum | AZX_FTP_USER_CB_EV_E { DATA_CB_START, DATA_CB_DATA, DATA_CB_END } |
| FTP user callback events. When data is received, one of the events is reported. More... | |
| enum | AZX_FTP_XFER_E { AZX_FTP_XFER_FILE, AZX_FTP_XFER_BUFF } |
| FTP transfer type. More... | |
Functions | |
| CHAR * | azx_ftp_lastResponse (AZX_FTP_NET_BUF_T *nControl) |
| Return last FTP server response. More... | |
| INT32 | azx_ftp_connect (const CHAR *host, AZX_FTP_NET_BUF_T **nControl) |
| FTP connection function. More... | |
| INT32 | azx_ftp_options (INT32 opt, INT32 val, AZX_FTP_NET_BUF_T *nControl) |
| FTP options function. More... | |
| INT32 | azx_ftp_setCallback (const AZX_FTP_CALLBACK_OPTIONS_T *opt, AZX_FTP_NET_BUF_T *nControl) |
| FTP callback set function. More... | |
| INT32 | azx_ftp_clearCallback (AZX_FTP_NET_BUF_T *nControl) |
| FTP callback clear function. More... | |
| INT32 | azx_ftp_login (const CHAR *user, const CHAR *pass, AZX_FTP_NET_BUF_T *nControl) |
| FTP login function. More... | |
| INT32 | azx_ftp_site (const CHAR *cmd, AZX_FTP_NET_BUF_T *nControl) |
| FTP SITE command. More... | |
| INT32 | azx_ftp_sysType (CHAR *buf, INT32 max, AZX_FTP_NET_BUF_T *nControl) |
| FTP SYST command. More... | |
| INT32 | azx_ftp_mkdir (const CHAR *path, AZX_FTP_NET_BUF_T *nControl) |
| FTP make dir at remote server. More... | |
| INT32 | azx_ftp_chdir (const CHAR *path, AZX_FTP_NET_BUF_T *nControl) |
| FTP change current path at remote server. More... | |
| INT32 | azx_ftp_cdUp (AZX_FTP_NET_BUF_T *nControl) |
| FTP move to parent at remote server. More... | |
| INT32 | azx_ftp_rmdir (const CHAR *path, AZX_FTP_NET_BUF_T *nControl) |
| FTP remove dir to remote server. More... | |
| INT32 | azx_ftp_pwd (CHAR *path, INT32 max, AZX_FTP_NET_BUF_T *nControl) |
| FTP get present working directory at remote server. More... | |
| INT32 | azx_ftp_nlst (AZX_FTP_XFER_T *output, const CHAR *path, AZX_FTP_NET_BUF_T *nControl) |
| FTP ask NLST to remote server. More... | |
| INT32 | azx_ftp_dir (AZX_FTP_XFER_T *output, const CHAR *path, AZX_FTP_NET_BUF_T *nControl) |
| FTP ask LIST to remote server. More... | |
| INT32 | azx_ftp_size (const CHAR *path, UINT32 *size, CHAR mode, AZX_FTP_NET_BUF_T *nControl) |
| FTP ask file size to remote server. More... | |
| INT32 | azx_ftp_modDate (const CHAR *path, CHAR *dt, INT32 max, AZX_FTP_NET_BUF_T *nControl) |
| FTP retrieve modification date of remote file. More... | |
| INT32 | azx_ftp_get (AZX_FTP_XFER_T *output, const CHAR *path, CHAR mode, AZX_FTP_NET_BUF_T *nControl) |
| FTP retrieve remote file. More... | |
| INT32 | azx_ftp_put (AZX_FTP_XFER_T *input, const CHAR *path, CHAR mode, AZX_FTP_NET_BUF_T *nControl) |
| FTP send local file. More... | |
| INT32 | azx_ftp_rename (const CHAR *src, const CHAR *dst, AZX_FTP_NET_BUF_T *nControl) |
| FTP rename remote file. More... | |
| INT32 | azx_ftp_delete (const CHAR *fnm, AZX_FTP_NET_BUF_T *nControl) |
| FTP delete remote file. More... | |
| void | azx_ftp_quit (AZX_FTP_NET_BUF_T *nControl) |
| FTP close session. More... | |
| #define | AZX_FTP_DIR 1 |
| Type codes used in azx_ftp_access() More... | |
| #define | AZX_FTP_DIR_VERBOSE 2 |
| #define | AZX_FTP_FILE_READ 3 |
| #define | AZX_FTP_FILE_WRITE 4 |
azx_ftp_access mode codes | |
| #define | AZX_FTP_ASCII 'A' |
| #define | AZX_FTP_IMAGE 'I' |
| #define | AZX_FTP_TEXT AZX_FTP_ASCII |
| #define | AZX_FTP_BINARY AZX_FTP_IMAGE |
azx_ftp_access connection modes | |
| #define | AZX_FTP_PASSIVE 1 |
| #define | AZX_FTP_PORT 2 |
FTP max REST retries | |
Number of retries when using REST command during a RETR operation. When the RETR operation (file get) is performed, and an error occurs (e.g. server closes the connection due to slow transfer), the REST command is tried to restore the download from the point it reached. Up to 5 retries are attempted. | |
| #define | AZX_FTP_MAX_REST 5 |
Functions that can be used to perform FTP operations.
| #define AZX_FTP_ASCII 'A' |
Use ASCII mode
| #define AZX_FTP_BINARY AZX_FTP_IMAGE |
Use binary (image) mode
| #define AZX_FTP_DIR 1 |
Type codes used in azx_ftp_access()
List directory (NLST)
| #define AZX_FTP_DIR_VERBOSE 2 |
List directory verbose (LIST)
| #define AZX_FTP_FILE_READ 3 |
Read file (RETR)
| #define AZX_FTP_FILE_WRITE 4 |
Write file (STOR)
| #define AZX_FTP_IMAGE 'I' |
Use binary (image) mode
| #define AZX_FTP_MAX_REST 5 |
Maximum number of retries for REST during RETR operation
| #define AZX_FTP_PASSIVE 1 |
Use passive mode
| #define AZX_FTP_PORT 2 |
Use active mode
| #define AZX_FTP_TEXT AZX_FTP_ASCII |
Use ASCII mode
| typedef INT32(* azx_ftp_dataCallback) (CHAR *data, UINT32 datalen, INT32 ev) |
FTP data callback.
This callback can be registered while receiving data in buffer mode (NOT in file mode) If a callback is passed to the configuration structure, the provided buffer will be used to retrieve data from the FTP connection, and for each block of data the callback will be called to allow the user to manage the data.
| [in] | data | The buffer with the received data |
| [in] | datalen | Indicates the amount of receive data (see ev parameter description for more details) |
| [in] | ev | This is an event provided by the client. it can be DATA_CB_START DATA_CB_DATA DATA_CB_END |
Refer to AZX_FTP_BUFFER
Sample usage
| typedef struct AZX_FTP_XFER_TAG AZX_FTP_XFER_T |
Generic transfer information structure.
This structure holds the information what kind of transfer media to be used for the ftp get or put operations. It can be file or buffer then the payload can be either a AZX_FTP_FILE_INFO or AZX_FTP_BUFFER_INFO structure
Refer to azx_ftp_get() azx_ftp_put()
Sample usage
| enum AZX_FTP_USER_CB_EV_E |
FTP user callback events. When data is received, one of the events is reported.
| enum AZX_FTP_XFER_E |
| INT32 azx_ftp_cdUp | ( | AZX_FTP_NET_BUF_T * | nControl | ) |
FTP move to parent at remote server.
This function asks remote server to go up to parent folder
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_chdir | ( | const CHAR * | path, |
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP change current path at remote server.
This function asks remote server to check provided path
| [in] | path | Path of the requested work directory. Can be absolute or relative to current remote directory. |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_clearCallback | ( | AZX_FTP_NET_BUF_T * | nControl | ) |
FTP callback clear function.
This function allows to unset a previously set idle callback function
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_get() azx_ftp_put()
| INT32 azx_ftp_connect | ( | const CHAR * | host, |
| AZX_FTP_NET_BUF_T ** | nControl | ||
| ) |
FTP connection function.
This function will perform the network connection to the provided host.
| [in] | host | String with the host name or IP address |
| [in,out] | nControl | Address of the pointer to the FTP client structure that will be initialized |
Refer to azx_ftp_init()
| INT32 azx_ftp_delete | ( | const CHAR * | fnm, |
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP delete remote file.
This function asks remote server to delete a file
| [in] | fnm | Remote file path to be deleted (can be relative or absolute) |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_dir | ( | AZX_FTP_XFER_T * | output, |
| const CHAR * | path, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP ask LIST to remote server.
This function asks remote server an LIST command and returns the response
| [out] | output | AZX_FTP_XFER structure that will contain the LIST response |
| [in] | path | Path to be passed to the LIST command |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_get | ( | AZX_FTP_XFER_T * | output, |
| const CHAR * | path, | ||
| CHAR | mode, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP retrieve remote file.
This function asks remote server to send a remote file
| [out] | output | AZX_FTP_XFER structure that will hold the file content (can be a buffer or a file in the filesystem) |
| [in] | path | Path to be passed to the command. can be relative or absolute. |
| [in] | mode | The communication mode, AZX_FTP_ASCII or AZX_FTP_IMAGE |
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_init() azx_ftp_connect() azx_ftp_login()
| CHAR* azx_ftp_lastResponse | ( | AZX_FTP_NET_BUF_T * | nControl | ) |
Return last FTP server response.
This function will provide the last server response, helping the debugging in case of errors.
| [in] | nControl | Structure pointer of the FTP client |
Refer to azx_ftp_init() azx_ftp_login() azx_ftp_get() azx_ftp_put()
| INT32 azx_ftp_login | ( | const CHAR * | user, |
| const CHAR * | pass, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP login function.
This function performs the FTP login to the remote host
| [in] | user | FTP username |
| [in] | pass | FTP password |
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_init() azx_ftp_connect() FtpQuit()
| INT32 azx_ftp_mkdir | ( | const CHAR * | path, |
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP make dir at remote server.
This function asks remote server to create a directory.
| [in] | path | Path of the new directory. Can be absolute or relative to current remote directory. |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_modDate | ( | const CHAR * | path, |
| CHAR * | dt, | ||
| INT32 | max, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP retrieve modification date of remote file.
This function asks remote server the modification date of a remote file.
| [in] | path | Path to be passed to the command. can be relative or absolute. |
| [out] | dt | Allocated buffer that will contain the timestamp as a string |
| [in] | max | Max size of the buffer |
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_init() azx_ftp_connect() azx_ftp_login()
| INT32 azx_ftp_nlst | ( | AZX_FTP_XFER_T * | output, |
| const CHAR * | path, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP ask NLST to remote server.
This function asks remote server an NLST command and returns the response
| [out] | output | AZX_FTP_XFER structure that will contain the NLST response |
| [in] | path | Path to be passed to the NLST command |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_options | ( | INT32 | opt, |
| INT32 | val, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP options function.
This function allows to set client related options, see azx_ftp_access connection options
| [in] | opt | Option identifier AZX_FTP_CONNMODE AZX_FTP_CALLBACK AZX_FTP_IDLETIME AZX_FTP_CALLBACKARG AZX_FTP_CALLBACKBYTES |
| [in] | val | Option value |
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_init()
| INT32 azx_ftp_put | ( | AZX_FTP_XFER_T * | input, |
| const CHAR * | path, | ||
| CHAR | mode, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP send local file.
This function sends a local file to the remote server
| [in] | input | AZX_FTP_XFER structure that will hold the file content (can be a buffer or a file in the filesystem) |
| [in] | path | Path to be passed to the command. can be relative or absolute. |
| [in] | mode | The communication mode, AZX_FTP_ASCII or AZX_FTP_IMAGE |
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_init() azx_ftp_connect() azx_ftp_login()
| INT32 azx_ftp_pwd | ( | CHAR * | path, |
| INT32 | max, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP get present working directory at remote server.
This function asks remote server the present working directory
| [out] | path | Allocated buffer that will contain the CWD string |
| [in] | max | Max size of the buffer |
| [in] | nControl | Pointer to the FTP client structure |
| void azx_ftp_quit | ( | AZX_FTP_NET_BUF_T * | nControl | ) |
FTP close session.
This function asks remote server to close the session, and closes the communication socket
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_init() azx_ftp_connect() azx_ftp_login()
| INT32 azx_ftp_rename | ( | const CHAR * | src, |
| const CHAR * | dst, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP rename remote file.
This function asks remote server to rename a file
| [in] | src | Original file path |
| [in] | dst | Destination file path to be applied |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_rmdir | ( | const CHAR * | path, |
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP remove dir to remote server.
This function asks remote server to delete a directory.
| [in] | path | Path of the new directory. Can be absolute or relative to current remote directory. |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_setCallback | ( | const AZX_FTP_CALLBACK_OPTIONS_T * | opt, |
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP callback set function.
This function allows to set the idle callback function, that will be called when a defined event occurs
| [in] | opt | pointer to the struct holding the parameters |
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_get() azx_ftp_put()
| INT32 azx_ftp_site | ( | const CHAR * | cmd, |
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP SITE command.
This function sends site specific commands to remote server (like SITE IDLE 60 or SITE UMASK 002 ). Inspect SITE HELP output for complete list of supported commands. use FtpLastResponse() to read the server reply
| [in] | cmd | String to be used as SITE parameter. |
| [in] | nControl | Pointer to the FTP client structure |
| INT32 azx_ftp_size | ( | const CHAR * | path, |
| UINT32 * | size, | ||
| CHAR | mode, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP ask file size to remote server.
This function asks remote server the size in bytes of a remote file
| [in] | path | Path to be passed to the command. can be relative or absolute. |
| [out] | size | Unsigned long variable that will contain the file size |
| [in] | mode | The file mode, AZX_FTP_ASCII or AZX_FTP_IMAGE |
| [in] | nControl | Pointer to the FTP client structure |
Refer to azx_ftp_init() azx_ftp_connect() azx_ftp_login()
| INT32 azx_ftp_sysType | ( | CHAR * | buf, |
| INT32 | max, | ||
| AZX_FTP_NET_BUF_T * | nControl | ||
| ) |
FTP SYST command.
This function sends a SYST command to the remote server. The response will strip the numeric return code. For example: >SYST <215 UNIX Type: L8 The response will be "UNIX Type: L8"
| [out] | buf | Allocated buffer that will be used to contain the response |
| [in] | max | Max size of provider buffer |
| [in] | nControl | Pointer to the FTP client structure |


This offers the ability to search courses based on a keyword where keyword is at least 4 characters long and matched with any substring within courseCode or className. This keyword is soft-matched (ignoring white-space, minor spelling variations or mistakes).


Welcome to the Simple.Web and NEventStore F# project!
This (pure F#) project contains a few things to get started using Simple.Web, including the beginnings of a Twitter Bootstrap UI (Bootswatch's Yeti, to be precise), less the JavaScript. (This is so you can use Angular-UI or the raw Twitter Bootstrap JavaScript–your choice.) It also setup to use Font Awesome 4.0.3 out the gate. It is also configured to use NEventStore with a "quick and dirty" bus. See this blog post and this blog post for some examples of how to get started.
(This template does not use Razor. If you'd like to use it, add the Simple.Web.Razor NuGet package.)
If you like this template (or don't), you might be interested in some of the other community-supported F# web project templates.
Happy Coding!


Tyson Fury opens up about mental health struggles
by By Press AssociationTyson Fury has opened up about his mental health problems, revealing at one point he believed he was “being tortured by demons”.
In an interview with BBC Radio 5 Live’s Nihal Arthanayake, Fury discussed his “Behind The Mask” autobiography and talked of the Halloween night in 2017 that changed his life.
Fury explained how he had gone to the pub dressed in a skin-tight skeleton costume at the height of his drinking and mental health issues and decided to return home early.
“At that point I knew I couldn’t do it on my own,” he said. “I got on my knees and, for the first time in my life, I knew I couldn’t stop going to the pub (and stop) eating on my own.
“I was crying. When I arose, I was bouncing with excitement. I had faith that everything was going to be alright.”
Fury spoke of the importance of his religious beliefs and admitted to a possible psychosis diagnosis by his psychiatrist, who claimed in the book that “without faith, he would have killed himself”.
Fury added: “At one point I believed I was being tortured by demons. When you’re really mentally unwell, you do see and hear things.”
At one point I believed I was being tortured by demons
Fury also opened up about some of the abuse and mistreatment he has faced as a member of the travelling community.
He said: “I used to get called disgusting names. I was bullied quite a bit as a kid until I got big and started fighting back.
“I have been refused entry to pubs and restaurants because I’m a traveller.”
:: Nihal Arthanayake is on BBC Radio 5 Live every weekday between 1-4pm


First of all, move each price into span element:
$10
And then, apply inlineCurrency plugin to your elements:
$(document).ready(function () {
$('.jic').inlineCurrency();
});
Result:
You can buy it for $10
You can use inline parameters for special cases:
Ten euros
Result:
Ten euros
If you use decimal or thousands separators in prices, you can set config:
$(document).ready(function () {
$('.jic-test').inlineCurrency({
"thousandsSplit": " ",
"decimalsSplit": ","
});
});
Result:
$100 000,20


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TC BDD Assistant
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A script for grabbing the dominant color or color palette from an image. Uses Javascript and the canvas tag to make it happen.
Read more on my blog | Get the code on Github


Load album photos with Hello.js
Demo
Provider
Albums
Photos
Get Albums from Windows
Get Albums from Facebook
Get Albums from Google
Source
Include hello.js + modules
Setup a listener
Initiate HelloJS
Plug the app keys (client_id')
Get Albums
Album button control
Get Photos
Create photo thumbnail


Panopticon Surveillance
No active alerts.
It has been
unknown
since the last security breach.
System is
not connected
.
Reset system


WITNESS LIST Economic Development Committee April 8, 1999-8:00A HB 946 For: Levy, Rick (Texas AFL-CIO) HB 1013 On: Coufal, David (Texas Workforce Commission) HB 2401 For: Griffith, J. David (Self) Perez, Richard (Self) Quinten, Jim (Self) Thames, Brenda R. (Self) Wise, Andrew (American Electronics Association) On: Franks, Robert (Texas Higher Education Coordinating Board) HB 2609 For: Hoffman, Donna (Self and National Organization for Women in Texas) Ritter, Phil (Texas Instruments Incorporated) On: Coufal, David (Texas Workforce Commission) HB 2614 For: Hately, Mike (Self) Isbell, Tom (Self and Jones County) Limmer, Howard L. (Self) Lindsey, Chloanne (Self and Scurry County) Shields, Chris (Texas Economic Development Council) Trevey, Ralph W. (Self and Commissioner Prct. 1, Scurry County) Wilks, James L. (Self and Texas Mexico and Asian Cooridor Alliance) HB 2881 For: Levy, Rick (Texas AFL-CIO) Sanchez, Joe (Mexican American Legal Defense and Educational Fund) HB 2992 For: Kramer, Cathy (NASA, Clear Lake Area Economic Development Foundation) Weber, Mary Ellen (NASA) On: Moser, Thomas L. (TAC - Texas Aerospace Commission) HB 3142 For: Malik, Hussain (Self) Rakes, PhD, Susan B. (SAS Institute Inc.) Walker, Judy (House of Tutors) HB 3161 For: Dake, Bill (Self and The City of McGregor - City Council) HB 3200 For: Solis, Rene (YWCA El Paso del Norte Region) On: Coufal, David (Texas Workforce Commission) HB 3295 For: Friedheim, Jan (Self and Career Colleges, Schools of Texas) HB 3429 On: Stewart, Branner (Texas Department of Economic Development) HB 3656 For: Guevara, Rev. Alfonso M. (Self) Sarabia, Andres (San Antonio Communities Organized for Public Service - Metro Alliance-Project Quest) On: Zuniga, Leo (Dr. Bob Ramsey, Chancellor - Alamo Community College District)


--- layout: post title: My First "Planet Panorama" Attempt date: 2010-02-10 05:11:00.000000000 -08:00 type: post published: true status: publish categories: [] tags: [] meta: {} author: ---
Below is my first planet panorama attempt. Thoughts?


I was recently given an interesting problem:
Given a set of points in on a common plane , find a point on that minimizes the net cost of traveling from to each other point.
Ignoring the problem of calculating costThe differences between traveling by car, bike, and foot include important time and cost differences. Here, we'll employ Euclidean distance as an uncomplicated, normalizing cost function., this problem may seem fairly straightforward. Let's look at some approaches.
0: as the Median
As it happens, the median of a set of points is guaranteed to be the cost-minimum center of those points only in space. We can show that the median does not hold in via a counter-example: create a triangle with vertices , the median of which is at :
The net cost of traveling from the vertices to the center point can be improved by if we make that center point :
For most, isn't all that much, and the median is a pretty good approximation for the latter point - the geometric median More info., or center as I will refer to it from here. But what if the percent improvement grows higher, say to or or ? How do we derive this geometric median?
1: Function Minimization
What if we attempt to minimize the net cost function? Say that for some point , the net cost of traveling from a set of points with coordinate form to is
Note that this function does *not* have the same minimum as , the minimum of which is the _median_.Hey, pretty good!
Oh man. Maybe not. That looks like a pain in the ass to solve for , let alone simultaneously with I have no idea how to do this efficiently, but if you do, please let me know. Looks like it could be worth a lot of money!. Don't forget this process would have to be automated, too - wow that looks fun!
2: Heuristic Approximation
You know the old saying:
If you can't derive 'em, approximate 'em!
...and so heuristics come to the rescue! How? Well, a good place to start
is WolframAlpha a contoured version of the function whose extrema are
in question.
As expected, the contour slopes in around the previously-shown minimum . Interestingly, there seems to only be one minimum for this function - and in general, there is only one centerSee this paper, which shows that the geometric center is unique and convergent for any set of non-co-linear points. for any set of points! This means we can employ some descent-type optimization method.
Okay, but where do we descend from?
A convenient place would be from the median. It's cheap to compute and fairly close to the center.
How do we descend?
This is a bit trickier. Of course, we can only travel in
, so let's just say we can go up, down,
left, or rightFormally, +y
, -y
, -x
, or
+x
. A more thorough traversal could also employ diagonal directions..
To find the best direction of descent, we travel to a candidate point in each
direction and determine the one that most improves the cost.
What if no direction lowers the cost?
Then we've found our center! Except we could probably do better, by decreasing our search radius and repeating the descent mechanism again. And again, and again, until the approximation of the geometric center is within some acceptable margin of error .
Alright, let's code it!These examples are in Rust
,
but it should be easy to implement the logic in any language of your choice. The
full code can be found here, with a C
version here.
First, the boilerplate - a euclidean cost function.
And now, we can use the previously-defined specification to write a complete algorithm.
Let's plug in our three points from before, and...
[0.21126302083333331, 0.21126302083333331]
Awesome!
n: Some Details
This function runs in timeA method for exact computation of the geometric center in near-linear is proposed here., and its precision can be improved by reducing (epsilon) to an arbitrary minimum.


Eniola Aluko: Juventus striker to leave Italian champions in December
Eniola Aluko will leave Juventus in December after nearly 18 months with the Serie A champions.
The striker, 32, is England Women's joint-10th most capped international, with 102 senior appearances.
Former Chelsea and Birmingham City forward Aluko was also part of Great Britain's team at the 2012 Olympics.
"I feel very fortunate to have achieved such success with all of you," she told Juventus' website. "I have come to the difficult decision to leave Juventus."
Aluko, who helped Juve retain their league title last term, added: "My heart is full to know that I have added three trophies at a special club with special memories. I thank you all so much for this."
She was also part of the side that recently lifted the Italian Supercoppa, having won the Coppa Italia earlier in 2019.
Her final game for the Turin-based club will be 30 November's meeting with title rivals Fiorentina.
Aluko told the Guardian that she was "excited to be moving back to London, and back into women's football in England at a time when there are a lot of exciting opportunities" in an article on Friday.
She was involved in a discrimination case against former England boss Mark Sampson in 2017 and has not played for the national team since 2016.
The Football Association apologised to Aluko in October 2017 for racially discriminatory remarks made by the Welshman in 2014.
BBC Sport has launched #ChangeTheGame to showcase female athletes in a way they never have been before. Through more live women's sport available to watch across the BBC in 2019, complemented by our journalism, we are aiming to turn up the volume on women's sport and alter perceptions. Find out more here.


Run the SQL statements in the right hand panel.
Scenario: One lucky employee
A company that produces gambling equipment for casinos is running a
promotion for its full-time employees. Each month their DB2 database will randomly pick the name of one lucky
full-time employee to be rewarded with a cash prize.
To support this lottery, the database has a few specifications:
- The company keeps the ids, names, job status and salary information of all its employees in the EMPLOYEE table.
- There is a view called FULLTIME_EMPLOYEE that contain the records of full-time employees only.
- There is a function called LUCKY_NUMBER that returns a random number based on an employee's name.
- There is another view called LUCKY_FULLTIME_EMPLOYEE defined on top of FULLTIME_EMPLOYEE view. This view selects
the name with the lowest number based on output from LUCKY_NUMBER function.
Please note the order of CREATE commands:
- LUCKY_FULLTIME_EMPLOYEE is created first, even though the underlying FULLTIME_EMPLOYEE does not exist yet.
- FULLTIME_EMPLOYEE view is created before the underlying EMPLOYEE table is created.
- Function LUCKY_NUMBER depends on the existence of EMPLOYEE table, but it is also created, without error, before CREATE TABLE command
This demonstrates the ability of DB2 9.7 to create objects tolerant of certain errors, like a missing object.
Similarly, DB2 9.7 allows certain errors in SQL Inline Functions.
After running the SQL statements, you will see several errors in the Console - lower right panel.
Despite the failure messages, the commands did work. Warnings were returned to inform
you that dependent objects have not yet been created.


Maharashtra Governor conspired on advice of PM Modi, Amit Shah: Ashok Gehlot
Ashok Gehlot said the Nationalist Democratic Alliance (NDA) and "BJP, in particular, played dirty politics in Maharashtra". The Rajasthan chief minister also slammed the Maharashtra Governor for "hatching a conspiracy on the advice of PM Modi and Amit Shah".
HIGHLIGHTS
- Ashok Gehlot has slammed Maha Guv for administering the oath to Fadnavis and Ajit Pawar in secrecy
- Gehlot said the NDA and "BJP, in particular, played dirty politics in Maharashtra"
- Ashok Gehlot said President Ram Nath Kovind should intervene immediately
Rajasthan Chief Minister Ashok Gehlot has slammed Maharashtra Governor Bhagat Singh Koshyari for administering the oath to BJP's Devendra Fadnavis and NCP's Ajit Pawar at the Raj Bhavan in "secrecy", saying he "hatched a conspiracy" on the advice of PM Narendra Modi and Home Minister Amit Shah.

Also Read
"The Governor is supposed to be non-partisan when takes the oath of the Constitution. The Maharashtra Governor connived with the BJP leaders and hatched a conspiracy," Ashok Gehlot said, adding, "After Haryana, the message given by the voters was clear but the BJP hasn't learnt its lessons."
Ashok Gehlot said President Ram Nath Kovind should intervene immediately. "The BJP government should prove the majority as soon as possible. The Governor should not have done this," Ashok Gehlot said.
"We criticise this act of PM Modi and Amit Shah. The Governor [Bhagat Singh Koshyari] is above any political party. He conspired this on the advice of PM Modi and Amit Shah. He shouldn't be on his post as he lost his face," Ashok Gehlot said.
BJP 'CONTRACT KILLER' OF DEMOCRACY: CONGRESS
Slamming the new government in Maharashtra as "illegitimate", the Congress on Saturday termed the swearing-in of BJP's Devendra Fadnavis as chief minister a black chapter in India's democracy and alleged that the Governor did not make effort to verify his claims of having the support of a majority of MLAs.
Addressing a press conference, Congress spokesperson Randeep Singh Surjewala said the BJP "scared" an "opportunist" Ajit Pawar, the NCP leader who has joined hands with the saffron party and acted as "contract killer" of democracy.
Devendra Fadnavis had promised to put Ajit Pawar in jail but has made him deputy chief minister now, Randeep Surjewala said.


lwp-request
Simple command-line HTTP client.
Built with libwww-perl.
More information: home page
- Make a simple GET request:
lwp-request -m GET http://example.com/some/path
- Upload a file with a POST request:
lwp-request -m POST http://example.com/some/path < path/to/file
- Make a request with a custom user agent:
lwp-request -H 'User-Agent: user_agent -m METHOD http://example.com/some/path
- Make a request with HTTP authentication:
lwp-request -C username:password -m METHOD http://example.com/some/path
- Make a request and print request headers:
lwp-request -U -m METHOD http://example.com/some/path
- Make a request and print response headers and status chain:
lwp-request -E -m METHOD http://example.com/some/path


Training Page 1
Return to LMS
Which Lamborghini Model do you like best?
Aventador
Gallardo
Huracan (Correct)
Submit
Next >
Statement Sent
Training Page 2
Return to LMS
Which is the best trim package for a Huracan?
Coupe
Spyder
Performante
Evo (Correct)
Submit
Statement Viewer


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Hints for SRM 297, D2, 250-pointer (PackingParts)
James S. Plank
Sun Feb 16 14:03:09 EST 2014
Problem Statement.
The vectors are already sorted, so you should have two indices: i for parts and j for
boxes. Start them both at zero. Then you simply run through their steps:
- Try to match part i with box j.
- If part i is too big, keep incrementing j until either j is the
size of the box vector,
or the part fits into box j.
- If j is the size of the box vector, return i.
- If not, increment i and j.
- When i is as big as the parts vector, return i.


Under the doctrine of doing unto others- I promise to ask Google before I ask You any technical questions that are not covered in any standards I was given.
Hand me the KeysChattanooga is the first city in the Western Hemisphere to have 10-gigabit-per-second fiber internet service to residents and businesses. We need to grow the TechWorkForce program to enable people to attain full citizenship of GigCity.
We want to invest in the future and encourage kids to be pushing themselves toward STEM fields. That will give dividends in a minimum of six years. TechWorkForce produces qualified agents NOW. These adult training programs are the bridge to the future.
Get Started!I have a long history and have accumulated a lot of different business applicable skills. You can investigate if my capabilities would be a fit for your organization by checking out my other links. Feel free to contact me.
I have a lot of graphics to show, so go to my BeHance site to look at samples of visual work.
We all love using our LinkedIn Profiles to inform you of our employment history!
I know you totally love My Presentation! Feel free to borrow some of the Memes.
I know you want to get into the weeds on how I got this done. Check out my GitHub!
This is the first boilerplate paragraph with the name of the company. Your Company is offering you some healthcare!


Welcome to StartX, A very simple utility to allow you to call the CreateProcess API from the command line.
| History |
| Copyright |
| Installation Requirements |
| Usage |
| Contacting the Author |
V1.0 (29 January 2003)
3 July 2004
V1.01 (20 August 2004)
V1.02 (20 December 2004)
V1.03 (19 August 2005)
V1.04 (17 July 2006)
V1.05 (8 February 2008)
V1.06 (11 November 2008)
[autorun]
open=StartX.exe /MAX "wordpad.exe readme.txt"
icon=youricon.ico
| Parameter | Description |
| "title" | Title to display in window title bar. |
| path | Starting directory |
| NOUI | Suppresses any UI which StartX displays in response to runtime errors. This is helpful when StartX is being called by another process and we want to avoid displaying any UI which requires a user to click a button to close the message displayed. |
| B | Start application without creating a new window. |
| MIN | Start window minimized |
| MAX | Start window maximized |
| SEPARATE | Start 16-bit Windows program in separate memory space |
| SHARED | Start 16-bit Windows program in shared memory space |
| PP | Prompts for credentials if the program is to be run under another user account. This uses the standard CredUIPromptForCredentials dialog which is available on Windows XP, Windows 2003 Server or later only |
| user | The account under which to run the program. This is support on Windows 2000, Windows XP, Windows 2003 Server or later only. |
| password | The password to use when logging in using the account "user" |
| domain | The NT domain to log into when using the account "user" |
| desktop | Name of the desktop only or the name of both the desktop and window station to run the program on. A backslash in the string indicates that the string includes both desktop and window station names. If /K is not specified, the program inherits the desktop and window station of the StartX program. If no value for desktop is specified but /K is used, then the process does not inherit the desktop and window station of its parent process; instead, the system determines if a new desktop and window station need to be created. If the impersonated user already has a desktop, the system will use the existing desktop. |
| x,y | Specifies the x and y offset, in pixels, of the upper left corner of a window if a new window is created. The offset is from the upper left corner of the screen. For GUI processes, the specified position is used the first time the new process calls CreateWindow to create an overlapped window if the y parameter of CreateWindow is CW_USEDEFAULT. |
| cx1, cy2 | Specifies the width and height, in pixels, of the window if a new window is created. For GUI processes, this is used only the first time the new process calls CreateWindow to create an overlapped window if the nWidth parameter of CreateWindow is CW_USEDEFAULT. |
| cx2, cy2 | For console processes, if a new console window is created, specifies the screen buffer width and height in character columns. This value is ignored in a GUI process and on Windows 95/98/Me. |
| FR | Specifies that initial text of red color if a new console window is created in a console application |
| RG | Specifies that initial text of green color if a new console window is created in a console application |
| FB | Specifies that initial text of blue color if a new console window is created in a console application |
| FR | Specifies the initial background color of red color if a new console window is created in a console application |
| FG | Specifies the initial background color of green color if a new console window is created in a console application |
| FB | Specifies the initial background color of blue color if a new console window is created in a console application |
| FS | Indicates that the process should be run in full-screen mode, rather than in windowed mode. Applies to Windows NT/ 2000/ XP or 2003 Server only |
| LP | Used in conjunction with the /Uuser parameter. Log on, then load the user's profile. Loading the profile can be time-consuming, so it is best to use this value only if you must access the user's profile information |
| LNCO | Used in conjunction with the /Uuser parameter. Log on, but use the specified credentials on the network only. The new process uses the same token as the caller, but the system creates a new logon session within LSA, and the process uses the specified credentials as the default credentials. This value can be used to create a process that uses a different set of credentials locally than it does remotely. This is useful in inter-domain scenarios where there is no trust relationship. |
| LOW | Start application in the IDLE priority class |
| NORMAL | Start application in the NORMAL priority class |
| HIGH | Start application in the HIGH priority class |
| REALTIME | Start application in the REALTIME priority class |
| ABOVENORMAL | Start application in the ABOVENORMAL priority class |
| BELOWNORMAL | Start application in the BELOWNORMAL priority class |
| WAIT | Start application and wait for it to terminate |
| NOUI | Suppresses any error message boxes which StartX may display |
| RETURNERROR | Returns the error code of the remote process when it exits. Setting this implies /WAIT |
| AFFINITYx | The value X will be passed to the function SetProcessAffinityMask. So for example if you wanted to limit the new process to only run on the 2nd and 3rd CPU of a computer then you would use the command line "/AFFINITY6". i.e. 0x2 & 0x4. Probably the most common value you would use for this would be "/AFFINITY1" which would limit the process to run on the first CPU only. Please note that the value you provide on the command line should be decimal and not hexadecimal. |
| command / program parameters | This is the actual command line to use. Please note that the full command line should be enclosed in quotes. |
CSIDL_ADMINTOOLS (0x0030)
Version 5.0. The file system directory that is used to store administrative
tools for an individual user. The Microsoft Management Console (MMC) will save
customized consoles to this directory, and it will roam with the user.
CSIDL_ALTSTARTUP (0x001d)
The file system directory that corresponds to the user's nonlocalized Startup
program group.
CSIDL_APPDATA (0x001a)
Version 4.71. The file system directory that serves as a common repository for
application-specific data. A typical path is C:\Documents and Settings\username\Application
Data. This CSIDL is supported by the redistributable Shfolder.dll for systems
that do not have the Microsoft Internet Explorer 4.0 integrated Shell installed.
CSIDL_BITBUCKET (0x000a)
The virtual folder containing the objects in the user's Recycle Bin.
CSIDL_CDBURN_AREA (0x003b)
Version 6.0. The file system directory acting as a staging area for files waiting
to be written to CD. A typical path is C:\Documents and Settings\username\Local
Settings\Application Data\Microsoft\CD Burning.
CSIDL_COMMON_ADMINTOOLS (0x002f)
Version 5.0. The file system directory containing administrative tools for all
users of the computer.
CSIDL_COMMON_ALTSTARTUP (0x001e)
The file system directory that corresponds to the nonlocalized Startup program
group for all users. Valid only for Microsoft Windows NT systems.
CSIDL_COMMON_APPDATA (0x0023)
Version 5.0. The file system directory containing application data for all users.
A typical path is C:\Documents and Settings\All Users\Application Data.
CSIDL_COMMON_DESKTOPDIRECTORY (0x0019)
The file system directory that contains files and folders that appear on the
desktop for all users. A typical path is C:\Documents and Settings\All Users\Desktop.
Valid only for Windows NT systems.
CSIDL_COMMON_DOCUMENTS (0x002e)
The file system directory that contains documents that are common to all users.
A typical paths is C:\Documents and Settings\All Users\Documents. Valid for
Windows NT systems and Microsoft Windows 95 and Windows 98 systems with Shfolder.dll
installed.
CSIDL_COMMON_FAVORITES (0x001f)
The file system directory that serves as a common repository for favorite items
common to all users. Valid only for Windows NT systems.
CSIDL_COMMON_MUSIC (0x0035)
Version 6.0. The file system directory that serves as a repository for music
files common to all users. A typical path is C:\Documents and Settings\All Users\Documents\My
Music.
CSIDL_COMMON_PICTURES (0x0036)
Version 6.0. The file system directory that serves as a repository for image
files common to all users. A typical path is C:\Documents and Settings\All Users\Documents\My
Pictures.
CSIDL_COMMON_PROGRAMS (0x0017)
The file system directory that contains the directories for the common program
groups that appear on the Start menu for all users. A typical path is C:\Documents
and Settings\All Users\Start Menu\Programs. Valid only for Windows NT systems.
CSIDL_COMMON_STARTMENU (0x0016)
The file system directory that contains the programs and folders that appear
on the Start menu for all users. A typical path is C:\Documents and Settings\All
Users\Start Menu. Valid only for Windows NT systems.
CSIDL_COMMON_STARTUP (0x0018)
The file system directory that contains the programs that appear in the Startup
folder for all users. A typical path is C:\Documents and Settings\All Users\Start
Menu\Programs\Startup. Valid only for Windows NT systems.
CSIDL_COMMON_TEMPLATES (0x002d)
The file system directory that contains the templates that are available to
all users. A typical path is C:\Documents and Settings\All Users\Templates.
Valid only for Windows NT systems.
CSIDL_COMMON_VIDEO (0x0037)
Version 6.0. The file system directory that serves as a repository for video
files common to all users. A typical path is C:\Documents and Settings\All Users\Documents\My
Videos.
CSIDL_COMPUTERSNEARME (0x003d)
The folder representing other computers in your workgroup.
CSIDL_CONNECTIONS (0x0031)
The virtual folder representing Network Connections, containing network and
dial-up connections.
CSIDL_CONTROLS (0x0003)
The virtual folder containing icons for the Control Panel applications.
CSIDL_COOKIES (0x0021)
The file system directory that serves as a common repository for Internet cookies.
A typical path is C:\Documents and Settings\username\Cookies.
CSIDL_DESKTOP (0x0000)
The virtual folder representing the Windows desktop, the root of the namespace.
CSIDL_DESKTOPDIRECTORY (0x0010)
The file system directory used to physically store file objects on the desktop
(not to be confused with the desktop folder itself). A typical path is C:\Documents
and Settings\username\Desktop.
CSIDL_DRIVES (0x0011)
The virtual folder representing My Computer, containing everything on the local
computer: storage devices, printers, and Control Panel. The folder may also
contain mapped network drives.
CSIDL_FAVORITES (0x0006)
The file system directory that serves as a common repository for the user's
favorite items. A typical path is C:\Documents and Settings\username\Favorites.
CSIDL_FLAG_DONT_UNEXPAND (0x2000)
Combine with another CSIDL constant to ensure expanding of environment variables.
CSIDL_FLAG_DONT_VERIFY (0x4000)
Combine with another CSIDL constant, except for CSIDL_FLAG_CREATE, to return
an unverified folder path—with no attempt to create or initialize the folder.
CSIDL_FONTS (0x0014)
A virtual folder containing fonts. A typical path is C:\Windows\Fonts.
CSIDL_HISTORY (0x0022)
The file system directory that serves as a common repository for Internet history
items.
CSIDL_INTERNET (0x0001)
A viritual folder for Internet Explorer (icon on desktop).
CSIDL_INTERNET_CACHE (0x0020)
Version 4.72. The file system directory that serves as a common repository for
temporary Internet files. A typical path is C:\Documents and Settings\username\Local
Settings\Temporary Internet Files.
CSIDL_LOCAL_APPDATA (0x001c)
Version 5.0. The file system directory that serves as a data repository for
local (nonroaming) applications. A typical path is C:\Documents and Settings\username\Local
Settings\Application Data.
CSIDL_MYDOCUMENTS (0x000c)
Version 6.0. The virtual folder representing the My Documents desktop item.
CSIDL_MYMUSIC (0x000d)
The file system directory that serves as a common repository for music files.
A typical path is C:\Documents and Settings\User\My Documents\My Music.
CSIDL_MYPICTURES (0x0027)
Version 5.0. The file system directory that serves as a common repository for
image files. A typical path is C:\Documents and Settings\username\My Documents\My
Pictures.
CSIDL_MYVIDEO (0x000e)
Version 6.0. The file system directory that serves as a common repository for
video files. A typical path is C:\Documents and Settings\username\My Documents\My
Videos.
CSIDL_NETHOOD (0x0013)
A file system directory containing the link objects that may exist in the My
Network Places virtual folder. It is not the same as CSIDL_NETWORK, which represents
the network namespace root. A typical path is C:\Documents and Settings\username\NetHood.
CSIDL_NETWORK (0x0012)
A virtual folder representing Network Neighborhood, the root of the network
namespace hierarchy.
CSIDL_PERSONAL (0x0005)
Version 6.0. The virtual folder representing the My Documents desktop item.
This is equivalent to CSIDL_MYDOCUMENTS.
Previous to Version 6.0. The file system directory used to physically store
a user's common repository of documents. A typical path is C:\Documents and
Settings\username\My Documents. This should be distinguished from the virtual
My Documents folder in the namespace. To access that virtual folder, use SHGetFolderLocation,
which returns the ITEMIDLIST for the virtual location, or refer to the technique
described in Managing the File System.
CSIDL_PHOTOALBUMS (0x0045)
Windows Vista. The virtual folder used to store photo albums, typically username\My
Pictures\Photo Albums.
CSIDL_PLAYLISTS (0x003f)
Windows Vista. The virtual folder used to store play albums, typically username\My
Music\Playlists.
CSIDL_PRINTERS (0x0004)
The virtual folder containing installed printers.
CSIDL_PRINTHOOD (0x001b)
The file system directory that contains the link objects that can exist in the
Printers virtual folder. A typical path is C:\Documents and Settings\username\PrintHood.
CSIDL_PROFILE (0x0028)
Version 5.0. The user's profile folder. A typical path is C:\Documents and Settings\username.
Applications should not create files or folders at this level; they should put
their data under the locations referred to by CSIDL_APPDATA or CSIDL_LOCAL_APPDATA.
CSIDL_PROGRAM_FILES (0x0026)
Version 5.0. The Program Files folder. A typical path is C:\Program Files.
CSIDL_PROGRAM_FILES_COMMON (0x002b)
Version 5.0. A folder for components that are shared across applications. A
typical path is C:\Program Files\Common. Valid only for Windows NT, Windows
2000, and Windows XP systems. Not valid for Windows Millennium Edition (Windows
Me).
CSIDL_PROGRAMS (0x0002)
The file system directory that contains the user's program groups (which are
themselves file system directories). A typical path is C:\Documents and Settings\username\Start
Menu\Programs.
CSIDL_RECENT (0x0008)
The file system directory that contains shortcuts to the user's most recently
used documents. A typical path is C:\Documents and Settings\username\My Recent
Documents. To create a shortcut in this folder, use SHAddToRecentDocs. In addition
to creating the shortcut, this function updates the Shell's list of recent documents
and adds the shortcut to the My Recent Documents submenu of the Start menu.
CSIDL_RESOURCES (0x0038)
Windows Vista. The file system directory that contains resource data. A typical
path is C:\Windows\Resources.
CSIDL_SAMPLE_MUSIC (0x0040)
Windows Vista. The file system directory that contains sample music. A typical
path is C:\Documents and Settings\username\My Documents\My Music\Sample Music.
CSIDL_SAMPLE_PLAYLISTS (0x0041)
Windows Vista. The file system directory that contains sample playlists. A typical
path is C:\Documents and Settings\username\My Documents\My Music\Sample Playlists.
CSIDL_SAMPLE_PICTURES (0x0042)
Windows Vista. The file system directory that contains sample pictures. A typical
path is C:\Documents and Settings\username\My Documents\My Pictures\Sample Pictures.
CSIDL_SAMPLE_VIDEOS (0x0043)
Windows Vista. The file system directory that contains sample videos. A typical
path is C:\Documents and Settings\username\My Documents\My Videos\Sample Videos.
CSIDL_SENDTO (0x0009)
The file system directory that contains Send To menu items. A typical path is
C:\Documents and Settings\username\SendTo.
CSIDL_STARTMENU (0x000b)
The file system directory containing Start menu items. A typical path is C:\Documents
and Settings\username\Start Menu.
CSIDL_STARTUP (0x0007)
The file system directory that corresponds to the user's Startup program group.
The system starts these programs whenever any user logs onto Windows NT or starts
Windows 95. A typical path is C:\Documents and Settings\username\Start Menu\Programs\Startup.
CSIDL_SYSTEM (0x0025)
Version 5.0. The Windows System folder. A typical path is C:\Windows\System32.
CSIDL_TEMPLATES (0x0015)
The file system directory that serves as a common repository for document templates.
A typical path is C:\Documents and Settings\username\Templates.
CSIDL_WINDOWS (0x0024)
Version 5.0. The Windows directory or SYSROOT. This corresponds to the %windir%
or %SYSTEMROOT% environment variables. A typical path is C:\Windows.
PJ Naughter
Email<EMAIL_ADDRESS>Web: http://www.naughter.com
11 November 2008


Classes and the corresponding descriptive words given as input to our system for 20 News Groups dataset.
Notice that the descriptive words are selected just from the name of the category, they may not be the most popular word in the corresponding categories.
| Class | Descriptive words |
| alt.atheism | atheism |
| comp.graphics | graphics |
| comp.os.ms-windows.misc | windows |
| comp.sys.ibm.pc.hardware | bios cmos |
| comp.sys.mac.hardware | mac apple |
| comp.windows.x | xterm |
| misc.forsale | sale |
| rec.autos | cars |
| rec.motorcycles | motorcycle |
| rec.sport.baseball | baseball |
| rec.sport.hockey | hockey |
| sci.crypt | encryption |
| sci.electronics | power circuit |
| sci.med | disease |
| sci.space | space |
| soc.religion.christian | christian |
| talk.politics.guns | guns |
| talk.politics.mideast | israel armenian |
| talk.politics.misc | government president |
| talk.religion.misc | religion muslim |


| DASHBOARD ALERT |
| Attention: Your alert for {{ building_name }} was triggered. The {{ meter_point }} of {{ meter_name }} exceded your threshold value of {{ threshold_value }} with a value of {{ current_value }}. |
| This alert status was triggered automatically. To alter your alert settings visit the alerts settings page in the OSU Energy Dashboard |


- SceneManager - Class in lk.vivoxalabs.scenemanager
-
This SceneManager is used to manage the views (which are changing)
by loading new views on to the scene.
- SceneManager() - Constructor for class lk.vivoxalabs.scenemanager.SceneManager
-
- SceneMapper<T extends javafx.fxml.Initializable,K extends javafx.scene.Node> - Class in lk.vivoxalabs.scenemanager
-
Stores the view (Pane object) and its relevant controller
Created by oshan on 18-Mar-18.
- setActionAdapter(ActionAdapter) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
- setActionIcons(Image, Image, Image, Image) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Changes the default icons for the action buttons on Title-bar
- setActionIcons(Image, Image, Image, Image) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Changes the default icons for the action buttons on Title-bar
- setButtonColor(String) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Changes the color of the close, minimize and maximize/restore buttons
- setButtonHoverColor(String) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Changes the color of the minimize and maximize/restore buttons on hover (close button's color won't change)
- setButtonHoverColor(String, String, String) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
- setDimensions(double, double, double, double) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Sets the maximum and minimum resizing values for the window.
- setDynamicNavigation(NavigationType, Pane, double, double, boolean) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Sets the given navigationPane to the CustomStage as per its definitions (parameters).
- setHoverColor(String, String, String) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Sets different colors for button on mouse hover state
- setIcon(String) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
The icon for the window to be showed on taskbar
- setNavigationPane(NavigationType, Pane) - Method in class lk.vivoxalabs.customstage.CustomStage
-
Sets a static navigation pane (right side of the window) attaching the pane given
- setNavigationPane(NavigationType, Pane) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Sets a static navigation pane (to the pointed location) attaching the pane given
- setNavigationPane(Style, NavigationType, Pane) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Sets a static/dynamic navigation pane (to the pointed location) attaching the pane given
- setNavigationPane(Style, NavigationType, Pane, double, double, boolean) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Sets the given navigationPane to the CustomStage as per its definitions (parameters).
- setNavigationPane(NavigationType, Pane) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Sets a static navigation pane (right side of the window) attaching the pane given
- setStyle(CustomStageController.StageComponent, String) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Changes the color of the given component of the window
- setStyleSheet(URL) - Method in class lk.vivoxalabs.customstage.CustomStage
-
Style the CustomStage as to the user given stylesheet
- setStyleSheet(URL) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Style the CustomStage as to the user given stylesheet
- setStyleSheet(URL) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Style the CustomStage as to the user given stylesheet
- setTitle(String) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Sets the title of the title-bar
- setTitle(String, HorizontalPos, HorizontalPos) - Method in class lk.vivoxalabs.customstage.view.controller.CustomStageController
-
Sets the title of the title-bar and changes the position (on title-bar) of the ActionButtons and title
- setTitleColor(String) - Method in class lk.vivoxalabs.customstage.CustomStage
-
Changes the color of the color in title-bar
- setTitleColor(String) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Changes the color of the color in title-bar
- setWindowColor(String) - Method in class lk.vivoxalabs.customstage.CustomStage
-
Changes the color of the window
- setWindowColor(String) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Changes the color of the window
- setWindowTitle(String) - Method in class lk.vivoxalabs.customstage.CustomStage
-
Sets the title of the title-bar
- setWindowTitle(String) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Sets the title of the title-bar
- setWindowTitle(String, HorizontalPos, HorizontalPos) - Method in class lk.vivoxalabs.customstage.CustomStageBuilder
-
Sets the title of the title-bar and changes the position (on title-bar) of the ActionButtons and title
- Style - Enum in lk.vivoxalabs.customstage.tools
-


³ American Beauty ³ * * * *
... um. Wow.
Ever seen a film so well-constructed, so accomplished every moment, one to the next, you get chills? That happened to me about ten times during the brilliant, brilliant, brilliant AMERICAN BEAUTY.
 He feels dead already, anyway, so his presage sounds like that of someone content with, at least, knowing how things are going to turn out, knowing they gave a crack at changing their dolorous existence for the better while they still had a chance to. As opposed to living in a constant state of numbness, and certainty life will always be unsatisfactory and the best to possibly hope for, from it, is to occasionally experience mediocrity.  I canıt imagine a lower form of being, which is right AMERICAN BEAUTY kicks off.
Lester canıt take anymore. The day to day to day emotional void; the resent laying dormant, just below the surface, chafing everything. The nagging sense of detachment. His power- trip wife, Carolyn (a most energetic Annette Bening), places too high a value on their couch, and dresses professionally to tend garden; no time for sex. His daughter Jane (Thora Birch) hates both parents, equally, and wishes they would just go away. At work, his boss hints around a firing, unless he writes a company letter begging them to keep him on. Hopeless scenario.
Then, Lester meets two individuals whoıll turn things around. One is Amanda Hayes (Mena Suvari), his daughterıs cheerleader classmate. At a high school basketball game, he spots the blonde lolita -- in a rather racy dance sequence, ages considered, where itıs just the two of them: Lester alone in the bleachers, spot- light on her -- and is marvelled. Thereıs a great scene right after -- Jane introduces Amanda, and Spacey stares at the girl, mouth agape, stumbling desperately for something to say; itıs an embarassing moment because Spacey plays it with genuine infatuation, crush written all over his face, exposed and vulnerable. Later, he eavesdrops on an integral conversation which promptly inspires Lester to start working out, get buff. To impress, at first, but it becomes more about building self-confidence.
Person #2 is Ricky (a mesmerizing Wes Bentley), the new arrival next door with a propensity for filming everything in sight; broken home, itıs a means of escape. He hooks Lester up with weed and, in another terrific scene, quits his job as a waiter -- probably just as big a waste of time as Lesterıs advertising position -- without batting an eye. Lesterıs floored by that kind of indifference; friendship is instantaneous.
We also meet Rickyıs domineering Marine colonel father (Chris Cooper), who beats him up for disrespecting privacy and requires a drug test every six months. Something I canıt recall ever having seen before in a movie. I didnıt so much agree with that characterıs turn of events, but heıs performed with a firey intensity by Cooper that brings the caricature bully out of cliche zone.
Same goes for the rest of this cast. Thora Birch, as Jane, with a permanent cautious/troubled gaze, lets us know the isolation of jaded youth from scene one, as she is video- taped by an unseen Ricky who asks her if she wants him to kill her old man. Birch finds just the right tone and sustains it effortlessly. She has the generation-angst, sure -- mom and dad (mostly mom) construe her as brat -- but a scarred soul to boot, and the actress looking lovely in her teens, hair dark, face ravaged by repressed emotion, haunts in a knock-out piece of work. I loved all her scene with Bentley (Supporting nom for this guy, please), the creepy new guy Jane catches spying on her and dismisses with a ³fuck you². Face to face, though, Ricky staring directly at Jane, nothing but eye contact, it isnıt so easy since he seems to be looking into her. Through her. Getting to know her, which we presume nobodyıs ever taken the time to do, without words -- just pure, unspoken honesty. Their best scene is spent watching a plastic bag dance in the wind; he explains itıs like God speaking to anyone aware enough to notce. He notices. And, thereıs the great line, ³... so much beauty in the world, I feel like I canıt take it², made all the more powerful by Bentleyıs tear-eyed delivery. Ricky is observant, forthright: ³Iım not obsessing. Iım just curious,² he tells Jane; or, ³Youıre ugly. Youıre boring. Totally ordinary. And, you know it² to the superficial Amanda. Sometimes the words hurt, but theyıre always true. Itıs a defense mechanism, his brutal honesty, we sense. We get to sense a lot, with this nuanced portrayal of sophisticated toughness.
I have to go back to Kevin Spacey. Heıs found a career high.. no minor feat (his work, here, surpasses even GLENGARRY GLENN ROSS - my favorite). Like Billy Bob Thornton, in last yearıs A SIMPLE PLAN, or Robert Downey, Jr., in TWO GIRLS AND A GUY, this is truly superlative acting. I always measure the effectiveness of a performance by whether or not I can make out an actorıs face, or if there is only the character; wierd, but it happens. Only the great ones do that, and in BEAUTY, Spacey does it. I was glad to see Lester Burnham regain self- esteem. I cared. His alliance with the much younger, but only in appearance, Ricky is palpabe and memorable. His perhaps insalubrious relationship with Amanda is expertly handled. Lester is turned on by her, and she by him, and that doesnıt go away once the script has established Lesterıs awakening, rebirth so to speak; the sexual longing still remains, even after Lester has become a better personı. He also loves his wife (quite obviously, from their couch scene), and that doesnıt disappear, either. This is three-dimensional writing at its best, and the magnetic Spacey makes it unforgettable.
Three specific moments mark AMERICAN BEAUTY -- along with everything else I have said -- best film of the Fall, and year, thusfar: Rickyıs final, mental revenge against his father; perfect. The long, aforementioned close-up of a plastic bag, with voice-over; perfect. And, in the warm, poignant scene between Lester and the underage object of his affection, when she asks him how his life has been; Spaceyıs expression, reflecting back, the way it curls into a triumphant smile moved me to tears.
Bravo to Adam Bellıs uninhibited, progressively interesting screenplay. Bravo to a stellar ensemble. Bravo to myriad inevitable Oscar nods. AMERICAN BEAUTY reminds us, above all, the vitality of indisputably great cinema.
Best line: "I'm looking for the least possible amount
of responsibility."
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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Welcome to the admin panel. Along the top, you will see a second navigation bar titled "Admin Panel" under the regular one. Using the links on this bar, you can view database entries, such as users, events, etc.


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