| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry | the Bird |
You can also invert the colors—with light text on dark
backgrounds—with .table-dark
.
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry | the Bird |
Similar to tables and dark tables, use the modifier
classes .table-light
or .table-dark
to make
appear light or dark gray.
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry | the Bird |
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry | the Bird |
Use .table-striped
to add
zebra-striping to any table row within the <tbody>
.
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry | the Bird |
These classes can also be added to table variants:
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry | the Bird |
Add .table-bordered
for borders on all
sides of the table and cells.
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry the Bird |
Border color utilities like border-* can be added to change colors:
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry the Bird |
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry the Bird |
Add .table-hover
to enable a hover
state on table rows within a <tbody>
.
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry the Bird |
Add .table-sm
to
make tables more
compact by cutting cell padding in half.
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry the Bird |
Use contextual classes to color table rows or individual cells.
| Class | Heading | Heading |
|---|---|---|
| Default | Cell | Cell |
| Primary | Cell | Cell |
| Secondary | Cell | Cell |
| Success | Cell | Cell |
| Danger | Cell | Cell |
| Warning | Cell | Cell |
| Info | Cell | Cell |
| Light | Cell | Cell |
| Dark | Cell | Cell |
Responsive tables allow tables to be scrolled
horizontally with ease. Make
any table responsive across all viewports by wrapping a
.table
with .table-responsive
.
Or, pick a maximum breakpoint with which to have a
responsive table up to by
using .table-responsive{-sm|-md|-lg|-xl}
.
| # | Heading | Heading | Heading | Heading | Heading | Heading | Heading | Heading | Heading |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Cell | Cell | Cell | Cell | Cell | Cell | Cell | Cell | Cell |
| 2 | Cell | Cell | Cell | Cell | Cell | Cell | Cell | Cell | Cell |
| 3 | Cell | Cell | Cell | Cell | Cell | Cell | Cell | Cell | Cell |
Highlight a table row or cell by adding a .table-active
class.
| # | First | Last | Handle |
|---|---|---|---|
| 1 | Mark | Otto | @mdo |
| 2 | Jacob | Thornton | @fat |
| 3 | Larry the Bird |
Border styles, active styles, and table variants are not inherited by nested tables.
| # | First | Last | Handle | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 | Mark | Otto | @mdo | ||||||||||||
|
|||||||||||||||
| 3 | Larry | the Bird |


What is the purpose of this feature?
This feature allows you to evaluate a progress of your choice (distance, time, ...) from the beginning of a year
to a specific day of that year. And compare it to previous years. Let's take an example: Today is
{{todayMoment.format("MMM Do")}}. So the feature will reply to the following question:
"What I've accomplished by {{todayMoment.format("MMM Do")}} of this year compared to previous years to the
same date?"
How to display progression in imperial system unit?
You will find a "App system units" option in Global Settings. Set it to imperial and go
back to this page


Namespace VertexColoring.Graphs
Classes
Edge
Defines an immutable connection between two vertices as unordered vertex pair. Although vertices are accessible in ordered manner, all operators, comparisons, equality etc. make no distinction to order. For all intents and purposes edge (v1,v2) is the same as (v2,v1). Enumerating this object will yield both vertices in arbitrary order (their order must not be relied upon).
Generator
Provides methods for creating graphs, including random graphs.
Graph
Graph is a tuple of a set of vertices and a set of edges. Graphs are equal if their
containted sets are equal given
GraphColoring
Associates vertices with colors represented by integers. Exposes indexer that returns a color or null if vertex has no color in this coloring instance.
GraphExtensions
Contains useful extension methods to simplify using Graphs and rest of the family from this namespace.
GraphIndex
Represents index of graph vertices by their id. Provides indexer for convenience.
InducedSubgraph
MutableEdge
A mutable version of Edge. Easily transformable to immutable instance using the ToImmutable(MutableEdge) extension method. Can be enumerated same as immutable instance.
MutableGraph
A mutable version of Graph. Easily transformable to immutable instance using ToImmutable(MutableGraph) extension method.
MutableGraphColoring
A mutable version of GraphColoring. Easily transformable to immutable instance
using the
MutableVertex
A mutable version of Vertex. Easily transformable to immutable instance using the ToImmutable(MutableVertex) extension method.
TrivialGraphFormatExtensions
Contains extensions useful to writing to/reading from TGF (Trivial Graph Format)
- plain text graph representation. See https://en.wikipedia.org/wiki/Trivial_Graph_Format
Vertex
Represents a vertex with an Id that identifies vertex as unique, and an arbitrary label. The Id defines vertex and two different instances with same Id are considered equal for all operations (Labels have no meaning).
VertexAdjacency
Associates vertices and their neighbours.
VertexDegrees
Associates vertices with their degree in a given graph. Provides indexer to simplify access.


getty-images
Businessmodel of Getty Images
Customer Segments
Getty Images serves a global network of customers across multiple sectors. It primarily serves three customers segments:
- Creative Professionals, including bloggers, writers, graphic designers, and advertising and marketing professionals;
- Media, including print and online publishing houses such as news portals, magazines, newspapers, and broadcasters; and
- Corporate, including small, medium and large businesses that use the Company’s images in their in-house design, marketing and communication departments. Getty Images includes a number of high-profile media companies among its customers, including The Guardian, the BBC, The IB Times, The Hollywood Reporter and Businesswire.com.
Getty Images serves customers in more than 100 countries worldwide. Its most significant markets, however, are the US and the UK, where it has estimated market shares of around 52% and 25% respectively.
Value Propositions
Getty Provides value to its customers in the following ways:
- The quality of its products, with photographs and media content provided by a network of experienced professionals;
- The diversity of its content, which covers a range of subject matters, from current events to sports to nature and more;
- Its reputation and industry standing, with the Company being one of the oldest and most well-established companies in its industry, with it’s a name associated with a range of high-profile clients;
- The breadth of its international coverage, with the Company serving clients across more than 100 countries; and
- Its accessibility and flexibility, with customers able to easily search for content through the Company’s website and quickly make purchases on a self-service basis. ### Channels
Getty Images operates a website at www.gettyimages.com, as well as more than 40 country-specific sites such as www.getcre8ive.com.ph for the Philippines and www.gettyimages.ae for the United Arab Emirates, through which customers are able to browse, search and purchase the Company’s content. Getty Images also operates through its affiliate iStock, ThinkStock and Photos.com brands, which offer similar services to the Company’s main online channel.
In addition to its online sales channels, Getty Images also operates its own direct sales team, with a presence in numerous operating jurisdictions across Europe, Asia, the Americas, the Middle East and Africa.
Customer Relationships
Getty Images products and content are available on a self-service basis through its multiple online channels and affiliates brands. Customers are able to register for an account through the Company’s website, manage their payments, browse content and place orders without interacting with members of the Company’s sales staff. The majority of the Company’s media content is provided by its community of professional photographers and content providers.
Getty Images does provide personalised sales assistance to customers, who are able to contact local sales representatives over the phone, via email or through an online chat service. The Company establishes long-standing relationships with many of its media customers in the form of editorial subscriptions.
Getty Images operates several social media accounts, including with Facebook, Twitter, Instagram and YouTube, through which it is able to interact directly with its customers. It also hosts a Press Room and Stories and Trends sections on its website, which it uses to provide further information to customers on its various activities.
Key Activities
Getty Images creates and distributes images, audio and video products, documents, press kits, and other visual content to businesses across more than 100 countries worldwide. Its content spans contemporary creative imagery to news, sports, entertainment, and archival imagery products.
In addition to its stock photo licensing services it also provides photo assignment services, and research and clearance services.
Getty Images offers users its Getty Images API, which helps customers to streamline their workflows by providing direct access to licensed content, as well as providing digital publicity distribution, media management, and image embedding services.
Getty Images primarily serves creative professionals, media houses and broadcasters – including a number of the world-s best known newspapers and magazines, and corporate entities
Key Partners
Getty Images utilises the services and resources of a number of partners in the provision of its stock content services. These partnerships include:
- Alliance Partnerships, comprising companies with which the Company embarks upon joint-venture projects and shares resources and tools;
- Distribution Partnerships, comprising companies with which the Company shares distribution channels;
- Content Partnerships, comprising professional photographers and media houses that provide media content for the platform, and tie-ups in which the Company provides content to media outlets;
- Technology Partnerships, comprising technology companies that assist the Company in effectively delivering its solutions. Getty Images has recently launched partnerships with NDTV Prime in a bid to find the next generation of Indian photographers, with Conde Nast to showcase rare images from the fashion archives, with Dropbox to help provide customers with instant access to their photos, and with EyeEm on compiling a crowdsourced photography collection.
Key Resources
Getty Images key resources are its website and intellectual properties, its catalogue of stock media content, its IT infrastructure, its partnerships and contributors, and its personnel.
Searches of records published by the US Patent and Trademark Office identified two identical patent applications filed in the name of Getty Images from 2012 and 2014. The applications, entitled ‘Automatic identification of digital content related to a block of text, such as a blog entry’, relate to a system for identifying digital content.
Cost Structure
Getty Images incurs cost in relation to the development of its technology and its stock photo platform, the maintenance of its IT infrastructure, the collection and management of its media content, the management of its partnerships, and the retention of its personnel.
The Company accrues administrative costs in relation to the payment of salaries and benefits for its employees and in relation to the operation of its international network of offices in the form of rent and utilities.
Revenue Streams
Getty Images generates revenue through the licensing and sale of its stock media content. It sells its content in a variety of ways, including:
- One-Off Purchases, including revenue derived from the licensing or sale of content in a single transaction;
- Ultra Packs, comprising revenue generated from the sale of packs of 5, 10, 15, 20 or 25 photos for a discounted group price; and
- Editorial Subscriptions, comprising revenue derived from subscription fees paid by larger media clients. Getty Images is a privately-owned company and, as such, does not publish its financial figures. The Company, however, was reported to have generated around $201.7 million in total revenue for the quarter ending 30th June 2015.


Tags: music and stuff
Pavel Milyakov & Bendik Giske - Pavel Milyakov & Bendik Giske
Abrasive jazz ambient. Some time ago I thought Giske was on the path to become a second Colin Stetson, turns out he was even more experimental in terms of timbre and composition. Milyakov is actually Buttechno, and here he adds a deep, absorbing electronic layer underneath the sax that occasionally burst out into the front stage. Truely next level music.
Release date: 2021-03-26
[8.9/10]
Godspeed You! Black Emperor - G_d’s Pee AT STATE’S END!
OMG
Release date: 2021-04-02
[8.8/10]
Armand Hammer, The Alchemist - Haram
Elucid and billy wood are (still) on the top of the game. Downtempo, dark jazz-ish instrumentals from The Alchemist are dope AF as well. Really good stuff.
Release date: 2021-03-26
[8.6/10]
Amulets - Blooming
Awesome fuzzy ambient album.
Release date: 2018-04-10
[8.6/10]
Various Artists - La Ola Interior (Spanish Ambient & Acid Exotism: 1983 - 1990)
I can listen to this all day long.
Release date: 2021-03-05
[8.5/10]
Vladislav Delay - Rakka II
I don’t get why people don’t give Sasu Ripatti enough credit: dude went out on a field trip and recorded some of the most abrasive minimal techno music in recent years, and people are like “nah that’s nothing new”. Sad times…
Release date: 2021-04-15
[8.4/10]
PDP III - Piled Up On A Couple Of Doves
Modern composition / lo-fi ambient. Unnerving, sprawling sounds, gotta love it.
Release date: 2021-04-09
[8.3/10]
Minimal Violence - Phase Two
Drum & Bass / EBM.
Release date: 2020-09-15
[8.0/10]
Stereolab - Electrically Possessed [Switched On Volume 4]
I enjoy the longer, drone-ier songs a lot.
Release date: 2021-02-26
[7.8/10]
Benny The Butcher, Harry Fraud - The Plugs I Met 2
East-coast hip-hop. Pretty good but not something that really leaves an impression. People say The Plugs I Met hits harder than this one though.
Release date: 2021-03-19
[7.7/10]
Feu! Chatterton - Palais d’argile
Psychedelic chansson… some tracks like La Mer
and Libre
are pretty rockin’.
Release date: 2021-03-12
[7.5/10]
Various Artists - Vertige II
Contemporary experimental pop music. Some tracks are pretty good but some are just duds to me.
Release date: 2021-03-19
[7.4/10]
Andy Stott - Never The Right Time
Downtempo / minimalistic electronic beat music. Wouldn’t go as far as saying the dude’s “washed up” (like The Quietus did), but this is probably his least interesting / engaging music in recent years. Of course this is by no means saying this album has nothing good going on - tracks like the somber “Dove Stone” and dream-pop-vocal-meets-sampled-beats title track are pretty enjoyable in their own right, but I guess it’s not unreasonable to expect more than just a few decent tracks from an artist such as Andy Stott.
Release date: 2021-04-16
[7.3/10]
IU - Lilac
Oddly enough the title track is the track that I like the least… I would still say this is not an album I’d want to revisit (unlike Yukika’s album from last year… that one’s a doozy), but some tracks are pretty catchy and don’t have that obnoxiou bass frequency prevalent in a lot of K-pop productions.
Release date: 2019-10-08
[7.0/10]
Xiu Xiu - OH NO
Their most friendly release to date. Honestly not that into this one compared to their other recent stuff.
Release date: 2021-02-19
[6.5/10]
Dinosaur Jr. - Sweep It Into Space
idk man, I guess just go listen to Super Napkin instead of this stuff?
Release date: 2021-04-23
[5.8/10]
Wode - Burn In Many Mirrors
Old-fashioned death metal. Not a fan.
Release date: 2021-04-02
[5.8/10]
Benny The Butcher - The Plugs I Met
This is indeed much more memorable than its sequel. Some Wu-Tang level stuff.
Release date: 2021-03-19
[8.4/10]
Zenker Brothers - Cosmic Transmission
Wonky drum & bass / techno. Somehow this is very stripped-down and enticing at the same time…
Release date: 2020-10-15
[8.2/10]
Hakushi Hasegawa - Air Ni Ni
Off-kilter jazzy J-pop.
Release date: 2019-11-13
[8.2/10]
Razen - Robot Brujo
Modern improvised electronic music + flute. Minimal yet very dissonant. Kinda like dungeon music…
Release date:
[7.8/10]
Teresa Winter - What The Night Is For
Eerie, sprawling modern composition / electronic. Like the first track.
Release date: 2018-10-05
[7.8/10]
To Rococo Rot - The Amateur View
If you know me then you know I’m a sucker for minimal techno…
Release date: 1999-04-30
[9.0/10]
Comments


View Main Index for test pages
This is a set of pages for automating or testing. Some of the examples are suitable for manual exploratory testing or JavaScript hacking.


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This is a walk-through as to how to hollow a brush. (Making a room)
Before starting this tutorial you should first get acquainted with the basics of the "Tread3D" editor; the screen and the various commands that are available.
As in the "MAKING A BRUSH" tutorial start "Tread3D" and make a very basic brush or as in the "SAVING YOUR WORK" tutorial just open your saved file called "tutorial".
Your screen should look like the one below.
Now click on the "Hollow" button.
A new window will now appear.
The "Hollow Depth" window should look like the one below.
Now just type in the thickness you want it to be; in our case lets use 16 units".
In addition to using the "Hollow" button you could have used the "Drop down menu".
You will notice that a positive value for the "Hollow Depth" is used; this will hollow a box to the inside of the brush that was made. (Outside dimensions of the hollowed brush are the outside dimensions of the unhollowed brush)
If a negative value for the "Hollow Depth" is used; this will hollow a box to the outside of the brush that was made. (Inside dimensions of the hollowed brush are the outside dimensions of the unhollowed brush)
Now click "Hollow".
Your screen should look like this if the "Hollow Depth" is positive.
Your screen should look like this if the "Hollow Depth" is negative.
Thats all there is to it.
What you have done is hollowed a brush or "Made a room".
Now resave your work.


-- Good evening, My name is Mr. Solomon Kaku, a banker here in Ghana. I write you this proposal in good faith as a brother, believing that you will not betray me regarding the information I am about to reveal to you. In 2002 a Crude Oil dealer Late Mr. MICHAEL SCHMIDT, made a (Fixed deposit) for 60 calendar months, valued at US$14,600,000.00 (Fourteen Million, Six hundred Thousand US Dollars) with my bank. I was his account officer before I rose to the position of manager. The maturity date for this deposit contract was 20th of August 2005. I have tried my possible best to locate Mr. Michael to notify him about this, but all my efforts proved abortive. I later discovered that Mr. Michael, his wife and only daughter were among the victims of bomb blast during the war in Iraq. Unfortunately, he has no other living relatives to inherit this fund. Now, a new Financial Law, which takes effect in two month�s time, stipulates that any bank account more than $5,000,000.00 [Five Million US Dollars] will be investigated and the bank shall produce the account owner for clearance. This is a Government measure to check money laundering. If I do not find a way to move this money out of the country immediately, in two month�s time, it might be reverted to Government treasury because the bank management cannot provide Mr. Michael since he is now late.  It is only a foreigner can claim the funds in the account. There is no risk involved, the transaction will be executed under a legitimate arrangement that will protect you from any breach of law. Let me know how much percent you will take, so that both parties will be satisfied. Contact me as soon as you receive this message for further details. Please, treat as top secret, I am the only person having this information. Regards, Solomon Kaku.


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IMAKE(1) IMAKE(1) NAME imake - C preprocessor interface to the make utility SYNOPSIS imake [ -Ddefine ] [ -Idir ] [ -Udefine ] [ -Ttemplate ] [ -f filename ] [ -C filename ] [ -s filename ] [ -e ] [ -v ] DESCRIPTION Imake is used to generate Makefiles from a template, a set of cpp macro functions, and a per-directory input file called an Imakefile. This allows machine dependencies (such as compiler options, alternate command names, and special make rules) to be kept separate from the descriptions of the various items to be built. OPTIONS The following command line options may be passed to imake: -Ddefine This option is passed directly to cpp. It is typically used to set directory-specific variables. For example, the X Window Sys‐ tem used this flag to set TOPDIR to the name of the directory containing the top of the core distribution and CURDIR to the name of the current directory, relative to the top. -Idirectory This option is passed directly to cpp. It is typically used to indicate the directory in which the imake template and configura‐ tion files may be found. -Udefine This option is passed directly to cpp. It is typically used to unset variables when debugging imake configuration files. -Ttemplate This option specifies the name of the master template file (which is usually located in the directory specified with -I) used by cpp. The default is Imake.tmpl. -f filename This option specifies the name of the per-directory input file. The default is Imakefile. -C filename This option specifies the name of the .c file that is constructed in the current directory. The default is Imakefile.c. -s filename This option specifies the name of the make description file to be generated but make should not be invoked. If the filename is a dash (-), the output is written to stdout. The default is to generate, but not execute, a Makefile. -e This option indicates the imake should execute the generated Makefile. The default is to leave this to the user. -v This option indicates that imake should print the cpp command line that it is using to generate the Makefile. HOW IT WORKS Imake invokes cpp with any -I or -D flags passed on the command line and passes the name of a file containing the following 3 lines: #define IMAKE_TEMPLATE "Imake.tmpl" #define INCLUDE_IMAKEFILE <Imakefile> #include IMAKE_TEMPLATE where Imake.tmpl and Imakefile may be overridden by the -T and -f command options, respectively. The IMAKE_TEMPLATE typically reads in a file containing machine-dependent parameters (specified as cpp symbols), a site-specific parameters file, a file defining variables, a file containing cpp macro functions for gener‐ ating make rules, and finally the Imakefile (specified by INCLUDE_IMAKE‐ FILE) in the current directory. The Imakefile uses the macro functions to indicate what targets should be built; imake takes care of generating the appropriate rules. Imake configuration files contain two types of variables, imake variables and make variables. The imake variables are interpreted by cpp when imake is run. By convention they are mixed case. The make variables are written into the Makefile for later interpretation by make. By conven‐ tion make variables are upper case. The rules file (usually named Imake.rules in the configuration directory) contains a variety of cpp macro functions that are configured according to the current platform. Imake replaces any occurrences of the string ``@@'' with a newline to allow macros that generate more than one line of make rules. For example, the macro #define program_target(program, objlist) @@\ program: objlist @@\ $(CC) -o $@ objlist $(LDFLAGS) when called with program_target(foo, foo1.o foo2.o) will expand to foo: foo1.o foo2.o $(CC) -o $@ foo1.o foo2.o $(LDFLAGS) Imake also replaces any occurrences of the word ``XCOMM'' with the char‐ acter ``#'' to permit placing comments in the Makefile without causing ``invalid directive'' errors from the preprocessor. Some complex imake macros require generated make variables local to each invocation of the macro, often because their value depends on parameters passed to the macro. Such variables can be created by using an imake variable of the form XVARdefn, where n is a single digit. A unique make variable will be substituted. Later occurrences of the variable XVARusen will be replaced by the variable created by the corresponding XVARdefn. On systems whose cpp reduces multiple tabs and spaces to a single space, imake attempts to put back any necessary tabs (make is very picky about the difference between tabs and spaces). For this reason, colons (:) in command lines must be preceded by a backslash (\). USE WITH THE X WINDOW SYSTEM The X Window System used imake extensively up through the X11R6.9 release, for both full builds within the source tree and external soft‐ ware. X has since moved to GNU autoconf and automake for its build sys‐ tem in X11R7.0 and later releases, but still maintains imake for building existing external software programs that have not yet converted. As mentioned above, two special variables, TOPDIR and CURDIR, are set to make referencing files using relative path names easier. For example, the following command is generated automatically to build the Makefile in the directory lib/X/ (relative to the top of the sources): % ../.././config/imake -I../.././config \ -DTOPDIR=../../. -DCURDIR=./lib/X When building X programs outside the source tree, a special symbol UseIn‐ stalled is defined and TOPDIR and CURDIR are omitted. If the configura‐ tion files have been properly installed, the script xmkmf(1) may be used. INPUT FILES Here is a summary of the files read by imake as used by X. The indenta‐ tion shows what files include what other files. Imake.tmpl generic variables site.def site-specific, BeforeVendorCF defined *.cf machine-specific *Lib.rules shared library rules site.def site-specific, AfterVendorCF defined Imake.rules rules Project.tmpl X-specific variables *Lib.tmpl shared library variables Imakefile Library.tmpl library rules Server.tmpl server rules Threads.tmpl multi-threaded rules Note that site.def gets included twice, once before the *.cf file and once after. Although most site customizations should be specified after the *.cf file, some, such as the choice of compiler, need to be specified before, because other variable settings may depend on them. The first time site.def is included, the variable BeforeVendorCF is defined, and the second time, the variable AfterVendorCF is defined. All code in site.def should be inside an #ifdef for one of these symbols. FILES Imakefile.c temporary input file for cpp /tmp/Imf.XXXXXX temporary Makefile for -s /tmp/IIf.XXXXXX temporary Imakefile if specified Imakefile uses # comments /usr/bin/cpp default C preprocessor SEE ALSO make(1), xmkmf(1) Paul DuBois, imake-Related Software and Documentation, http://www.snake.net/software/imake-stuff/ Paul DuBois, Software Portability with imake, Second Edition, O'Reilly & Associates, 1996. S. I. Feldman, Make — A Program for Maintaining Computer Programs ENVIRONMENT VARIABLES The following environment variables may be set, however their use is not recommended as they introduce dependencies that are not readily apparent when imake is run: IMAKEINCLUDE If defined, this specifies a ``-I'' include argument to pass to the C preprocessor. E.g., ``-I/usr/X11/config''. IMAKECPP If defined, this should be a valid path to a preprocessor program. E.g., ``/usr/local/cpp''. By default, imake will use cc -E or /usr/bin/cpp, depending on the OS specific configuration. IMAKEMAKE If defined, this should be a valid path to a make program, such as ``/usr/local/make''. By default, imake will use whatever make pro‐ gram is found using execvp(3). This variable is only used if the ``-e'' option is specified. AUTHOR Todd Brunhoff, Tektronix and MIT Project Athena; Jim Fulton, MIT X Con‐ sortium X Version 11 imake 1.0.5 IMAKE(1)


Mac OS X illustrating the creation of a .app launcher directory structure, and archiving it into a .tar.gz.
Windows illustrating the creation of a Janel launcher directory structure and configuration, and archiving it into a .zip.
Linux illustrating the creation of a shell script launcher with library directory structure, and archiving it into a .tar.gz.
Java Native Interface illustrating the creation of a project using the maven-nar-plugin to create Java Native Interface (JNI) code, packaged as .nar (Native ARchive) attached artifacts, placing these in the correct location in the launcher structure.


{# parameters: node - the name of the node like 'United Kingdom' or 'Switzerland' hub - True if we're on the hub page and we need to have the header for each section display the country name - No need to set for other pages #}
No training materials found for this node
{% endif %}


My name is Nelson Raphael and I am a fourth year Electrical Engineering major and German minor that attends the Georgia Institute of Technology.
In my spare time I enjoy reading technology articles, learning about cryptocurrency and lifting weights.
During my undergraduate career I have been involved in the National Society of Black Engineers as the Pre College Initiative Chair for the Georgia Tech Chapter and the 2017 and 2018 Region III Regional Leadership Conference Chair. I am a member of Phi Beta Sigma Fraternity Incorporated and I have served as the Nu Beta Chapter President and Chapter Treasurer. Outside of the classroom I am also a Student Ambassador for Georgia Tech.


Asteroids, sometimes called minor planets, are rocky, airless remnants left over from the early formation of our solar system about 4.6 billion years ago.The current known asteroid count is: 991,873.Most of this ancient space rubble can be found orbiting the Sun between Mars and Jupiter within the main asteroid belt. Asteroids range in size from Vesta — the largest at about 329 miles (530 kilometers) in diameter — to bodies that are less than 33 feet (10 meters) across. The total mass of all the asteroids combined is less than that of Earth's Moon. Below is a game that was popularized in the new age of video games where players had to destroy these asteroids and avoid being struck by them. Arrow keys to move and the space button to fire. Try your luck!
| Mercury | |
|---|---|
| Venus | |
| Earth | |
| Mars | |
| Jupiter | |
| Saturn | |
| Uranus | |
| Neptune | |
| Pluto |


Murderer {% for player in players %} {{ escape(player['name']) }} - {{ escape(player['type']) }} {% end %}
Victim {% for player in players %} {{ escape(player['name']) }} - {{ escape(player['type']) }} {% end %}
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EastEnders viewers horrified over Mel's suicide confession to Lisa
Lisa Fowler confronted her friend Mel Owen over her increasingly disturbing behaviour on EastEnders - but was left stunned over her reaction
by Rose Hill, https://www.mirror.co.uk/authors/rose-hill/EastEnders viewers were left utterly horrified tonight over Mel Owen's comment to Lisa Fowler tonight.
Over the last week, Lisa has become increasingly disturbed by Mel's unhinged behaviour - which even resulted in her friend punching her.
Despite that, Lisa tried once again to get her friend to seek help, even booking her in for an appointment with her doctor.
Unfortunately, this had the opposite desired effect as Mel was left utterly furious.
Trapping Lisa in the club, office Mel asked her: "You know what you are, Lis?"
"Yes," Lisa nodded enthusiastically. "Your best friend."
"Some of the time," Mel agreed. "But most of the time you're just something we have to put up with. And we've had to do a lot of that, me and Louise, over the years."
 Finally put yourself out of your misery."
Lisa struggled not to cry, saying that she could forgive a lot, but Mel interrupted her.
"I can't," Mel said.
"I can forgive you not being able to cope as a mother and me step in, do it all for you.
As Lisa remained silent, Mel said: "Now, Louise is moving to Portugal because of me, what I can offer her. Because of the life that I can give her. And you're the price we have to pay.
"But if you push it too far, it's like any deal - it collapses. We go and leave you behind."
*EastEnders returns tomorrow at 7.30pm on BBC One


This example defines a mapping between a class model and a model of a database. In doing so, it exercises a number of key XMap features, including pattern nesting, variable passing and multiple domain inputs to mappings.
The following model describes the concepts in the class model. It includes most of the concepts that are typically found in a class model, including classes, packages, associations and generalization.
The database model contains a collection of typical relational database concepts. A relational database contains a collection of tables, which have names. Each table contains a collection of columns, which are named. A Column has a type. A table always contains a Key, which is a pointer to the Column that uniquely identifies an instance of a Table. A table may also contain ForeignKey’s. These relate a Column to the Column in another table that it is the foreign key for.
There will be a significant number of constraints on this model. For example, it must never be the case that a foreign key refers to a column in the same table as the foreign key column:
As an example of a database model that could be represented by this model, consider the tables Account and Customer. The table Account has three columns, customerId, accountNo and balance. The column customerId is a foreign key – it ties each instance of an account to a specific customer. The column accountNo is a key, as it uniquely identifies the account. The column ‘balance’ just represents some information about the account. Similarly, the table customer has three columns, one of which, customerId, is its key.
The following diagram shows the same information as it would be represented by an instance of the Database model:
The following model describes how class models are transformed into database models:
A package is mapped to an instance of Tables. This contains the results of mapping each Class in the package into a Table. Each Table contains a collection of columns, each of which is the result of mapping the attributes of the Class into a Column. In the case of an Attribute that is marked as a key, a Key is created which points to the corresponding Column.
Let’s take each mapping in turn and explain how it works:
PackageToTables
The PackageToTables mapping contains the following clause:
Here, the input to the mapping requires a Package containing some classes C and some associations A. If there is a match then the action after the ‘do’ part is executed. In this case, it creates an instance of the class Tables, and sets its tables to be T. T is defined in the ‘where’ part. T is calculated as the result of mapping each class in C to a table.
Note Associations will be dealt with in future versions of this example.
ClassToTable
The first part of the ClassToTable mapping is as follows:
@Clause Clause0 ClassModels::Class[ name = className, attributes = A->including( ClassModels::Attribute[ name = attName, isPrimary = true, type = ClassModels::DataType[ name = typeName ] ]) ]
This pattern expects a Class, and matches the name of the Class with the variable className.
In addition, this pattern illustrates the use of a collection pattern to match with an element in a collection. In this case, it matches if the attributes of the class bind with a collection of attributes A provided that it includes a primary attribute. This matches provided that the attribute is a primary Attribute, and binds the name of the attribute to the variable attName.
A similar type of pattern is used to return the name of the type of the attribute. Here the attribute type is matched against a DataType, whose name is then bound to the variable typeName.
Provided there is a match, the following action is invoked:
do DatabaseModels::Table[ name = className, key = DatabaseModels::Key[ column = c], columns = C->including(c)].setOwnership() where c = DatabaseModels::Column[ name = attName, type = typeName]; C = Attribute2Column()(A) end
This creates an instance of a Table, whose name is the class name, and which has a Key that points to a Column that has the same name and type as the primary Attribute.
In addition, the columns of the Table are calculated by mapping each of the remaining attributes in A to columns and including the key column.
Finally, the operation setOwnership is called on the generated table. This sets the owner attribute of all the columns of the table, its foreign keys and key to be the table. It is defined as follows:
@Operation setOwnership():Element @For c in columns do c.owner := self end; @For f in foreignKeys do f.owner := self end; key.owner := self; self end
The modified table is returned by the final self.
Attribute2Column
The attribute to column mapping takes a collection of attributes and maps them to columns. There are three clauses in this mapping.
The first one just returns the empty set if there are no attributes:
@Clause Clause1 Set{} do Set{} end
The second clause matches if the attributes match the collection A that includes a attribute whose type is a datatype. If so, it creates a collection of columns, C, which includes a new column whose name and type is equal to the name and type of the attribute. However, C is calculated by passing the remaining attributes A to self, which in this case is the Attribute2Column mapping. Thus, it recurses through all the attributes applying the appropriate Attribute2Column clauses until they are consumed.
@Clause Clause0 A->including(ClassModels::Attribute[ name = attName, type = ClassModels::DataType[ name = typeName] ]) do C->including(DatabaseModels::Column[ name = attName, type = typeName]) where C = self(A) end
The third clause perfoms a similar function to the above, but in this case it only matches if the type of the attribute is a class. In this case, it runs through the attributes in the type applying the Attribute2Column mapping to those elements and adding them to the collection. Once this is complete it modifies the resulting column names so that they reflect the name of the type.
@Clause Clause2 A->including(ClassModels::Attribute[ name = attName, type = class]) when class.isKindOf(ClassModels::Class) do C->union(self(class.attributes)->collect(col | col.name := class.name + "_" + attName + "_" + col.name)) where C = self(A) end
As an example, the following snapshot shows an instance of the class model.
This corresponds to the following model (with customerId tagged as a primary attribute):
This can be run through the mapping as follows:
And returns the following snapshot (run toSnapshot() and then showDiagram()) on the result of the mapping:
Individual snapshots for specific objects can be shown, again by running toSnapshot() and showDiagram() on the object. For instance, here is the snapshot for the Customer table:
As expected, a new Key has been created for the customerId column, and a column resulting from turning the associated Account attributes into columns has also been created.


| DOSE: |
19 mg |
oral |
2C-E |
(capsule) |
About a week and a half ago (mid-November), I had the opportunity to try 2C-E. Since I was aware of its reputation as one of Shulgin's 'magical half-dozen,' and since anecdotally I had seen it compared favorably to such compounds as 2C-T-7 and LSD, I decided to go ahead and experience it for myself.
I have very few classes this term, so I decided to use this fact to my advantage and take the 2C-E early in the day, starting around noon. I also recruited a friend to act as sitter; we both took notes. I include only my notes in this report, because his notes were sparse and unenlightening.
Before I conclude with the full text of my 5 pages of handwritten notes, allow me to encapsulate what I felt to be the most notable 'take-home lessons' of the experience.
(1) I have previously found that, for me, phenethylamines perceptually tend to be distinguishable from tryptamines because their visual effects are primarily distortions of curvature or of perceived depth. For example, flat surfaces 'breathe.' Tryptamines, on the other hand, generally cause hallucinations of transverse waves moving through surfaces - there is a notable vibration. So I often notice the breathing vs. buzzing of a compound, especially because the buzzing quality of a tryptamine also seems to characterize its body load. 2C-E, for a large part of the experience, behaved like a tryptamine rather than a phenethylamine; I have a friend who said his prior 2C-E experience felt tryptamine-like for him, as well. If you are not fond of the particular tryptamine character I have outlined above, you might want to avoid 2C-E.
(2) I found that this substance - like several others, including my favorite, DPT - had an intense body load, characterized by tightness and pain in the chest. I suspect, from pulse measurements taken during the experience, that my heart rate was around 100-110 beats per minute at times, nearly twice as fast as my usual 60 bpm pulse. This is almost certainly dosage-dependent, but something to keep in mind. And it affected the entire experience, as I spent a portion of it convinced that I overdose constantly. I don't actually believe this, but it was totally convincing to me in my somewhat addled state.
(3) Finally, and perhaps most importantly, I found that this substance brought out a coldly analytical, almost ruthless, aspect of my character, far removed from any state of mind I have been in on other psychedelics. A characteristic of this analytical ego was to drop many articles and other grammatical decoration - a kind of impatient curtness. The experience was extremely dark in many ways, but because of the analytical stress, there was very little frightening or discomfiting visual component - this may have been caused by my fastidiousness in note-taking. And this darkness does not seem to have had anything to do with my set or setting. Oddly enough, there was a very periodic characteristic to the insight - it came and went, so that some parts of the notes are silly and uninsightful and others are more focused.
In any case, I think I would take 2C-E again, but most likely it would be with a group of people or with my girlfriend. It was a lonely space to be in, and I think the presence of other (tripping) people might moderate some of the more darkness I felt.
My notes follow. They have been touched up a little for readability in places.
Set: Somewhat sleep-deprived, but good spirits. A bit hungry from extended fast (from previous evening ~midnight). Up for a fun, intense experience. Just finished attending graduate quantum mechanics, where we discussed spherical tensor operators.
Setting: My old dormitory & floor with my former roommate as sitter. Don't live here any more but am comfortable with both old & new folks. Plan to watch a movie or two in the lounge while coming up. Brought mood-relaxing CD's. [Although I didn't listen to any of the CD's, the first 75 minutes or so of the trip were spent watching Koyaanisqatsi.]
1130 (T-): Start meditating to clear mind & relax before ingesting.
1145 (T-): Switch focus to [my friend's] fish - sleep dep. & meditation making me feel slightly unreal as is. Found it very calming: a slow paced, monotonous life being played out before me. I noticed my heart rate slow a bit. Was amused by index of refraction making pebble layer in tank look 2D.
1218 (T0): I take the pill with water. Gelcap, mmm... And start to watch Koyaanisqatsi.
1243 (T+:25): First alert - slight internal warmth. Heart-rate the same. Some tremulousness.
1300 (T+:42): Slight seasick feeling from panning cameras. Stomach flutters.
1317 (T+:59): Some time dilation. Somewhat tingly in the extremities. Same heart rate.  Slight undulation in visual field. Jaw clenching.
1336 (T+1:18): Some tracers. Clamminess. Drank some water. Clenching in waves with flutters.
1345 (T+1:27): Definitely coming up. Almost tryptamine-like vibration vs. usual phenethylamine breathing. Pupils are gigantically dilated - narrow rims of color around pupil.
1355 (T+1:37): I hate that feeling of having to pee and not being able to. Also the massive drug-induced shrinkage. It feels a bit cold in here. Heat rate is maybe a bit elevated. Slight intensification of color perception. Still feels very tryptamine.
1402 (T+1:44): Sudden feeling of deep sympathy for people and interest in them. Enjoying odd sounds. Green haloes or tinges on many things. Feeling cold & somewhat nauseous.
1411 (T+1:53): Many tracers. Undulation. Everything looks greener (like 'tint' on an old monitor set too high). Hard to concentrate. Articulation is leaving me. Everything is shimmering. Feeling a bit overheated - cold hand from holding water feels good on neck. This really does have a strongly tryptamine-like body load. Walking feels strange - rubbery.
1418 (T+2:00): Notice closed-eye visuals. Definite 'tint' continues. Closed window, put on fleece. Music has helped calm nausea. Can't spell anymore. Feel tightness in chest and as though top of head were slowly boiling off like dry ice. Extreme time dilation. Strong sensuality and vibrant color to CEV's but no discernable shape or form.
1420 (T+2:02): My brother looks different & older every (few) times I see him. Can he say the same? I feel like day to day I degenerate without keeping track and then surface like now. Life doesn't have any steady rhythm or routine. I don't like routine, but I really don't like no rhythm at *all*. Feel neither too hot nor too cold nor feverish nor... But something feels wrong. Little stain on my paper moves in my peripheral vision deliberately like a fly. Paranoid feeling, but maybe I'm always this way a bit (definitely).
1430 (T+2:12): Hard to follow what I wrote 10 minutes ago. Wow! I need to do laundry. Severe time dilation. Basic 'long' unit of time [i.e. length of time that, after it has passed, would make me want to look at a clock] seems to be about 5 minutes.
1432 (T+2:14): Noticed an M.C. Escher tesseract in the texture of the paper. *Wow*! Open eye visuals are happening and I think the level of detail on the paper is not something my eyes can usually perceive. So total hallucination - or rather I'm highly sensitive to the luminance and the green tint [of the paper combined with the green tint from the 2C-E] probably adds some depth.
1435 (T+2:17): Don't feel sick. But tight in chest. CEV's: Exhaling bleaches the color. Maybe smears the vision as well. Breathing in contracts and brightens it. Still feeling tight in the chest and short of breath. Do I just give myself heart attacks every time I do drugs? I might definitely surmise so. At least I feel this way on most really strong drugs. Is it just that I OD all the time? Too much sensory echo to feel own heartbeat - ask G [the sitter].
1442 (T+2:24): Decided to belay that - feels more tryptamine than phenethylamine. Feeling of pain in the heart is very familiar. Heart rate is definitely increased.
1447 (T+2:29): Heart beat seems to have just gone away. Maybe it is beating much too quickly for my damp sense to keep up. Hear the fans and filters [of the computers and aquarium] and - yeah the *fans* like crazy. Whisperingness of being in a shared acoustic (i.e. fluid and constantly communicating) environment. Feel connected to distant things through simple vibrational principles. Definite sense of reductionist triumph. Loss of ego resolves only troublesome part.
1453 (T+2:35): I feel like an old Mexican peasant waiting to be buried. Dessicated and laboring.
1455 (T+2:37): Two faces in G's wall - sense of depth - lower and left is 'in front of' higher and right. Lower is a woman, slightly tired but pious with folded hands like the Black Madonna. Stooped. Upper figure is bestial - canine like a mastiff puppy - or death. Gentle but firm looking and also somewhat oblivious/uncaring. 'Come play with me?'
1500 (T+2:42): I ache. I feel like dead ground meat. But is *not* unenjoyable. It's just like how I've felt on a lot of tryptamines but maybe a bit more controlled-feeling? Definitely not in this state but reminds me of DPT - being so tripped out that vision washed out in achy redness - everything hurt or just made itself known intensely - I didn't know if I was talking or thinking or vomiting or bleeding or what.
1505 (T+2:47): Definitely understand feeling of loving so deeply and selfishly that love == breaking (i.e. pain so strong I would feel it physically and be unable to speak). I love her like crazy. I don't know if it's healthy.
1510 (T+2:52): Feeling of vulnerability. Baby kitten (redundant). Love is entirely irrational. It bodes poorly in billions of 'if-then' scenarios. But so what?
1512 (T+2:54): Strong feeling of identification. I don't understand anyone else but really wish I did. I can't even comprehend someone's experience of a song. THAT ISN'T MY EXPERIENCE. Or at least I can't comprehend it emotionally as opposed to intellectually.
1516 (T+2:58): Feel strongly that science != truth in any sense. Scientific terminology doesn't encode spirit. Yet I feel that one must lead into the other. Cognitive dissonance & heartsickness. Lots of grinding teeth. Painfully tight jaw. Just feel tight *wound*. Basically like DPT. Maybe I *do* just OD every time? That would explain HEART PAIN. Oh yeah, otherwise similarity (essentially lots). [This is actually not really true, except in the physical sense.]
1522 (T+3:04): It strikes me as strange that there should be handwriting experts. They know what it means when I omit the dots on most of my 'i''s, etc. But why can't I write cursive any more (practice)? [I proceed to write a collection of cursive letters, commenting 'like my brother's!' to a capital R, 'childish' to a capital A, and then I write the word 'cataplexy' about 15 times. It seemed like a random word at the time, but it seems somehow significant, in that it denotes 'a morbid condition caused by an
overwhelming shock or extreme fear and marked by rigidity of the
muscles.' Hm.]
1530 (T+3:12): Just spent last 10 minutes writing cataplexy in script. It felt totally alien. Sometimes nice. Curved down and around the paper and back up, like a drugged spider's web. Still feel like I have a dead scar where a heart should be. Can take off this fleece now. Some of the script cataplexy is really sexy writing. The X is very sexy because the shape it makes (the slash) is a nice contrast to the upward 'integral'-like part of the cursive x. Will *now* take off fleece after I have once more written [There follows about 15 aborted attempts to write 'cataplexy' again. None of them met my approval.]
1538 (T+3:20): This is amusing me now. H [a friend] came in. Still somewhat convinced I OD/have heart attack every time I do drugs. I feel kinda bruised and goofy. They're talking about fluid flow and temperature gradient. Nothing worthwhile for other people [I obviously disagree with this now]. But a lot of fun. Could be fun with someone.
1545 (T+3:27): Definitely enjoying biting own lips rather hard. Feeling somewhat erotic. But know I probably couldn't be potent - **too high**. The pain is nice, though (but this isn't unusual - often bite lower lip just shy of cut).
1546 (T+3:28): Ironic feeling of 'soldiering on despite' pain I've all too recently and voluntarily caused myself. Hypocrisy. I feel shallow. I criticize myself either too weakly or too much in a blanket. Either NO GOOD or really pretty okay if not awesome. Lazy and unsubtle I am.
1550 (T+3:32): Makes me think of R [my brother, who is clerking with a state supreme court justice] & death penalty cases. They seem clear cut punishment-wise, but it is definitely an adversarial system such that contrition is ignored because it's a zero-sum game. Trust. But there are always so many shadings. How can one tell what remorse is? Or is it just conditioned behavior? Are the remorseless simply more honest (or alternatively: less craven or sophisticated)?  Lots of speculative power and shallow analytical power but not much penetration. Attempting to gain understanding and insight of physics. Like nosebleed blood slowly coruscating through layer of fishtank pebbles. Like pachinko machine. Sick and biological - slowtime - assumption of awareness. Could be dead before it is natural to me. Lazy. Lazy. Unsubtle because I don't teach myself
subtlety. Don't know where to look. Don't care to ask.
1555 (T+3:37): Angry. I don't know why. Aimless. Don't know if I am being unfair to myself or more honest than usual. Either way it is the reality of the moment.
1556 (T+3:38): Reading others' writing always distances one from the reality of a thing. And person at one point in time is fundamentally different at a later point in time. Fundamental alienation from self in time. Body/mind separation: space also. Sense of separation --> cognitive dissonance. Dying all the time. All the time. Now sensing the crisis more than other times (this is consistent). Feeling of slow drowning with occasional surfacing to scream unheard - last several years. Vulnerability. Desire for intimacy without risk.
1600 (T+3:42): HARDCORE TIME DILATION. Also can't add. Focused too much on reality of thought vs. irrelevancy of 1+1.
1602 (T+3:44): Conflict: Feeling of brokenness / worthlessness. Criticism of self for such condition. Sympathetic feeling -- criticism is too harsh (mom, me). Antagonistic feeling -- criticism is too weak (dad, R). Too busy with criticism to address issue (German [tendency] - Iranian is anti-intellectual - grandstanding taken over once-great culture). So ultimately: constant despair. No fix. But knowledge can fix, right? Wrong. Always more to learn. Never instinctual understanding because I have no instincts. Intimacy can fix? Sure. But so risky. God risky. But I love her... And [yet] codependence is bad. Maybe not fixable. Solution: just live.  Weakness on own part.  Heart still going pretty damn quick & chest still tight.
1620 (T+4:02): Lips practically bitten through.   Nice.
1630 (T+4:12): Right that pulse thing. 84 BPM. Normally ~65-70. I'm sure was much faster earlier. So coronary struggle definitely. Not healthy. But oh well.
1638 (T+4:20): Lips bitten. Yow. Pleasurable. Sharp teeth I have. Phlegmy fatigued confusion. Want to taste blood? Yam yam yam. *Material* me. Distracted by Coupling show from BBC. Very insipid (lots of assumptions of accepting unthinking superficiality) yet really witty at the same time.
1645 (T+4:27): La la la. Bity. Bity. Nice. Focusing on achiness now.
1650 (T+4:32): I feel like dead flesh.
1652 (T+4:34): Don't bite off lips. Yes.
1655 (T+4:37): Need not to think. Hippo's making fun of [my notes'] voluminousnessness (one to many 'ness'-es). Dilating again - time - like underdamped brakes [i.e. the motion of a dash-pot in a shock absorber when the system is underdamped - slow oscillation].  Now is phenethylamine-like. Maybe delta-function [the character of the experience as starting with a huge perturbation to the perception of self] is so intense as [for the chemical family] to be indistinguishable. And I've only found far-beyond-threshold experiences to be worthwhile at all. CATHARSIS --> crisis.
1700 (T+4:42): Want to go out. Venture a bite to eat.
1705 (T+4:47): Coupling is funny in a horribly shallow way. Must be omewhat (very) shallow to enjoy it myself. 'How low would you go?'
1710 (T+4:52): Feeling very achy everywhere. Hungry hungry. Enjoying feeling of tension. Same as lip-chewing.
1715 (T+4:57): Time to go get pizza (finally succeeded around 1720 (T+5:12)). Rare to have fun on drugs. Learn often many of the same things I think. Reconsider substances generally. [And reconsider I did, in the positive, nearly immediately - a friend came in and revealed that I might have the chance to try LSD for the first time the next day.] JAWS STILL CLENCHED> But hmm... Acid?
1725 (T+5:07): Acid. Hmm. Need to work. Self-destructive. But acid... God. NO TIME. But gotta make it. [It should be emblematic of how 'down' I was - and how taken up with the notes - that I was not even thinking of 2C-E at this point, yet still taking notes.]
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


29 September 2012, Hanoi, Viet Nam. Field trip after the 63rd Regional Committee Meeting.
28 March 2013, Vientiane, Lao PDR. RD attended 50th Anniversary of WHO Working for Health in the Lao PDR.
28 March 2013, Vientiane, Lao PDR. RD with the staff of WHO Office Lao PDR.
28 August 2014, Suva, Fiji. RD visited DPS Office.
28 August 2014, Suva, Fiji. RD with the staff of DPS Office.
29 August 2014 , Savusavu, Fiji. After RD visited Health Centres and Launched Tobacco Smoke Free Savusavu.
10 June 2015, Phnom Penh, Cambodia. RD visited WHO Office and launched the CCS 2016-2020 in MOH.
10 August 2015, WHO Office, Phnom Penh, Cambodia. WRsCLOs retreat with Cabinet members
29 October 2017, Saanenmöser, Switzerland. 113th WPRO WRs/CLOs consultation
5 July 2018, Busan, Korea. During WRsCLOs retreat with Cabinet members.


--- layout: post authors: ["Greg Wilson"] title: "Summary of Host Survey" date: 2013-08-14 time: "14:48" tags: ["Community"] ---
Earlier this summer, we asked people who had hosted Software Carpentry bootcamps to give us some retrospective feedback. Their answers are summarized below, and we'll be adjusting our operations in response.
| I support this approach | 12 |
| I support this approach, but not at this price | 5 |
| I am neutral | 7 |
| I am opposed to this approach | 3 |
| Complete beginners / 2 days | 7 |
| Complete beginners / 3 days | 5 |
| Intermediates / 2 days | 13 |
| Intermediates / 3 days | 2 |
| Other | 3 |


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Deleting a CSV row will allow it to be reimported.
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It is developed and maintained by the EIC Software Group.
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OERu Tech Roadmap & Strategic Opportunities
OERu 16.10 Meeting
University of the Highlands and Islands
Inverness, Scotland - 3-5 October 2016
Single Sign-On (SSO)
Removing barriers to participation.
It's not a straightforward thing to achieve, but we're going to make it happen. Our goal is when a learner or an educator signs up to one of our services, they can use the same credentials to log into all of our services to remove hassles. Benefits us, too, because it reduces complexity in the long run and the administrative overhead of account access support requests.
For those interested, we're currently pursuing a solution based on the OAuth2 authorisation protocol, using our multi-site WordPress Course site as the Authenticaion source.
This is a work-in-progress example of what it'd look like (we'd add some OERu branding to make it look more obvious) - rather than typing in their name and email address, and having to come up with yet another username and password, any existing OERu course user could simply click that button which would take them back to the Course.oeru.org site (for which they'll already have credentials) and simpley say "yes, use these credentials to access this other OERu site". If they're already logged into the Course site, they'll immediately be transferred, already logged in with a valid user, to the new site.
For those interested, we're currently pursuing a solution based on the OAuth2 authorisation protocol, using our multi-site WordPress Course site as the Authenticaion source.
Analytics
Tracking the usage patterns of OERu technologies, especially activities, quizzes, and assessements.
With any innovation, it's crucial to determine in advance what "success" looks like, and then build into your product the ability to measure its performance so you can determine whether you meet that threshold.
We're working with a company called Lunametrics to integrate into each of our Course sites so that the way users interact with any quizzes included in those courses is recorded (anonymously) and the results can be reviewed allowing us to continually improve the quality of quizzes, their layout, and the questions and answers (both correct and incorrect).
Additional OERu Course exports
We have export to WordPress sites now.
Next steps: export to widely used LMSs or
to static web sites for offline access.
Open boundary courses.
We've already proven the model of repackaging OERu courses, for example exporting them into useful external platforms - we can extend this to provide export to some widely used LMSs, especially with open standard export formats like SCORM.
Similarly, we could repackage courses into static representations that can be distributed and used offline or hosted and used locally in remote communities, removing the need for fast, reliable internet access.
Our disaggregated interaction services enable open boundary courses even in conjunction with closed LMS technologies.
Community contribution
Dan Wilton (Athabasca University) has created a static export method.
Automated assessment
Crowd sourced "question bank": proven questions (and answers).
Investigate adopting TAO (Open Assessment Technology).
Open standards for quiz markup, like Moodle GIFT format.
Potential revenue stream for partners.
The OERu is already coordinating the efforts of educators to develop Open Educational Resources. Why not ensure that quizzes and assessments created in conjunction with those resources become part of an integrated question bank, suitably categorised to make them searchable and easily recruited into other formulations of assessments. Over time, if we aggregate questions - especially if some of our courses involve learners designing new questions and answers - we can create a valuable resource for online assessments. This is a potential revenue stream opportunity for partners (for cost recovery or profit).
Online assessment services represent a major opportunity in tertiary education. At the moment these services are dominated by proprietary monopolies, so they're a great candidate for a more open, pan sector approach. We think these online question banks could be an extension of WikiEducator. We're also evaluating open source delivery platforms like TAO (Online Assessment Technologies). The beauty of open source is the ease of trialing solutions and being able to discard (without buyer's remorse, those which fail to live up to their promise), or help to build up those which show potential, and to rapidly scale up, with minimal cost or risk, those which demonstrate clear value.
Registered OERu affiliates
A directory of course designers, technologists, and others who have demonstrated they can build excellent resources.
Another opportunity we have is to create a marketplace for the commercial ecosystem surrounding OER development. We can help to promote those who have demonstrated their abiity to create top quality resources or related services including graphic design, video production, or project management.
Credits
This presentation was delivered with Reveal.JS an open source presentation framework. Developers can get the code and others can use its point-and-click builder, Slides.com .
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Djokovic eases past Berrettini in ATP Finals opener
by Mattias KarenLONDON (AP) — Novak Djokovic took full advantage of Matteo Berrettini’s erratic forehand to beat the Italian 6-2, 6-1 Sunday in the opening match of the ATP Finals.
Djokovic, who is looking for a record-equaling sixth title at the season-ending event, only needed to hit a total of 10 winners in the match as Berrettini’s 28 unforced errors handed the Serb an easy victory to start round-robin play.
Berrettini’s forehand was responsible for 18 of those errors, including two shots into the net to hand Djokovic the two breaks of the first set.
Djokovic then raced into a 4-0 lead in the second before Berrettini earned his only break when the Serb sent a backhand wide. But Djokovic, who won four straight titles at the O2 Arena between 2012 and 2015, broke right back and then clinched the victory with an easy forehand putaway at the net.
Berrettini was making his debut at the event for the world’s top eight players and had never faced Djokovic before.
Roger Federer, who holds the record of six ATP Finals titles, was set to play Dominic Thiem later in the evening match.
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The other four-man group features Rafael Nadal, defending champion Alexander Zverev, Stefanos Tsitispas and Daniil Medvedev. They begin play on Monday.
Djokovic has a chance to overtake Nadal for the year-end No. 1 ranking with a strong showing in London. He trails the Spaniard by 640 ranking points, with a maximum of 1,500 points up for grabs.


Some of the world's most vital fresh water reserves are DRYING UP as scientists predict climate change and population growth will to lead to a 30 per cent increase in demand over the next 30 years
by Sophie Curtis For Mailonline- Scientists analysed 80 of the world's most important mountain 'water towers' and ranked them by importance
- These water towers store and transport water via glaciers, lakes and snow packs
- Collectively, they supply a quarter of the world's population with fresh water
- The Indus basin, which supplies over a billion people across four countries, is the most vulnerable
Billions of people are at risk as the world's water reserves dry up, warns a new study.
More than 30 of the world's leading scientists say mountain regions, which supply a quarter of the world's population - around 1.9 billion people - with freshwater, are drying up.
Climate change and population growth are to blame, with demand expected to rise by 30 per cent over the next 30 years, according to the United Nations.
Dr Tobias Bolch, of the University of St Andrews who contributed to the research, said: 'The study quantified for the first time both the natural water supply from the mountains as well as the water demand by society, and also provided projections for the future based on climatic and socioeconomic scenarios.
FIVE MOST RELIED-UPON WATER TOWERS BY CONTINENT
- Asia: Indus, Tarim, Amu Darya, Syr Darya, Ganges-Brahmaputra
- Europe: Rhône, Po, Rhine, Black Sea North Coast, Caspian Sea Coast
- North America: Fraser, Columbia and Northwest United States, Pacific and Arctic Coast, Saskatchewan-Nelson, North America-Colorado
- South America: South Chile, South Argentina, Negro, La Puna region, North Chile
'The projected loss of ice and snow and increasing water needs makes specific densely-populated basins located in arid regions, like the Indus basin in South Asia or the Amu Darya basin in Central Asia, highly vulnerable in the future.'
Scientists analysed 80 water-systems, known as mountain water towers, which store and transport water via glaciers, lakes and snow packs.
They ranked water towers based on how important they are to nearby communities and how vulnerable they are now and in the future.
Prof Walter Immerzeel said: 'What is unique about our study is that we have assessed the water towers' importance, not only by looking at how much water they store and provide, but also how much mountain water is needed downstream and how vulnerable these systems and communities are to a number of likely changes in the next few decades.'
The team found the Indus basin, the world's largest water tower, supplying over a billion people across four countries - Afghanistan, China, India and Pakistan, is the most vulnerable.
Other exposed towers include the Andes, the Alps and the Rocky Mountains.
Researcher Dr Arthur Lutz, of Utrecht University, said: 'By assessing all glacial water towers on Earth, we identified the key basin that should be on top of regional and global political agendas.
The team hopes their findings will give decision makers the evidence they need to act.
Dr Jonathan Baillie, Chief Scientist at the National Geographic Society, added: 'Mountains are iconic and sacred places around the world, but the critical role they play in sustaining life on Earth is not well understood.
'This research will help decision-makers, on global and local levels, prioritise where action should be taken to protect mountain systems, the resources they provide, and the people who depend on them.'
The findings were published in the journal Nature.


Algorithms for Data Structures
Arrays
Linked List
Doubly Linked List
Hashtable
Arrays
Linked List
Doubly Linked List
Hashtable


On New Year's Day my rich uncle gives me x dollars, which I add to the y dollars I already have earning 4% interest. How much money will I have at the end of the year? Simple in J--I just write 1.04 * x + y, and I have the answer, whether x and y are scalars or arrays. That's nice, but I have an enviable problem: I expect his largesse to continue, and in my anticipation I have estimated his gifts for the next few years as the list x; I want to know what I'll be left with at the end. I need to pass each year's starting balance into the calculation for the next year. I know what I want the result to look like: it'll be v/ (|.x) , y which will be evaluated as xn v ...x2 v x1 v x0 v y . But what is v? The problem with 1.04 * x + y is that it contains 2 verbs and a constant, and I need it all lumped into a single verb so that I can have the adverb dyad / modify the whole thing. One solution would be to create the verb
v =: dyad : '1.04 * x + y'
after which v/ (|.x),y works, but it's a shame to have to interrupt a J sentence just to define a verb with such a puny function--I want magic words to let me say (1.04 * + abracadabra...combine!)/ (|.x),y . J has such magic words, and we will learn a few now.
The magic words will join verbs and nouns together, so they must be modifiers: adverbs and conjunctions. Before we start, we need a little notation to help with the different cases we will encounter. Given a conjunction c or adverb a, we call its left operand m if it is a noun, or u if it is a verb. Similarly we call a conjunction's right operand n if it is noun, v if a verb. There are four possible ways to invoke a conjunction (u c v, m c v, u c n, and m c n) and two for an adverb (u a and m a) and they are defined independently. Moreover, the derived verb produced by the invocation (the derived entity may be a noun, adverb, or conjunction too but that is unusual) can be used as a dyad (e. g. x u c n y) or as a monad (e. g. m a y), and those cases are defined independently as well. You won't get the cases mixed up, because verbs and nouns are so different that it will seem natural for u c n to be different from u c v; just be aware that the variants are many and that we will be learning a tiny subset of J's toolkit. The adverb / is an example: we have learned about monad u/, but dyad u/ is very different, as is m/ .
Verb Sequences--u@:v and u@v
u@:v creates a derived verb of infinite rank that applies v to its argument(s) and then applies u to the result. In other words, u@:v y is the same as u v y and x u@:v y is the same as u x v y . Examples:
{. @: /: 3 1 4 1 5 9
1
Monad /: produced the permutation 1 3 0 2 4 5 of which we took the first item.
1 2 3 +/@:* 1 2 3
14
Dyad * produced 1 4 9 whose items we then summed. fndisplay shows the details:
defverbs 'plus"0 times"0'
1 2 3 plus/@:times 1 2 3
+-------------------------------------------+
|(1 times 1) plus (2 times 2) plus 3 times 3|
+-------------------------------------------+
u@v is like u@:v except that the rank of the derived verb is the rank of v (also expressible as (u@:v)"v because u"v is defined to have the function of u with the rank of v). My advice is to stick to @: and avoid @ unless you're sure you need it.
The Difference Between u@:v and u@v
Because u@:v and u@v have very similar definitions, and produce identical results in many cases, almost every beginning J programmer confounds the two. The key is to remember that each sequence produces a new verb which has a rank. In u@:v, this rank is infinite, so that in x u@:v y, the derived verb u@:v is applied to the entire x and y, meaning that v is applied to the entire x and y and u is applied to the entire result of v . In the other case, the rank of u@v is the rank of v, so in x u@v y the verb u@v is applied to individual cells of x and y, where the cell-size is given by the rank of v : for each of those cells, v is applied followed by u, and the results from the cells are collected into an array.
If we try to take the sum-of-products using u@v instead of u@:v, we see the difference between the two forms:
1 2 3 +/@* 1 2 3
1 4 9
What happened? We thought we were multiplying the vectors and then taking the sum. Because we used @ rather than @:, the derived verb had the rank of dyad *, namely 0, which means that the derived verb was applied to each cell: at each cell we multiplied and then took the sum of the single cell. In fndisplay form,
defverbs 'plus"0 times"0'
1 2 3 plus/@times 1 2 3
+---------+---------+---------+
|1 times 1|2 times 2|3 times 3|
+---------+---------+---------+
plus never got executed, because plus/ was applied to 1-element lists, leaving in each case the single element.
Many J programmers think of @ and @: as establishing a different kind of connection between u and v, with u@:v applying u to the entire result of v and u@v applying u to result cells of v (where a result cell is the output produced by applying v to a single operand cell). Such an interpretation makes it easy to understand the operation of +/@* : +/ is applied on result cells of *, which are scalars.
The connection interpretation of u@v correctly accounts for the results produced by J, but as you use it you should be aware that it is inaccurate because it suggests that v is executed against the operand(s) in their entirety. The actual cell-at-a-time execution of u@v is different in two ways: it is slower because the verb v must be restarted for each cell; and if the temporary space required by u or v is large, cell-at-a-time execution uses less space because the temporary space for each cell is freed before the next cell is processed.
An Exercise in @ and @:
Given the definition
]a =: 1 2 3 ; 4 5 ; 6 7 8
+-----+---+-----+
|1 2 3|4 5|6 7 8|
+-----+---+-----+
we want to create a verb that will throw away the first box (using the Behead verb, monad }.), and for each remaining box open it and keep just the first atom (using the Head verb, monad {.). The result will be a list of the first items in all boxes except the first, in this case 4 6 . Understand how the following verbs work or don't work:
}.@:({.@>) a NB. Verb 1
4 6
}.@({.@>) a NB. Verb 2 (the output is 3 blank lines)
}.@:{.@> a NB. Verb 3 (the output is 3 blank lines)
}.@({.@:>) a NB. Verb 4
2 3
{.@>@}. a NB. Verb 5
4 6
{.@:>@}. a NB. Verb 6
4 5 0
Solutions:
In verb 1 (}.@:({.@>)), the overall verb has infinite rank because of the use of @:, so the entire a is applied to ({.@>) and then }. operates on the entire result. {.@> has rank 0 because @ was used and the rank of > is 0. So each atom of a, i. e. each box, is separately opened and the first element taken, giving a 3-element vector 1 4 6 which is then beheaded to give 4 6 . The following table shows how the operand is passed through the verb, with each row representing a cell of input to each verb. The table should be read from right to left.
|
Result |
Processing of {.@> |
Cells of }.@:({.@>) |
|||||||
|
Result of |
Result |
Result |
Cells of |
||||||
|
4 6 |
1 4 6 |
1 |
1 2 3 |
|
|
||||
|
4 |
4 5 |
|
|||||||
|
6 |
6 7 8 |
|
In verb 2 (}.@({.@>)), the overall verb has rank 0 because @ was used and the rank of ({.@>) is 0. So each atom of a, i. e. each box, will be opened, the first element taken, and then the first element of that beheaded, leaving an empty list; this is done for each atom of a, giving a result of 3 0$0 which displays 3 blank lines.
|
Final |
Result |
Processing of {.@> |
Cells of }.@({.@>) |
|||||
|
Result of |
Result |
Result |
Cells of |
|||||
|
3$0 |
0$0 |
1 |
1 |
1 2 3 |
|
|
||
|
0$0 |
4 |
4 |
4 5 |
|
|
|||
|
0$0 |
6 |
6 |
6 7 8 |
|
|
In verb 3 (}.@:{.@>), the ordering rules for modifiers cause the verb to be equivalent to (}.@:{.)@>, which again has rank 0 because of @ with right operand of >, so each atom is passed through the whole verb giving the same result as verb 2.
|
Final |
Processing of }.@:{. |
Result of > |
Cells of }.@:{.@> |
|||
|
Result of |
Result |
Result |
||||
|
3$0 |
0$0 |
0$0 |
1 |
1 2 3 |
|
|
|
0$0 |
0$0 |
4 |
4 5 |
|
||
|
0$0 |
0$0 |
6 |
6 7 8 |
|
In verb 4 (}.@({.@:>)), the rank of the overall verb is infinite because @: makes the rank of ({.@:>) infinite. The entire a is passed into ({.@:>), where it is opened and padded with fills to make an array of shape 3 3; then the first item is taken, yielding 1 2 3; then this list is beheaded, giving 2 3 .
|
Result |
Processing of {.@:> |
Cells of }.@({.@:>) |
|||||||||
|
Result of |
Result |
Result |
Cells of |
||||||||
|
2 3 |
1 2 3 |
1 2 3 |
1 2 3 |
|
|
Verb 5 ({<EMAIL_ADDRESS>is equivalent to ({.@>)@}. which has infinite rank because }. does. The list of boxes, taken in full, is beheaded and the result (4 5;6 7 8) passed to ({.@>). This verb has rank 0 (from >), so each box is individually opened and the first item taken, giving the result 4 6 .
|
Final |
Processing of {.@> |
Cells of {.@>@}. |
|||||||
|
Result of |
Result |
Result |
Cells |
||||||
|
4 6 |
4 |
4 |
4 5 |
|
|
||||
|
6 |
6 |
6 7 8 |
|
Verb 6 ({<EMAIL_ADDRESS>is equivalent to ({.@:>)@}. which is like verb 5 except that ({.@:>) has infinite rank. When the beheaded list of boxes (4 5;6 7 8) is presented to this verb, the whole list is processed at once: it is opened and filled with zeros to produce an array of shape 2 3, then the first item is taken giving 4 5 0 (the 0 was added as a fill when the list was opened).
|
Final |
Processing of {.@:> |
Cells of {.@:>@}. |
||||||||
|
Result of |
Result |
Result |
Cells |
|||||||
|
4 5 0 |
4 5 0 |
4 5 0 |
4 5 0 |
|
|
Making a Monad Into a Dyad: The Verbs [ and ]
The characters [ and ] are not paired in J; each is an independent verb. This is jarring at first but you'll get used to it.
[ and ] are identity verbs: they have infinite rank, and ] y and [ y both result in y . As dyads, they pick one operand: x [ y is x, and x ] y is y . They can be useful when you have a monadic verb that for one reason or another must be used as a dyad with an unwanted operand: then x v@:[ y applies v to x, and x v@:] y applies v to y . Example:
1 2 3 {.@:[ 4 5 6
1
Here are some other uses of [ and ] . We have already met the first one, which is to display the result of an assignment:
a =. 1 2 3
produces no typeout, but
]a =. 1 2 3
1 2 3
Second, [ can be used to put multiple assignments on the same line, since each application of [ ignores what is to its right:
a =. 5 [ b =. 'abc' [ c =. 0
Finally, ] can be used instead of parentheses to separate numbers that would otherwise be treated as a list:
5 ,"0 1 2
|syntax error
| 5 ,"0 1 2
5 ,"0 (1 2)
5 1
5 2
5 ,"0 ] 1 2
5 1
5 2
Making a Dyad Into a Monad: u&n and m&v
A dyadic verb takes two operands, but if you know you are going to hold one fixed, you can create a monadic verb out of the combination of the dyad and the fixed operand; the monad's operand will be applied to whichever operand of the dyad was not held fixed. The conjunction &, when one of its operands is a noun, fixes an operand to a dyad: m&v y has infinite rank and is equivalent to m v y; u&n y has infinite rank and is equivalent to y u n . Examples:
2&^ 0 1 2 3
1 2 4 8
(-&2) 4 5 6
2 3 4
Note that the compound u&n or m&v actually does have a meaning when used dyadically (it means apply the monad form x times), so if you are making a monad from a dyad, be sure to use the resulting verb monadically.
Now we can solve our original problem, which was to put 1.04 * x + y into the form x v y . v should be
1.04&* @: +
which we can verify using fndisplay as
defverbs 'plus"0 times"0'
defnouns 'x y'
x 1.04× @: plus y
+-------------------+
|1.04 times x plus y|
+-------------------+
and to get my total savings after receiving all payments I use monad / to apply that verb for each payment, giving the expression:
1.04&* @: + / (|.x) , y
Let's take a moment to understand the parsing and execution of 1.04&* @: + / . The left operand of a modifier includes all preceding words up to and including the nearest noun or verb that is not immediately preceded by a conjunction. This is a precise way of saying that modifiers associate left to right. In the phrase 1.04&* @: + /, the 1.04 is not preceded by a conjunction, so it is the beginning of all the conjunctions' left operands, and the verb is parsed as if it were written (((1.04&*) @: +) / ) .
Note that left-to-right association of modifiers corresponds to right-to-left execution. When the derived verb monad (((1.04&*) @: +) / ) is executed, it performs according to the definition of monad u/, with ((1.04&*) @: +) as the u; execution of monad u/ inserts u between items, so ((1.04&*) @: +) is executed between items; at each such execution the dyad + is executed first, followed by the monad 1.04&* . Fortunately, the result of the parsing rules is that conjunctions and adverbs, just like verbs, should be read right-to-left.
If I wanted to spend half of my uncle's money , the amount I would be left with is
0.5 * 1.04&* @: + / (|.x) , y
No parentheses are needed, because 1.04 is still not preceded by a conjunction and so 1.04&* @: + / (|.x),y is still evaluated before that value is multiplied by 0.5 .
The Invisible Modifiers: Hooks and Forks
A modifier, as we have seen, can take verbs as operands to produce a new verb that combines the functions of the operand verbs in a particular way. J has two special modifiers that don't even use a symbol to specify the combination: they are recognized by syntax. These modifiers are the fork
(verb0 verb1 verb2)
and the hook
(verb0 verb1)
Without some special definition, such a sequence of verbs with no noun operand would be undefined.
When given an operand y and an optional operand x, the fork creates a verb of infinite rank that executes as
x (f g h) y is (x f y) g (x h y)
For example:
(+/ % #) 1 2 3
2
(+/ 1 2 3) % (# 1 2 3)
2
The fork was executed as shown in the second line, with the same result. This hook found the average value of the list operand.
8 (<. % >.) 10
0.8
(8 <. 10) % (8 >. 10)
0.8
The fork calculated the smaller operand as a fraction of the larger.
The hook takes an operand y and an optional operand x to produce
(f g) y is y f g y
x (f g) y is x f g y
(% +/) 0 4 1 5
0 0.4 0.1 0.5
0 4 1 5 % +/ 0 4 1 5
0 0.4 0.1 0.5
The list was divided by its sum, producing a result whose items sum to 1.
You can use the fork and hook to save some repetition of operands, as in the examples above. In the second part of this book, we will see that the hook and fork are gateways to the language of tacit programming, which allows you to describe programs entirely as a sequence of functions without visibly referring to operands.
Once you get the hang of it, you will be able to understand and build composite verbs of great power. That will be a useful skill to develop, because you never know when you are going to want to make some sequence of functions the operand of a modifier, and then you're going to have to be able to express the sequence in a single compound verb. It will take a lot of practice, as well as coding techniques to break a gristly mass of conjunction-bound words into digestible pieces (we'll learn them later). For the time being, be content if you can understand the simple examples shown above.


Year Up is a program that gives young adults an opportunity to become successful. This program combines hands-on skill development that will help prepare young adults to become successful in their professional careers and higher education.
The opporunity to divide is not charity, nor a handout. This is good sense. Economic justice for young adults equals economic prosperity for U.S. businesses, and the nation at large. .


To find out more about Persian literature:
Author
Title
Date of publication
ISBN#
Granville, E. G.
A Literary History of Persia
1997
0-936347-66-X
Rypka, Jan
History of Iranian Literature
1968
90-277-0143-1


Finding the best deal is now just a click away!
Number of deals to find from each website:
1
2
3
4
5
6
7
8
9
10
Select the websites you want to search:
Amazon India
Flipkart
MD Computers
The IT Depot
Newegg India
Prime ABGB


|
| Encoding | Encoding [get, set] |
| | Gets or sets the byte encoding for pre- and post-transmission conversion of text. More...
|
| |
◆ Read()
| int RJCP.IO.Ports.Native.ReadToCache.Read |
( |
SerialBuffer |
sbuffer, |
|
|
char [] |
cbuffer, |
|
|
int |
offset, |
|
|
int |
count |
|
) |
| |
Reads characters from the byte buffer into the character buffer, consuming data from the byte buffer.
- Parameters
-
| sbuffer | The byte buffer to read from. |
| cbuffer | The character buffer to write to. |
| offset | The offset to write to in cbuffer . |
| count | The number of characters to read into cbuffer . |
- Returns
- The number of bytes read into cbuffer .
Data is read from the read byte buffer kept in sbuffer , converted using the decoder into cbuffer . As data is read from sbuffer, it is consumed.
◆ ReadChar()
| int RJCP.IO.Ports.Native.ReadToCache.ReadChar |
( |
SerialBuffer |
sbuffer | ) |
|
Synchronously reads one character from the SerialPortStream input buffer.
- Parameters
-
| sbuffer | The byte buffer to read from. |
- Returns
- The character that was read. -1 indicates no data was available within the time out.
◆ ReadExisting()
| string RJCP.IO.Ports.Native.ReadToCache.ReadExisting |
( |
SerialBuffer |
sbuffer | ) |
|
Reads all immediately available bytes.
- Parameters
-
| sbuffer | The byte buffer to read from. |
- Returns
- The contents of the stream and the input buffer of the SerialPortStream.
◆ ReadTo()
| bool RJCP.IO.Ports.Native.ReadToCache.ReadTo |
( |
SerialBuffer |
sbuffer, |
|
|
string |
text, |
|
|
out string |
line |
|
) |
| |
Reads from the cached and byte stream looking for the text specified.
- Parameters
-
| sbuffer | The byte buffer to read from. |
| text | The text to indicate where the read operation stops. |
| line | On success, contains the line up to the text string requested. |
- Returns
true
if a line was found; false
otherwise.
◆ ReadToWaitForNewData()
| bool RJCP.IO.Ports.Native.ReadToCache.ReadToWaitForNewData |
( |
SerialBuffer |
sbuffer, |
|
|
int |
timeout |
|
) |
| |
Waits for new data to arrive that can be used to recheck for new data.
- Parameters
-
| sbuffer | The byte buffer to read from. |
| timeout | The time out in milliseconds. |
- Returns
true
if one more byte is available since the last ReadTo call; false
otherwise
◆ Reset()
| void RJCP.IO.Ports.Native.ReadToCache.Reset |
( |
bool |
withOverflow | ) |
|
Resets the cache, taking optionally into account a previous overflow.
- Parameters
-
| withOverflow | if set to true a previous overflow is taken into account and reinserted into the buffer, as if the first character had already been read. |
◆ Encoding
| Encoding RJCP.IO.Ports.Native.ReadToCache.Encoding |
|
getset |
Gets or sets the byte encoding for pre- and post-transmission conversion of text.
The encoding is used for encoding string information to byte format when sending over the serial port, or receiving data via the serial port. It is only used with the read/write functions that accept strings (and not used for byte based reading and writing).
The documentation for this class was generated from the following file:
- C:/PROJECTS/C#/BSL430.NET/src/BSL430.NET/Library/serialportstream/2.1.4/src/Native/ReadToCache.cs


System Architect Picture "Reason For Abandoning"
Parent Diagram:
Descriptive Category
(OMT Object Model)


FPlot Examples
- Fractals.fplot:
A FPlot file conatining a library implementing algorithms for the Mandelbrot & Julia sets, and corresponding 2D functions
that plots them.
- Gauss data.txt:
An ASCII File conatining example Measurement data. To Load the data, go to the Menu
Edit->New Data... . The following Window will appear:
In the topmost row of the grid, you must enter "n" in the x-column, "0.3" in the dx-column and "y[n]*0.3" in the dy-column. Then
you must press the Load from file... button. The following window will show up:
Next you click on Load file... . Here you must select the file
"Gauss data.txt" and the gauss data will be loaded into FPlot.
- Gaussfit.fplot:
A FPlot file containing the above measurement data and a function with 3 gauss-curves
that can be fitted to the data. To fit the function to the data go to the Menu
Calc->Fit... . The following window will appear:
Here you can click on Start to start fitting.
- Integrate.fplot:
A FPlot file containing a numerical integration example.
- Sin.fplot:
A FPlot file containing a sine curve


Video Editing & Tone Tuning (Virtual Singer)¶
Important
I am a skilled tone tuner of the virtual singer software UTAU. I upload my work to the site as videos, so yes, I know how to do video editing and bitrate-compressing as well.
I have also purchased the advanced tuning software Synthesizer V and play it around for a while.
Warning
You can check most of my video samples from my Bilibili space. However, some video works are in heavy Kichiku (鬼畜) or spoof style and may cause DISCOMFORT. If you do not know much about this video style, I recommend not trying or at least watching with caution.
Video Editing¶
There is nothing too much to explain about video editing. Video creators who love animation (yes I am one of them) will use images, videos, music or other media to edit and recreate their favorite animation works, and the final video result is called MAD or AMV (technically there is a difference between the two, but I won't go into it here). The purpose of the creation is often to express love for the original work (or the characters or story within it), or to make an adaptation of the original story.
The following is a MAD I created in 2014 using the music One Year, Two Months and Twenty Days (1年2个月又20天) in conjunction with the animation 5cm per Second (秒速五厘米). Unfortunately, the video editing really takes a lot of time and I had little time to create another one after this.
Tone Tuning¶
Many people may not understand what ”Tone Tuning“ is. Simply put, it's about making virtual singers' voices match the beat, pitch, and emotion of a song so that they can sing it.
The most famous virtual singer in the world is Hatsune Miku (初音ミク). If you haven't heard her name, I'm sure you've heard her coverf of Ievan Polkka (Video link). Here is a portrait of Hatsune Miku from the official Crypton website:
Virtual singers only have the sound of individual words or syllables read aloud (without intonation) in their voice bank, so to get them to sing a full song, a technician (i.e., a tuner) must be available to work on the pitch and beat of their pronunciation. In addition to these basic adjustments, to make the final song sound natural, beautiful, and close to a real person singing it, a good tone tuner will also deal with:
Vocal emotion,
Vibrato,
Glissando,
Ornamentation,
Singer falsetto, and many other things.
The voice software (synthesizer) behind Miku is Vocaloid, initially made by Yamaha in 2004. However, Vocaloid has not been called a success until the introduction of Hatsune Miku in 2007. After then, many virtual singers have been released for free (or sold commercially), and they are available for different synthesizers. However, I didn't know much about Vocaloid because its price is too high for amateurs like me.
In the 2010s, the most famous free synthesizer is UTAU and that is exactly the software I am familiar with. I started my tuner hobby in 2014, right after the release of virtual singer Ge Ping. I am grateful for his generosity on the virtual singer, which allows me to explore the fun of music in this way.
Here are some samples tuned by me, covered by the virtual singer Ge Ping (葛平).
One Night in Beijing (北京一夜): The falsetto vocal effect is simulated in the chorus. I tuned this in 2015.
Like Smoke (如烟): Gentle and lyrical singing style. I tuned this in 2016.
You may have noticed that these tone tuning samples are all covered by Ge Ping. Who is him? Here is a brief introduction of the tone tuning history behind him.
Note
In China, Ge Ping (葛平, 1960--), who was famous for being the main voice actor of Chinese animation 3000 Whys of Blue Cat (蓝猫淘气三千问), is an important figure who can't be bypassed and who drives the development of Chinese virtual singers.
Initially, a video of his interview has been spoofed by netizens for a long time. Netizens took pleasure in making fun of his standard pronunciation and interview stories, and sometimes used the video as music material. Instead of getting angry after finding out, Ge Ping said he had always regretted not becoming a singer as well, and wanted to learn new trends from young people and contribute his voice to help fans of virtual singers realize their dreams.
In 2013, Ge Ping recorded his own voice in the studio as a sound source of a virtual singer (UTAU compatible), and released it publicly (Ge Ping Voice Release). He voluntarily gave up his commercial rights and made the virtual singer available to everyone at no cost for tone tuning and music creation. This is also the highest quality Chinese virtual singer voicebank in a long time. Here is the portrait of the virtual singer Ge Ping from UTAU China group (designed by 十月鬼).
After 2019, the strongest synthesizer probably became the paid software Synthesizer V, which also has many Chinese voicebank under it, such as Xingchen (星尘), Chiyu (赤羽), and Cangqiong (苍穹). You can visit the albums of this generation of virtual songstresses (Xingchen/Cangqiong/Shian's First Album - Jungle Rules, in Chinese) to try them out, and you will find that their singing is almost indistinguishable from that of real people.
The level of software technology is extremely powerful, allowing tuners to make virtual singers' singing comparable to real vocal many times easier than it was in the early days of the Vocaloid/UTAU era. I haven't had a chance to try it out yet, but will likely acquire it in the future.