TWIN FALLS IDAHO (director/writer:Michael Polish; screenwriter: Mark Polish; cinematographer:M. David Mullen; cast: Penny (Michele Hicks, former model) Michael Polish (Francis Falls), Mark Polish (Blake Falls), Lesley Ann Warren (Francine Falls), Patrick Bauchau (Miles, doctor), Jon Gries (Jay, lawyer), Garrett Morris (Jesus), William Katt (surgeon), Holly Woodlawn (Flamboyant at Party), Ant (Trey), 1999)
Reviewed by Dennis Schwartz
Michael Polish's feature debut as director, Twin Falls Idaho, tells the story of conjoined twins, Blake (Mark Polish) and Francis Falls (Michael Polish), whose lugubrious lives are a result of their inexplicable birth and unique appearance. Their situation has made them bonded by the hip and forced to exist together, with the stronger Blake keeping the dying Francis alive by having his heart do most of the work for both. They chose not to get surgery, saying that they came into this world together and will leave together. Having come to an unnamed Idaho city, from their circus home, in search of their mother (Lesley Ann Warren) who abandoned them at birth, wanting to see her before they die, realizing that Francis is fading fast. As a birthday gift for their 25th year, Blake calls a prostitute for Francis, who comes up to their flea-bag hotel room and after initially being repulsed by them as freaks, running away from them, returns to get to know them and help the sick Francis by getting her doctor-friend (Patrick Bauchau as Miles) to treat him.
The film is packed with tension, emanating from the choreographed looks given off from the brothers, that is filled with their history of fear and insulation from the world around them. It is through the eyes of Penny (Michele Hicks, a former model), the prostitute who remains with them because she wants to get some good karma, after viewing her life as a failure, that we begin to know the boys. Penny, like the audience, gets used to these freaks and begins to see them as very gentle and touching human beings, and her heart, not her sex, goes out to them. She falls for the more articulate Blake, which causes some jealousy for his brother, being that this is the first time that the brothers can't share the same experience. At this point, the story could have gone in a number of directions, there were just so many themes it touched on, but chooses not to sensationalize its tale, instead it becomes a very sobering tear-jerker. Though there were some moments for levity, as when Blake tells Penny, "Maybe I'll see you when I'm single," the film, nevertheless, remains too sober for its own good.
 Their physical and emotional constraints become the storyline, and the two minutes of loneliness experienced every day when Blake goes to sleep and when he wakes up, is something Blake can wonder about, giving him a sense of individuality. At a Halloween party that Penny takes them to, which she says is their one day to be seen in public as normal, it is their one day to not be looked upon as freaks-- becomes for them their acid test with the real world. But all they see at this party are people who are less normal than they are. The symbolism comes on a bit too heavy, as we see a couple dressed as Siamese twins just untie the strings that connect their costumes- which is something that the brothers are unable to bring themselves to do, realizing it would be the death of Francis and anyway, Blake would only have a fifty-fifty chance of surviving, plus he is afraid of living alone. For the brothers, they just prefer to be left to themselves and let their fate be as written, though Blake's heart beats faster than his brother's, demanding a little more than what he has so far received in life.
They have a few more contacts with worldly people, with mixed results. Penny's sleazy entertainment lawyer friend (Jon Gries), tries to talk them into becoming a freak show for him to promote and make a million bucks, which causes them to temporarily turn against Penny for bringing him around. And then there is Jesus (Garrett Morris), their next door neighbor, who is fully into the Jesus trip and brings the two to the hospital even though they didn't want to go. The symbolism here, is that even if religion means well, it still does the wrong thing even when doing the right thing. Jesus should not have been so consumed with himself to think he was Jesus and respected the twin's wishes, just like the worldly doctor-friend, Miles, did, when he examined them and knew that they came to the hotel to die together and let it go at that.
The Polish twin brothers might be very close in character to the parts they play, except for the physicality of being coupled. So it is not surprising that they are very effective and convincing in their peculiar roles. The female part of their menage a trois, was played energetically by Michele Hicks, but was a somewhat less believable role than the twins.The whore with a heart of gold is already a staple of film lore and she brings nothing new to the table with this performance. Her acting contrasted between being particularly touching to being strident and, at times, she was not very accomplished in her part. The other characters and especially the mother, had either too small a part to have an impact; or, were not developed at all. Why the mother just abandoned the kids (aside from being shocked by what she saw) and what happened to the twins growing up, never came out in the telling of the story. When they were youngsters, someone had to take care of them and should have seen to it that they got the operation to prevent them from becoming a freak show.
The intensity of the film and its haunting nature worked to its benefit, as it made us see the twins as they are; the film pulled no punches and stuck to the compelling nature of its subject matter. But these same advantages also worked to the detriment of the film, as the story was, at times, tiresome and rife with too much territory in which to go for all the problems it came up with. The film couldn't free itself from all the pain entailed in the three characters, and kept making the story more and more muddled. An example of that, would be the film's ending, where Penny encounters the now single Blake and possible romance is hinted at, but the story just seems to be warming up as it ends on such an unclear note.
This original film had too many flaws in its storytelling and never became an inspiring drama or an entertaining work. Instead, it is an interesting film, that touches on a mature subject of how one can be both lonely while never being alone, how Siamese twins court a woman, and also, how they grow up to be deprived without a mother's love. It should be commended for its mesmerizing style and enormous strength it showed in sticking with an unpleasant subject most films do not usually cover. The brothers had something to say, but perhaps it was too much for them to say in one film, even in a film with a perfectly eerie cinematography to match its storyline. It is a film that has its heart, seemingly, in the right place; it, nevertheless, missed the boat on telling the sexual story it promised but never delivered. A prostitute not having sex with a client who requested it is hard story to forget so easily, as it seems, if done right, that could have been an innovative and moving scene and helped the film recover from being too bleak. The film got caught up too much in the tragedy of the twin's life and dwelt too much on the gravity of their situation without coming up with much more than heavy symbolism for its answers (chopsticks broken in half, a two dollar bill as change in a cab and later on the subject of a lecture by the good doctor telling how if the bill is torn in half it is not worth as much as if it were whole). I found those explanations to be too trite, and since I was never fully convinced that this wasn't a manipulative film, playing on the freakish nature of the brothers even if not sensationalizing it, I left the theater not fully satisfied with all of the storyline.
REVIEWED ON 9/28/99 GRADE: C+
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
<EMAIL_ADDRESS>© ALL RIGHTS RESERVED DENNIS SCHWARTZ
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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THE ROCKY HORROR PICTURE SHOW A film review by Ken Johnson Copyright 1992 Ken Johnson
100 min., R, Comedy/Musical/Science Fiction/Cult, 1975 Distributor: CBS FOX (but not currently available for purchase) Director: Jim Sharman Cast: Tim Curry, Susan Sarandon, Barry Bostwick, Richard O'Brien, Meatloaf, Patricia Quinn, "Little Nell" Campbell, Jonathan Adams, Charles Gray, Peter Hinwood
Straight and naive couple Barry Bostwick and Susan Sarandon are going on a drive in the woods to visit Adams when one of their tires blows out. They return to a castle they had recently passed to see if they can use a phone to call for help. At the castle they meet Transylvanian transvestite Tim Curry, his creation Peter Hinwood, his servants Richard O'Brien and Patricia Quinn, groupie "Little Nell" Campbell, and many others. As the night progresses Barry Bostwick and Susan Sarandon get loosened up.
I am a very big fan of THE ROCKY HORROR PICTURE SHOW and strongly urge, if you haven't gone to see it, that you do so. Who knows, you might surprise yourself and like it. On a rating scale of zero to five, I give ROCKY a five. THE ROCKY HORROR PICTURE SHOW is rated R for adult situations, explicit language, adult humor, and brief female nudity. *A WORD OF WARNING*, THE ROCKY HORROR PICTURE SHOW is not for little children or people who are easily shocked for it contains a lot of sexual innuendo and a range of other taboo subjects.
THE ROCKY HORROR PICTURE SHOW was originally released in the theaters in 1975 and was a box office bomb. Since then a cult following has been established and the movie has started theatrical runs at midnight. THE ROCKY HORROR PICTURE SHOW can still be seen in the theater on the big screen, and, for those people who don't want to go out to the movies at midnight, it is on video cassette at those video stores that got the film when it was available for purchase. For your first viewing you may wish to see ROCKY on video because in the theater there is a lot of audience reaction to the film and some of the lines will be drowned out.
THE ROCKY HORROR PICTURE SHOW is one of those films that gets better each time you view it. The first time that I saw ROCKY, I felt that this was a very bizarre film. Most of the cast end up wearing fishnet tights at some point in the film. This sort of shocked me, and sort-of turned me off to the film. I liked the songs a lot though. The second time I liked the film a lot more. I was no longer shocked at all by the attire of some of the characters in the film. I found ROCKY to be a truly original film. Where else can you find a man who walks around for almost an hour and forty minutes wearing little more than fishnet tights and a garter belt? The film contains wonderful songs that make you want to sing along, and if you go to the theater to see ROCKY you will find out that the audience does sing along. Now THE ROCKY HORROR PICTURE SHOW is one of my favorite movies. I have bought the soundtrack and the video cassette, and have seen the play THE ROCKY HORROR SHOW three times.
A big part of ROCKY in the theaters is that all the cult fans call out reactions to lines in the film, sing along, and, in theaters that allow it, some people throw things at the screen at certain points like toilet paper, rice, and water. Some people dress up like their favorite character in the film. Some people dance in the isles. If you are lucky, at your theater will be a group of ROCKY fans who act out the film as it goes along. In short it's a great deal of fun. All this will be missed if you watch the video (however, just before and after the film on the video cassette there are scenes of theaters playing ROCKY with the audience participation). And for those of you interested, the minister in the beginning of ROCKY was played by Tim Curry and the three other people in the church were played by Richard O'Brien, Patricia Quinn, and "Little Nell" Campbell.
THE ROCKY HORROR PICTURE SHOW is based on an English play called THE ROCKY HORROR SHOW that played in London and was written by Richard O'Brien. All the music and lyrics for the songs were written by Richard O'Brien also. The film was co-written by Jim Sharman (the director of THE ROCKY HORROR SHOW) and Richard O'Brien.
Tim Curry (THE HUNT FOR RED OCTOBER, CLUE, IT) plays Dr. Frank-N- Furter (a scientist). Frank-N-Furter is the main character in the film. He is a transvestite from Transsexual Transylvania (Transsexual is a planet). Frank-N-Furter is creating the perfect creation, Rocky Horror, and about to unveil him to a group of Transylvanians when two strangers show up and threaten taking Rocky away from him.
Susan Sarandon (PRETTY BABY, BULL DURHAM) plays Janet Weiss (a heroine). Janet is one of the two people who get brought into Frank-N- Furter's castle and exposed to a different view on sexuality. She falls in love with Rocky Horror, much to Frank's dismay. In the beginning of the film Janet is very uncomfortable in Frank's castle, but as the night wears on she starts to feel more at home!
Barry Bostwick (MOVIE! MOVIE!, CAPTIVE, A PARENT TRAP HAWAIIAN HONEYMOON, SLITHER) plays Brad Majors (a hero). Brad is the other person brought into Frank's castle, and he is sexually loosened by Frank. He is confused with the castle, yet likes it at the same time. He just doesn't know how to react to what happens to him. He and Janet are engaged to be married.
Richard O'Brien (FLASH GORDON, SHOCK TREATMENT, JUBILEE) plays Riff Raff (a handyman). It is said that Richard O'Brien wrote the role of Riff Raff for himself. Whether it is true or not, I don't know. Riff Raff is the caretaker of Frank's castle. He is also from Transsexual Transylvania. Riff Raff doesn't care much for Rocky Horror.
Patricia Quinn (SHOCK TREATMENT) plays Magenta (a domestic). Magenta is Riff Raff's sister and she is also from Transsexual Transylvania. Magenta doesn't like Rocky Horror very much, and she isn't very pleased with the way Frank treats her.
"Little Nell" Campbell (JUBILEE) plays Columbia (a groupie). She came to Frank's castle because she was in love with Frank. At Frank's castle she fell in love with Eddie. She worships the ground that Eddie walks on and is very upset with what happens to him. She seems to despise Brad and Janet.
Jonathan Adams plays Dr. Everett V. Scott (a rival scientist). Dr. Scott is a former teacher of both Brad and Janet. He is now a friend to both of them. He, apparently, has been investigating Frank for a period of time and coincidently picks this night, when Brad and Janet are at Frank's castle, to act. This action endangers the lives of Brad, Janet, and Dr. Scott.
Peter Hinwood (THE ODYSSEY) plays Rocky Horror (a creation). Rocky Horror is "born" in the beginning of the film. Riff Raff and Magenta terrorize him. Frank comes after him for sexual reasons and Janet tempts him. Rocky is very confused by the whole ordeal and just wants to get away from it all.
Meatloaf (ROADIE, WAYNE'S WORLD) plays Eddie (an ex-delivery boy). Eddie is Columbia's lover and Frank's ex-lover. Frank needed to get a brain for Rocky so he took half of Eddie's. Then he put Eddie in deep freeze for future use if necessary. Eddie has the smallest role in the film, but the one who, in my opinion, is the most liked.
 The Criminologist narrates the dreadful story of what happened to Brad and Janet (The Denton Affair).
Also for those of you interested, on the walls of Frank's castle are many famous paintings, like the Mona Lisa. And the male statues in Frank's lab have lipstick and fingernail polish on.
This film has an interesting style. Events that have happened in the past are narrated by the Criminologist; yet the scenes with Brad and Janet are done like they are taking place in the present. The scenes with the Criminologist are spliced in the middle of scenes with Brad and Janet.
If this film comes to a theater in your area definitely go see it and don't forget to bring your squirt gun filled with water, (Scott) toilet paper, and rice. Remember, in the lines of Frank-N-Furter, "Don't dream it, be it."
"And crawling on the planet's face Some insects called the human race Lost in time, and lost in space And meaning." -from THE ROCKY HORROR PICTURE SHOW
Ken J. .
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


If you want to undo/undelete/restore/discard changes done to your branch, follow the steps below. The steps to follow depend on the state of the changes.
I Want To:
- Undelete Files / Folders - that were accidentally removed (git status lists as 'red')
- Undo Changes - to unstaged files/folders (git status lists as 'red')
- Undo Changes - to staged files/folders (git status lists as 'green')
- Change Staged (files / folders) to Unstaged - of files / folders (from 'green' -> 'red')
- Undo a Commit - made to a branch
- Make Everything The Same - make local branch exactly match remote (if you don't know what to choose)
Note: This assumes the branch to perform 'undo' actions on is the 'current' branch. Use git checkout <feature_branch>


Jxls-2 supports standard Excel formulas and does not require any special syntax when using them in a report template (as opposed to Jxls 1.x).
To render formulas in a XLS Area you have to invoke processFormulas() method of XlsArea instance after the main transformation is done. On invoking processFormulas() method Jxls engine will process and render all the template formulas updating them as necessary to count for possible cells shifting and collections expanding.
The main Java code may look like this
Area xlsArea; Context context; // construct XLS Area and set it into xlsArea var // ... // fill in context var with data // ... // apply XLS Area at A1 cell of 'Result' sheet xlsArea.applyAt(new CellRef("Result!A1"), context); // process area formulas xlsArea.processFormulas(); // save excel output // ...
The line xlsArea.processFormulas() does all the formulas processing job.
To see how formulas look in a template file let’s take a template from Excel formulas example.
You can download it from here.
The screenshot of the template is below
As you can see there are three formula cells in the template E4, C5, E5 .
Cell E4 is itself a part of jx:each command area and contains a formula =C4*(1+D4).
Both C4 and D4 cells are part of the same jx:each command area.
After jx:each transformation the area A4:E4 will be expanded into multiple rows.
The original formula =C4*(1+D4) will be modified accordingly for each new row so that we will get formulas like =C5*(1+D5), =C6*(1+D6) and so on.
The summation formula in cell C5 =SUM(C4) references cell C4 from inside jx:each command area.
It means that after transformation and formulas processing the reference to cell C4 will be replaced with a range like SUM(C4:C8).
Same goes for cell E5 with formula =SUM(E4).
The final excel output is here and also can be seen on the following screenshot
Parameterized formula allows to use context variables in the formula.
To set a parameterized formula you have to enclose it into $[ and ] symbols and each formula variable must be enclosed in $\{ and } symbols. For example $[SUM(E4) * ${bonus}] . Here we use ‘bonus’ context variable in the formula. During the processFormulas() Jxls will substitute all the variables with values from the context.
To see this in action please take a look at Parameterized formulas example


As a student, your job is to learn. In order to learn, you have to ask questions, good questions. Your teachers in primary school were probably very nurturing ("Oooh there is no such thing as a dumb question. That is a good question! Gold star."), but stackoverflow (nor your senior web developer manager, your client, etc) is your sweet, nurturing middle school teacher. How do I know? One time I read a post by this kid on stackoverflow who was so nervous about asking his question that he ended the post with "im sorry, im 13 yo and am learning everything on my own" and one contributor destroyed him for not properly framing his question with enough details and purpose. Luckily, another contributor was like "Whoa, chill he's only 13."
stackoverflow allows you to ask your question and other people contribute by giving a detailed explanation, correcting your code, suggesting better code, linking supplemental resources, or like, dishing out really harsh criticism on why you suck and shouldn't bother becoming a programmer since you can't even ask a question properly.
So, since you can't always add sorry-im-13-yo after asking your question to your fellow peers, colleagues, managers, stackoverflow, etc, today's post is about asking good questions.
According to Google, nothing comes after thrice. To learn effectively, you have to try. Try solving the problem yourself by approaching it in different ways, giving yourself a break, taking a step back and then coming in with a fresh prespective, googling the same question in a different way with different keywords, etc. Sometimes when you struggle for a bit and then finally find the solution, you end up learning several other things along the way and most of the time, the solution sticks with you longer because of how much time and effort you put in.
That being said, if you are running low on time or you're just absolutely lost, sometimes it is more effective to ask for help.
If you're asking a question in a forum, in-person, or via email, it's good to start out with something that summarizes the specific problem in one sentence or two so the person will have a running start on understanding what you need and how they can help before you go further into details. Avoid being vague by including relevant keywords.
Bad: Question about looping in Javascript
Better: Which is better: for loop or while loop in Javascript?
Best: Is the for loop the fastest way to print each element in an array in Javascript?
Now that the person has an idea of what the problem is, it is good to provide additional details so they can understand what you have done, how you encountered and approached the problem, background research you've tried, and other things that are preventing you from achieving what you want.
Bad: I can't get it to work, I don't know why. I copied the code exactly.
Better: I used both the for and while loops and both ran, but I dunno, which one should I use?
Best: If I have a large array that has over 100 elements inside, would it be faster to use the for loop to print each one out? When should we use the for loop over the while loop?
Without an example of what you're working with, it is hard for others to know what went wrong. It is good to post the code that you've written, as well as any other code that is related or affected by it. Another reason why it's good to post your code is there are a lot of different ways to do the same thing, so by showing others what you have, they can give you suggestions on better code, see if there is anything wrong with your syntax or if the code is outdated for certain browsers, suggest different approaches, etc.
 Nowadays, things have built-in spellcheckers, but still-- spelling in doubt? Dictionary.com or just look it up in Google, which will ask you "Did you mean [correct spelling]?" in the search results if it's misspelled.
Look over what you've written and check: Did you include enough details and get rid of anything that is not useful information? Does this make sense? There's nothing more frustrating then trying to help someone but they aren't making any sense and are wasting more of your time by re-explaining or not giving enough information in a logical manner.


Emacs Configuration
This post contains sample configuration for my emacs in an org file
This post contains sample configuration for my emacs in an org file
This is my first notebook blogpost. This post is dedicated to trying and finding all capabilities of blogging with nikola and jupyter notebook. This will contain some math rendering, code, plots, graphs etc...


lxterminal - a lightweight terminal emulator based on GTK+ for the LXDE desktop.
This manual page documents briefly the lxterminal command.
lxterminal is a program that provides a terminal emulator for the desktop, usually for LXDE.
This program follows the usual GNU command line syntax, with long options starting with two dashes (`-*(Aq). A summary of options is included below.
-e STRING --command=STRING --command STRING
This option specifies the program (and its command line arguments) to be run in the terminal. Except in the --command= form, this must be the last option on the command line.
--geometry=CHARACTERSxLINES
Set the terminal*(Aqs size in characters and lines.
-l --loginshell
Executes login shell.
-t NAME[,NAME[,NAME[...]]] --title=NAME[,NAME[,NAME[...]]] --tabs=NAME[,NAME[,NAME[...]]]
Set the terminal*(Aqs title. Use comma for multiple tabs.
--working-directory=DIRECTORY
Set the terminal*(Aqs working directory.
This manual page was written by paulliu<EMAIL_ADDRESS>for the Debian system (but may be used by others). Permission is granted to copy, distribute and/or modify this document under the terms of the GNU General Public License, Version 2 any later version published by the Free Software Foundation.
On Debian systems, the complete text of the GNU General Public License can be found in /usr/share/common-licenses/GPL.
Ying-Chun Liu
Author.
Copyright © 2008 paulliu


Hello, I'm Christopher Kim, a student, and front-end web developer.
About Me
I was born in Phoenix, Arizona and still live there to this day. I am currently sixteen and have two parents, one brother, and two sisters. I am a student at Paradise Honors High School and a student at West-MEC. I enjoy learning about programming and mathematics. I aspire to be a Software Engineer after High School. I enjoy problem-solving and learning about how to create software.
Education
I am a Junior enrolled in a school called Paradise Honors High School. I take four classes: English, Physics Honors, Spanish II, and Statistics. After those classes, I attend West-MEC where I learn how to develop and design functional websites.
Work Experience
The past work experience that I have had have been volunteering at different places. I was apart of Key Club, which is an organization that gives students the opportunity to volunteer, at my High School. I have also volunteered at Saint Mary's Food Bank in Surprise.


Prefect Vokian:
Have you heard? All of the Orc seers agree that an eternal winter is approaching! It won't be long... We Orcs must prepare for dark days; days of chaos and destruction, dreadful days of endless war and disaster!
You must prepare yourself as well! First you must complete an occupation change! This is no place for beginners.
(Quest only for Orc characters who have completed occupation change and are above level 37.)


Edit Channels
-
Channels are listed below. Uncollapse each to reveal the controls. To change names, simply edit the text field and press "update". To Delete a channel, press the Delete button and confirm in the dialog box
To reload data from the database, press the Refresh button below
Refresh
Add Channel
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Channels
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Edit
Quick Plot


We are currently working on an awesome new site. Stay tuned.
Please don't forget to follow us on social media to stay notified.


-
ORM Adventures
{% assign tag_key = "tempest" %}
One of the most important pieces of modern web applications is the data access layer, routinely found in the form of an ORM. While everybody uses them, not many people have dug through the insides to see what makes them tick. I wanted to give it a shot and see what was up.
{% for post in site.posts %}
{% for itag in post.tags %}
{% if itag == tag_key %}
{% assign has_tag = true %}
{% endif %}
{% endfor %}
{% if has_tag %}
-
{{ post.title }}
{{ post.date | date: '%B %d, %Y' }}
{% endif %}
{% assign has_tag = false %}
{% endfor %}
-
GameDev
{% assign tag_key = "chamber" %}
I've always tinkered with game development, and it was actually what originally drew me to programming when I was 12. After years of toy projects, trial and error, and endless sidetracks, I decided to hunker down and put something together.
{% for post in site.posts %}
{% for itag in post.tags %}
{% if itag == tag_key %}
{% assign has_tag = true %}
{% endif %}
{% endfor %}
{% if has_tag %}
-
{{ post.title }}
{{ post.date | date: '%B %d, %Y' }}
{% endif %}
{% assign has_tag = false %}
{% endfor %}


- Download
- Download
- System requirements
- Version
- 0.2-004014
- File size
- 64.18 MB
- Release notes
-
- A preview of the new VR browser from Oculus, code named "Carmel." This release focuses on running 3D WebVR API content in VR with comprehensive 2D support planned for a later release. Check out WebVR projects from other developers and test your own experiences.
- Carmel browser does not yet have any browser UI. Navigating to a arbitrary URL can be done using the
ovrweb
protocol to do so. For instructions, see Launching Your Content on the Oculus VR web resource.
Instructions
-
Search for and install Carmel Developer Preview from the Oculus Gear VR store.
- Launch Carmel Developer Preview from your Gear VR Library.
-
Enjoy WebVR!
Latest version
Info
- Developer resources


ModelsHome Page
27 June 2017 ~ Added: Diana's 50th Reunion statement and her photos of the Burrage House in Redlands CA. Also colors have been updated slightly and there's a new sidebar menu on the left. 2 February 2017 ~ Web site transferred to GitHub 30 September 2002 ~ There are three new pages on the site that cover Diana's career in building architectural and industrial scale models. Diana is preparing the text for these pages, but - in the mean time - you can look at the pictures. There's even a slide show! Also we've got a new Diana Chace logo at the top of each page! And we've brightened up the site by going from a black background to a gray one. The following pictures of Diana Chace were taken by Theo Armour on 1 February 2001 at the opening of the Asian Arts Festival at Fort Mason. Double click on any of these "thumbnail" images to bring up the fill-size picture. As the files are quite large, it may take a while for the picture to download to your computer. 15 May 2001 update ~ added new picture at top of the list. 26 April 2001 update ~ the full size pictures are now web pages and should no longer be larger than the screen ~ TA
Diana with her gang Diana with Rebecca Otto, Hendy Henderson and Franny Atherton Diana with a dancing dragon Diana with Rebecca and Franny Diana with Vicky and Hendy Diana closely inspecting a work of art Ditto
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This article is a continuation of WebGL 3D Directional Lighting. If you haven't read that I suggest you start there.
In the last article we covered directional lighting where the light is coming universally from the same direction. We set that direction before rendering.
What if instead of setting the direction for the light we picked a point in 3d space for the light and computed the direction from any spot on the surface of our model in our shader? That would give us a point light.
If you rotate the surface above you'll see how each point on the surface has a different surface to light vector. Getting the dot product of the surface normal and each individual surface to light vector gives us a different value at each point on the surface.
So, let's do that.
First we need the light position
uniform vec3 u_lightWorldPosition;
And we need a way to compute the world position of the surface. For that we can multiply our positions by the world matrix so ...
uniform mat4 u_world;
...
// compute the world position of the surfoace
vec3 surfaceWorldPosition = (u_world * a_position).xyz;
And we can compute a vector from the surface to the light which is simular to the direction we had before expect this time we're computing it for every position on the surface to a point.
v_surfaceToLight = u_lightPosition - surfaceWorldPosition;
Here's all that in context
#version 300 es
in vec4 a_position;
in vec3 a_normal;
+uniform vec3 u_lightWorldPosition;
+uniform mat4 u_world;
uniform mat4 u_worldViewProjection;
uniform mat4 u_worldInverseTranspose;
out vec3 v_normal;
+out vec3 v_surfaceToLight;
void main() {
// Multiply the position by the matrix.
gl_Position = u_worldViewProjection * a_position;
// orient the normals and pass to the fragment shader
v_normal = mat3(u_worldInverseTranspose) * a_normal;
+ // compute the world position of the surfoace
+ vec3 surfaceWorldPosition = (u_world * a_position).xyz;
+
+ // compute the vector of the surface to the light
+ // and pass it to the fragment shader
+ v_surfaceToLight = u_lightWorldPosition - surfaceWorldPosition;
}
Now in the fragment shader we need to normalize the surface to light vector since it's a not a unit vector. Note that we could normalize in the vertex shader but because it's a varying it will be linear interpolated between our positions and so would not be a complete unit vector
#version 300 es
precision mediump float;
// Passed in from the vertex shader.
in vec3 v_normal;
+in vec3 v_surfaceToLight;
-uniform vec3 u_reverseLightDirection;
uniform vec4 u_color;
// we need to declare an output for the fragment shader
out vec4 outColor;
void main() {
// because v_normal is a varying it's interpolated
// we it will not be a uint vector. Normalizing it
// will make it a unit vector again
vec3 normal = normalize(v_normal);
vec3 surfaceToLightDirection = normalize(v_surfaceToLight);
-float light = dot(v_normal, u_reverseLightDirection);
+float light = dot(v_normal, surfaceToLightDirection);
gl_FragColor = u_color;
// Lets multiply just the color portion (not the alpha)
// by the light
gl_FragColor.rgb *= light;
}
Then we need to lookup the locations of u_world
and u_lightWorldPosition
- var reverseLightDirectionLocation =
- gl.getUniformLocation(program, "u_reverseLightDirection");
+ var lightWorldPositionLocation =
+ gl.getUniformLocation(program, "u_lightWorldPosition");
+ var worldLocation =
+ gl.getUniformLocation(program, "u_world");
and set them
// Set the matrices
+ gl.uniformMatrix4fv(
+ worldLocation, false,
+ worldMatrix);
gl.uniformMatrix4fv(
worldViewProjectionLocation, false,
worldViewProjectionMatrix);
...
- // set the light direction.
- gl.uniform3fv(reverseLightDirectionLocation, normalize([0.5, 0.7, 1]));
+ // set the light position
+ gl.uniform3fv(lightWorldPositionLocation, [20, 30, 50]);
And here it is
Now that we have a point we can add something called specualar highlighting.
If you look at on object in the real world, if it's remotely shiny then if it happens to reflect the light directly at you it's almost like a mirror
We can simulate that effect by computing if the light reflects into our eyes. Again the dot-product comes to the rescue.
What do we need to check? Well let's think about it. Light reflects at the same angle it hits a surface so if the direction of the surface to the light is the exact reflection of the surface to the eye then it's at the perfect angle to reflect
If we know the direction from the surface of our model to the light (which we do since we just did that).
And if we know the direction from the surface to view/eye/camera, which we can compute, then we can add
those 2 vectors and normalize them to get the halfVector
which is the vector that sits half way between them.
If the halfVector and the surface normal match then it's the perfect angle to reflect the light into
the view/eye/camera. And how can we tell when they match? Take the dot product just like we did
before. 1 = they match, same direction, 0 = they're perpendicular, -1 = they're opposite.
So first thing is we need to pass in the view/camera/eye position, compute the surface to view vector and pass it to the fragment shader.
#version 300 es
in vec4 a_position;
in vec3 a_normal;
uniform vec3 u_lightWorldPosition;
+uniform vec3 u_viewWorldPosition;
uniform mat4 u_world;
uniform mat4 u_worldViewProjection;
uniform mat4 u_worldInverseTranspose;
varying vec3 v_normal;
out vec3 v_surfaceToLight;
+out vec3 v_surfaceToView;
void main() {
// Multiply the position by the matrix.
gl_Position = u_worldViewProjection * a_position;
// orient the normals and pass to the fragment shader
v_normal = mat3(u_worldInverseTranspose) * a_normal;
// compute the world position of the surfoace
vec3 surfaceWorldPosition = (u_world * a_position).xyz;
// compute the vector of the surface to the light
// and pass it to the fragment shader
v_surfaceToLight = u_lightWorldPosition - surfaceWorldPosition;
+ // compute the vector of the surface to the view/camera
+ // and pass it to the fragment shader
+ v_surfaceToView = u_viewWorldPosition - surfaceWorldPosition;
}
Next in the fragment shader we need to compute the halfVector
between
the surface to view and surface to light vectors. Then we can take the dot
product the halfVector
and the normal to find out if the light is reflecting
into the view.
// Passed in from the vertex shader.
in vec3 v_normal;
in vec3 v_surfaceToLight;
+in vec3 v_surfaceToView;
uniform vec4 u_color;
void main() {
// because v_normal is a varying it's interpolated
// we it will not be a uint vector. Normalizing it
// will make it a unit vector again
vec3 normal = normalize(v_normal);
+ vec3 surfaceToLightDirection = normalize(v_surfaceToLight);
+ vec3 surfaceToViewDirection = normalize(v_surfaceToView);
+ vec3 halfVector = normalize(surfaceToLightDirection + surfaceToViewDirection);
float light = dot(normal, surfaceToLightDirection);
+ float specular = dot(normal, halfVector);
gl_FragColor = u_color;
// Lets multiply just the color portion (not the alpha)
// by the light
gl_FragColor.rgb *= light;
+ // Just add in the specular
+ gl_FragColor.rgb += specular;
}
Finally we have to look up u_viewWorldPosition
and set it
var lightWorldPositionLocation =
gl.getUniformLocation(program, "u_lightWorldPosition");
+var viewWorldPositionLocation =
+ gl.getUniformLocation(program, "u_viewWorldPosition");
...
// Compute the camera's matrix
var camera = [100, 150, 200];
var target = [0, 35, 0];
var up = [0, 1, 0];
var cameraMatrix = makeLookAt(camera, target, up);
...
+// set the camera/view position
+gl.uniform3fv(viewWorldPositionLocation, camera);
And here's that
DANG THAT'S BRIGHT!
We can fix the brightness by raising the dot-product result to a power. This will scrunch up the specular highlight from a linear falloff to an exponential falloff.
The closer the red line is to the top of the graph the brighter our specular addition will be. By raising the power it scrunches the range where it goes bright to the right.
Let's call that shininess
and add it to our shader.
uniform vec4 u_color;
+uniform float u_shininess;
...
- float specular = dot(normal, halfVector);
+ float specular = 0.0;
+ if (light > 0.0) {
+ specular = pow(dot(normal, halfVector), u_shininess);
+ }
The dot product can go negative. Taking a negative number to a power is undefined which would be bad. So, if the dot product would possibly be negative then we just leave specular at 0.0.
Of course we need to look up the location and set it
+var shininessLocation = gl.getUniformLocation(program, "u_shininess");
...
// set the shininess
gl.uniform1f(shininessLocation, shininess);
And here's that
The final thing I want to go over in this article is light colors.
Up to this point we've been using light
to multiply the color we're passing in for the
F. We could provide a light color as well if wanted colored lights
uniform vec4 u_color;
uniform float u_shininess;
+uniform vec3 u_lightColor;
+uniform vec3 u_specularColor;
...
// Lets multiply just the color portion (not the alpha)
// by the light
* gl_FragColor.rgb *= light * u_lightColor;
// Just add in the specular
* gl_FragColor.rgb += specular * u_specularColor;
}
and of course
+ var lightColorLocation =
+ gl.getUniformLocation(program, "u_lightColor");
+ var specularColorLocation =
+ gl.getUniformLocation(program, "u_specularColor");
and
// set the light color
+ gl.uniform3fv(lightColorLocation, normalize([1, 0.6, 0.6])); // red light
// set the specular color
+ gl.uniform3fv(specularColorLocation, normalize([1, 0.6, 0.6])); // red light
Coming up next ???


a web-based, open source machine learning application designed for wavelet-based analysis of EKG and EEG waveform, intended to diagnose cardiac and neurological disorders.
a web-based, open source machine learning application designed for wavelet-based analysis of EKG and EEG waveform, intended to diagnose cardiac and neurological disorders.


Host
Number of Approvals
prElement Class
titleBlock Class
Approval Class
Approval Image
Approval Color


-
*The 2nd place among 843 teams in Alibaba Large-scale Image Search Challenge 2015
-
*ICIP2015 Best 10% Paper Award
-
*National Graduate Scholarship 2017, 2016, 2013
*The 2nd place among 843 teams in Alibaba Large-scale Image Search Challenge 2015
*ICIP2015 Best 10% Paper Award
*National Graduate Scholarship 2017, 2016, 2013


The Java Language Features Map aims to help you understand the various features of the Java Language across various versions from Java 8 to Java 14 OpenAPI Specification (fka. Swagger Specification) documentation.
It has been created by Rahul Saini .
| Mouse scroll up to zoom in | |
| Mouse scroll down to zoom out | |
| Mouse drag to move viewpoint | |
| Move mouse over node to show its documentation | |
| Click on node to expand or collapse it |


The Red Flags project aims to enhance the transparency of public procurements in Hungary and support the fight against corrupt procurements. It provides an interactive tool that allows the monitoring of procurement processes and their implementation by citizens, journalists or even public officials and catch fraud risks at different stages of the procurement process. The Red Flags tool automatically checks procurement documents from the Tenders Electronic Daily (TED) and filters risky procurements through a special algorithm. Although risky does not mean corrupt, flagged procurement documents are worth checking. Users can subscribe to receive alerts if risky procurements are published (generally or in their special field of interest).
The Red Flags is a common project of K-Monitor, PetaByte and Transparency International Hungary, with the support of the European Comission. The views expressed on this website do not necessarily reflect the views of the European Union.
With the financial support of the Prevention of and Fight against Crime Programme
European Commission - Directorate-General Home Affairs


Windows 10 x64 (19041.264)
_KTHREAD_STATE
Initialized = 0n0
Ready = 0n1
Running = 0n2
Standby = 0n3
Terminated = 0n4
Waiting = 0n5
Transition = 0n6
DeferredReady = 0n7
GateWaitObsolete = 0n8
WaitingForProcessInSwap = 0n9


osu! Automated Recent Activity Tweet
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Chapter 5 Flask
5.1 Intro
There seems to be a nice full flask tutorial here where a blog is created.
Installation can be done through anaconda.
Flask code is generally stored within a file called application.py
. Below is a general framework of the flask code that resides in this file.
Line 3 is creating a new flask web application.
Flask applications are designed around routes. On line 5, what is happening is that the code is referring to navigation to the /
or home directory. The two lines below this route give the code of what to do when a user navigates to that home directory.
Flask then needs to be told how to import it, by setting the FLASK_APP
environment variable. If the above code is put into a file called application.py
, just export that filename. It may be useful if application.py
is always going to be the main filename to just add this code to the bashrc.
If flask is run in debug mode, an app will update anytime a change is made to the underlying code.
The web application can then be run by running a flask webserver.
5.2 Routes
Instead of just using the main route, new routes can be created that when navigated to can have different functionality. In the following example, the route can be accessed at this address: http://<IP_ADDRESS>:5000/david
The route can take the URL addess information dynamically and use it as a variable. In the following example, the text in the URL is being read in as a string
, and the value is being assigned to the name
variable.
@app.route("/<string:name>")
def hello(name):
name = name.capitalize()
return "Hello, {}!".format(name)
HTML code can also be included in the python code and can be returned and interpreted as HTML. In the following example the text that is getting returned and displayed is being styled as header text on the webpage.
@app.route("/<string:name>")
def hello(name):
name = name.capitalize()
return "
Hello, {}!
".format(name)
Routes can be referred to by a link which can also pass variables.
The variables that get passed can then be used in application.py
and passed to another html file.
5.3 Templates
Instead of embedding HTML within values that get returned by python code, HTML files themselves can be served by the python code. Flask can look for HTML files and it will look in a subdirectory of the main directory called templates
. So in the following example if there is an HTML file called index.html
within a subdirectory called templates
, that html file gets served up by the following code.
Variables can also be passed from python to the html files that exist within the templates
directory in order to dynamically alter the HTML content.
In the following code, the headline
variable is defined in python and then getting passed to HTML, and it is common that the varible names are just kept the same, though in the return function the second headline
refers to the python variable and the first to the html variable just as is python methods.
@app.route("/")
def index():
headline = "Hello thar"
return render_template("index.html", headline=headline)
Now this headline
variable can be used in HTML like so. The language being used is Jinja code. This functionality can be helpful in using the very same HTML code but allow it to perform differently.
5.4 Jinja
Jinja brings programming logic gates to HTML. The code must be put into an html file within the templates
directory and used by flask as shown in the above templates section.

{% if new_year %}

Happy New Year!

{% else %}

Go back to work

{% endif %}

Here is an example of a simple counter.
For loops work pretty similar to python as well. In the following code names
is a python list getting passed from application.py
, and the list items are rendered as a ul
in HTML.
Routes can be referred to by the name of a method within them from HTML. If the following code exists within the application.py
file:
The above method more()
just refers to another html file, and this html file can be used from html like so, where the jinja function url_for
finds the route that contains the more()
method, and then uses that URL as the link in the href
.
5.5 User Handling
This seems like a decent guide about user authentication and handling.


Eye Specialists of Westchester is pleased to provide patients with an in-office eyewear dispensary as part of the
professional services available to you. We offer this as a way to further assure you of the best in quality eye care.

Please visit our optician before or after your eye examination to discuss any questions you might have about your
eyewear needs. Please feel free to browse and try-on anything you like from our wide selection of frames. We will help
you choose the right frame and lens combination for your looks and lifestyle.
Whether you have a particular look in mind or would like to create a new one, our optician will assist you in choosing
from the latest in optical fashions.
Eye Specialists of Westchester Optical has over 800 frames in stock. We have a variety of styles and price ranges to
fit all budgets.
We accept assignment from Medicare for post cataract eyeglasses. We also accept F.U.S.E from the New Rochelle Public
School System as well as VSP.
We offer various options for eyewear for your lifestyle.


Notebooks
Story: !gaunu
!gaunu
Title
!gaunu
Collection
Summary
!gaunu is also !guonni and is at the bee's hole. He bewitches (or 'stabs') people (to death) if they go to the hole where he is. Dia!kwain says the fathers told them that !guonni is a 'thing' which 'pinches the chest' and knocks people down.
Comments
1) p.5669v: Dia!kwain heard this from his paternal grandmother (Ttuobbo-ken !kauk'si), 2) See also The great star !gaunu, which singing named the stars and Stars and Flowers and A song sung by the star !gaunu, especially by the Bushman women, 3) This story is found in Book V-21
Contributors
Date
8 December 1875 (started)
Categories
Celestial bodies and aeroscopy, Custom and daily life, Healing and ailing
Keywords
!gaunu (is !guonni) , !guonni (!gaunu is) , !guonni (his strong thing) , !guonni (knocks people down) , !guonni (his spear) , !guonni (stabs and makes people ill) , !guonni (is at the bee's hole) , !guonni ('bewitches us to death') , !guonni (pinches) , !guonni (stabs people) , !guonni (his actions) , !guonni (flies away) , !guonni (buzzes or hums inside the hole) , !guonni (the people beat him to death) , !guonni (stabs or bewitches) , !guonni (his doings) , !guonni (what people do when they know his doings) , !guonni (sharpens his point) , !guonni (is a 'thing' which 'pinches the chest') , stars (!gaunu) , stars (!guonni) , stars (!gaunu is !guonni) , stars (and bees) , stars (and illness or bewitchment) , stars (names of) , illness (when !guonni 'bewitches us to death', stabs people) , illness (and !gaunu) , illness (caused by bewitchment) , illness (!guonni is a 'thing' which 'pinches the chest') , names (of stars) , names (and !gaunu) , spear (!guonni's, with which he stabs and makes people ill) , bee (!guonni is at the bee's hole) , bee (and !gaunu)
Story Pages
5670-5679


This week was all about using ruby's Enumerable methods. These methods can be your friend, but at first they are likely to be your enemy. For me at least, it was tough to simply wrap my head around what it is they actually do. I hope this will clear that up.
Enumerable methods directly correlate to "each." What this means is that every enumerable method goes through an array or a hash each piece at a time. Let me show you an example of an enumerable method "group_by," and hopefully it will make more sense.
group_by
When scanning the ruby docs page for an enumerable method, it is especially important to pay attention to what the input and output are. In the case of group_by
, you can give it an array or a hash, but the output will always be a hash. It will return to you a key(group) and values (things that we're grouped). This is really cool, let me show you an example.
>> numbers = *(1..20)
=> [1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20]
>> numbers.group_by {|number| number % 5 }
=> {1=>[1, 6, 11, 16], 2=>[2, 7, 12, 17], 3=>[3, 8, 13, 18], 4=>[4, 9, 14, 19], 0=>[5, 10, 15, 20]}
Whoa! Let me walk you through that. First I created a numbers
array by using the "splat" operator ("*"), which put all the numbers in my range (1..20) into an array. I then used the enumerable group_by
method on my array of numbers and it output a hash. All the numbers that where number % 5 == 1
, were put in key "1". All the values where number % 5 == 4
we're put in value "4", etc.
Now lets look at example using strings, instead of numbers.
>> dwarfs = %w(Doc Grumpy Happy Sleepy Bashful Sneezy Dopey)
=> ["Doc", "Grumpy", "Happy", "Sleepy", "Bashful", "Sneezy", "Dopey"]
>> dwarfs.group_by {|name| name.length}
=> {3=>["Doc"], 6=>["Grumpy", "Sleepy", "Sneezy"], 5=>["Happy", "Dopey"], 7=>["Bashful"]}
So what just happened? First I used a handy little trick, the %w
turns my list of names in an array, saving me from having the use commas and quotation marks (awesome!). I then asked group_by
to group by the .length
of each name. The result was a hash, with the key being the number of letters, and the values being the names with that amount of letters. OK, now to show you how to use it, let's save this hash in a new hash called dwarf_hash
. And, I forget, which dwarfs have a name 6 letters long? Do any have 8?
>> dwarf_hash = dwarfs.group_by {|name| name.length}
=> {3=>["Doc"], 6=>["Grumpy", "Sleepy", "Sneezy"], 5=>["Happy", "Dopey"], 7=>["Bashful"]}
>> dwarf_hash[6]
=> ["Grumpy", "Sleepy", "Sneezy"]
>> dwarf_hash[8]
=> nil
In these last two examples, the keys that resulted from using group_by on the array's were calculated from the values. Now, I'll show you how you can put these dwarfs into groups, without any value associated with them. Using the handy random rand()
. Lets run it a couple times and see what we get.
>> dwarfs.group_by {rand(4)}
=> {2=>["Doc,"], 3=>["Grumpy,", "Sneezy,"], 1=>["Happy,", "Bashful,"], 0=>["Sleepy,", "Dopey"]}
>> dwarfs.group_by {rand(4)}
=> {2=>["Doc,", "Bashful,", "Sneezy,"], 1=>["Grumpy,"], 3=>["Happy,", "Sleepy,"], 0=>["Dopey"]}
>> dwarfs.group_by {rand(4)}
=> {0=>["Doc,", "Sleepy,"], 3=>["Grumpy,", "Dopey"], 2=>["Happy,", "Bashful,"], 1=>["Sneezy,"]}
As you can see, this created 4 random groups (shown as keys 0-3). Powerful stuff. group_by
is just one of many of these handy methods. Thanks for reading!
-Evan


Comments
-
Greg Hurrell
They're not actually graphics but unicode characters printing using the system font... It would be interesting to know when you noticed the change (ie. in which version). The code Synergy uses to draw the stars hasn't changed, but perhaps something in the system or its fonts has.
This may be an aliasing issue, in which case it's related to bug #128.
-
Jason McLeod
I did just notice it in Tiger, so it may have something to do with the changes made to the graphic layer. I'd wait and see what happens with the release build at the end of the month. I'm running the last Dev build currently. I couldn't tell you when it started. But iTunes uses the same font (I believe) and it looks fine.
-
ckd
This appears to be a Tiger issue; I upgraded today, and noticed it immediately afterward.
(Release version of Tiger, build 8A428)
-
Greg Hurrell
I also have upgraded to Tiger now and see it too. To me they actually look smaller. I wonder if something font-related has changed.
-
Drew Pauley
Yes, the stars got very dinky when I upgraded to Tiger. The font Synergy uses for the floater must have been changed without warning.
-
Greg Hurrell
Synergy uses the standard system font (as returned by Cocoa's NSFont -systemFontOfSize: method, and it does look like it's changed. The unicode character for "black star" is much smaller on Tiger compared to "white star". So looks like I'll have to do one of two things: either start using the "white star" on Tiger, or stop using fonts to draw stars.
-
Greg Hurrell
I've "fixed" this in Synergy Advance by using "white star" instead of "black star". Will soon apply the same fix to Synergy Classic.
-
Dan
Just a ditto, under Tiger Synergy Classic seems to work just fine, except that the star icons for ratings are very small.
-
Greg Hurrell
Fixed in Synergy 1.9, which will be released later today.
-
Daniel S Dunnam
(In reply to comment #9)
Fixed in Synergy 1.9, which will be released later today.
since 1.9 and the "white star fix" i now HAVE the problem, where i didn't have it before 1.9. I too am using Tiger. maybe setting which star is used could be a pref so that it could be set to be 'black star' or 'white star' depending on which works on the user's machine.
-
Darkside
I hope the current "white star" solution (whatever it is) for Tiger is temporary, because I really dislike the new look: for me, the rating star now has a white outline instead of being solid white. It's backtracking from an Enhancement in 0.9.9 (6 May 2003): Rating stars in floaters now look more "solid". :-)
Was this change in appearance intended, or just something to put up with in the short term until a permanent solution is decided upon?
-
Darkside
Just thought of this after talking to a friend and reading Comment #10: Daniel, what sort of instal did you do for Tiger? Clean Install, Upgrade, Archive?
My friend did an Upgrade, and was having problems with the black star in another program, which appears to be fine on my end, and I did a Clean Install. Could hat have any affect on the issue?
-
Greg Hurrell
- ** Bug 269 has been marked as a duplicate of this bug. ***
-
ckd
See http://daringfireball.net/2005/08/star_star for more information about this issue. It is apparently a difference in the Unicode font that's getting picked for this glyph.
The apparent fix is to specifically use the glyph from "Hiragino Kaku Gothic Pro", or "Osaka", or "Zapf Dingbats"...and avoid getting the one from "Mshtakan".
(Since I prefer the look of the old "black star" glyph, I'd love to see this fixed such that we can get those, or have a preference option, or something.)
-
Greg Hurrell
- ** Bug 296 has been marked as a duplicate of this bug. ***
-
Greg Hurrell
You'll be pleased to know that I've finally found what appears to be a reliable workaround for this problem. The stars now look equally good on Tiger as they do on Jaguar/Panther.
This fix will be publicly available when version 2.6 comes out (soon). To be notified of the release announcement by email subscribe here:
-
Greg Hurrell
Marking as CLOSED.
The 2.6 release which includes the fix is now available for download.
http://wincent.com/a/news/archives/2006/03/synergy_26_rele.php
Add a comment
Comments are now closed for this issue.


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^
.
.
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New
York
Copyright
reserved
Botanical
Garden
Yo^
botanical
GARDEN
NEW
YORK
BOTANICAL
GARDEN
01334435
Capraria
biflora
L.
0.5
m.
tall,
woody
base;
petals
&
stamens
white;
common
here.
Republica
Dominicana:
Prov.
La
Romana:
La
Uvita,
S
of
town
of
Cumayasa
Km.
10,
on
Mar
Caribe
coast,
marine
coral
limestone,
very
shallow
soil;
parts
of
woody
arid
forest
cut
Agricultural
crops;
very
dry
season
now.
18°24'N,
69°03'W,
alt.
less
than
10
m.
Nov.
24,
1980
M.
Mej£a,
T.
Zanoni.
JARDIN
BOTANICO
NACIONAL
"DR.
RAFAEL
M.
MOSCOSO"
SANTO
DOMINGO,
REPUBLICA
DOMINICANA
9373
Scrophulariaceae
The
University
of
Texas
Herbarium
(LL,
TEX)
Capraria
biflora
L.
Det:
J.
Williams
&
B.L.
Turner,
30
Jul
1996
01334435
Legend -
Level of confidence that token is an accurately-transcribed word
extremely low
very low
low
undetermined
medium
high
very high


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REGENERATION A film review by Steve Rhodes Copyright 1998 Steve Rhodes
RATING (0 TO ****): ** 1/2
REGENERATION, inspired by some actual events from World War I, tells the story of the imprisoned poet, Siegfried Sassoon. Sas, a military officer played by James Wilby from MAURICE and HOWARD'S END, is sent to a Scottish hospital when he writes an illegal pamphlet against the war. The authorities figure that, once ensconced in a hospital for the shell shocked and insane, his protests will be completely discredited.
Sas, the winner of a medal for bravery at the front, is not your typical conscientious objector. Sas is the type of officer who arranges for his men to have tea after any long march. He is not against all wars. It is just that he thinks this one has become hopeless and is being needlessly prolonged.
As Dr. William Rivers, Sas's sympathetic doctor, Jonathan Pryce gives a sincere performance. Caring for his charges is inducing a sort of shell shocked behavior in the doctor as well.
Stuart Bunce plays Wilfred Owen, who is claimed to have produced some of the best poetry to come out of the war. Sas mentors Owen, who is a fellow patient.
Jonny Lee Miller, as Billy Prior, comes mute to the hospital. The film explains that mutism is an affliction that only struck the upper classes during the war. The lower classes developed completely different problems. Even diseases it seems are class conscious. Once cured of his mutism, Billy goes on to form a romantic entanglement with Sarah (Tanya Allen), a local "munitionette." Their small love story has a natural, unforced quality that the rest of the film lacks.
Although the stories in the film are moving, director Gillies MacKinnon (A SIMPLE TWIST OF FATE) is never able to weave them into a compelling whole. The battlefield scenes shown in flashback are singularly unrealistic looking. One attack has the men slowly falling like toddlers lying down for a nap.
The movie's visuals can be stunning. Set in a bleak but sharply lit Scottish winter, Glen MacPherson's cinematography will have your bones shaking as you admire the beauty of the countryside.
A few times REGENERATION says something enough out of the ordinary to make you think. Typical of these is Billy's reflection that a battle charge is just like sex, "exciting and ridiculous." Too bad more of the movie wasn't as provocative.
REGENERATION runs 1:53. It is rated R for war violence and would be fine teenagers.
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A RESTful API, CRUD backend, and demo portfolio app for a fictional mechanic shop built using Node.js, Express.js framework, Sequelize ORM on a MySQL database for persistence. Inspired by minor work I did for my own mechanic.
Index page ~ http://localhost:8080/
About ~ http://localhost:8080/about
Search for Resolved/ Fixed Auto Repair Jobs ~ http://localhost:8080/resolved


This spell repairs a single break or tear in an object you touch, such as a broken chain link, two halves of a broken key, a torn cloak, or a leaking wineskin. As long as the break or tear is no larger than 1 foot in any dimension, you mend it. leaving no trace of the former damage.
This spell can physically repair a magic item or construct, but the spell can't restore magic to such an object.


Overview
If you've ever used Unity's Shader Graph or Unreal's Material Graph, you're already familiar with the general idea of the Image Pipeline. In essence, when importing an image from KKL, it will run through a pipeline or series of steps that manipulate it before finally being saved to disk as an image file. By default, the pipeline is extremely simple (load an image from a KKL code -> save it to disk), but you can program your own custom pipelines using the Pipeline Editor.
Accessing Pipelines
Pipelines are a feature limited to the Pose Matrix. Pipelines can be linked to either an entire row (i.e. a clothing stage) or an individual cell (i.e. a pose in a stage). Only one pipeline can be set for a pose. If one exists for both a cell and its row, the pipeline on the cell will be used. To create a pipeline, either click the dedicated "Edit Pipeline" button in the Pose Matrix screen, fill in a name and click create, or select the row or cell you wish to assign the pipeline to and use the Edit button in the edit form.
The Edit Pipeline button
Pipeline Assigment Field for a pose or stage
Basics
A pipeline consists of a series of nodes connected to each other via their inputs and outputs. All pipelines contain a Result node, which is the node that produces the final image. Let's take an example pipeline and break it down:Here we have 4 nodes:
- A Cell node pulls an image from KKL using the code of the current cell in the pose matrix. It feeds this image into the "base" input of a Blend node, and a "key" into a Cell Reference node.
- A Cell Reference node is a reference to another cell in the Pose Matrix and imports that cell's KKL code. This node is pulling a version of the pose with no T-shirt. The imported image is fed into the "blend" input of the Blend node.
- The blend node takes the two imported images, one with a shirt and one without, and blends them together. The strength is at 50%, so the resulting image is a 50-50 blend of the two input images to produce a transparent T-shirt. This is passed to the Result node.
- The Result node is the end of the pipeline. Whatever is passed into this is what will be saved for the cell's pose.
Working with the UI
- The toolbar at the top of the editor allows you to add or remove nodes from your graph.
- To move nodes around, grab and drag them by their title. To connect nodes together, click on an output circle of one node and drag a wire onto the input port of another node. You can connect a single output to multiple inputs.
- Double-click a node's title to display that node in the full-size preview pane on the right.
- The Delete key will delete the currently selected node, just as the Delete button in the toolbar.
This UI is not robust as professional shader editors, so you may have to reposition nodes a lot to make it clear what is connected to what.
Node Types
What follows is a description of each node type available and how it works.
Apply Mask
Draws only the pixels of the source image that are part of the mask.Inputs
- Source: A source image
- Mask: Mask to apply
Outputs
- Out: The resulting image
Properties
- Use Alpha: If true, uses alpha values for the mask. If false, uses the max of the RGB channels.
- Clamp: See the Clamp property for Blend nodes
- Offset: See the Offset property for Blend nodes
Brightness/Contrast
Adjusts an image's brightness and/or contrast.Inputs
- In: The image to adjust
Outputs
- Out: The resulting image
Properties
- Brightness: Amount to change the brightness.
- Contrast: Amount to change the contrast.
Cell
A pipeline is run for each cell in the Pose Matrix. The Cell node is for obtaining a reference to the image produced by that cell's code. If your pipeline is linked to an entire stage, it will run once for each pose in that stage, so if you have three columns: calm, happy, and sad, the pipeline will run 3 times. The Cell node will provide the calm pose for the first run, the happy pose for the second, and the sad pose for the third.Inputs
- None
Outputs
- Image: The image for the cell as it would be produced from the Import button in the Pose Matrix if no pipeline were attached. In other words, the unprocessed image from KKL.
- Key: The key (pose name) of the cell the pipeline is running on. For example, if the happy pose is being processed, this will output "happy." This output is used with Cell Reference nodes to link them to the correct pose in a stage.
Properties
- None
Cell Reference
Whereas a Cell node refers to the Pose Matrix cell currently being processed, a Cell Reference node refers to a node elsewhere in the matrix (including another sheet).Inputs
- Key: If this is not provided, the Cell Reference will always refer to the one that was selected in the Source. For pipelines that run on an entire range of poses, this is not typically ideal, because if your stage has calm, happy, and sad poses, and you set the Cell Reference to stage 5's Calm pose, then when processing the Happy and Sad poses, this would still pull in the Calm pose. When the cell's key is provided, however, the reference will update itself to the corresponding pose for its stage. So when processing the Happy pose, it would use stage 5's Happy pose.
- Row: An override to which row in the sheet to read from. Useful for combining with pipeline parameters for altering which pose to draw from.
Outputs
- Image: The cell's image imported from KKL.
Properties
- Source: Which cell to import. Clicking the ... will bring up the pose matrix where you can select the cell you wish to reference. As described in the Key input, when a Key is provided it will refer to the corresponding pose for the selected row, so it does not matter which pose in that row you select.
Blend
SummaryInputs
- Base Image: The image you wish to apply blending to
- Blend Image: The image you with to blend into the base image
Outputs
- Image: The blended image
Properties
-
Mode: What type of blending to perform:
- Normal: Each pixel's RGBA values are averaged together. This is commonly used to produce transparency effects as it will not affect pixels that are identical between the two images.
- Multiply: The base pixel's RGBA are multiplied by the corresponding values in the blend image. This can be useful for tinting by using a grayscale base image and a colored blend image.
- Screen: Similar to the Screen blend found in most imaging applications.
- Additive: Adds pixels from the images together, lightening the image.
- Difference: Takes the absolute value of the difference between pixels, darkening the image.
- Lighten: Keeps the lighter pixel among the base and blend images.
- Darken: Keeps the darker pixel among the base and blend images.
- Extract: Throws away (adds full transparency to) any pixels that are identical between the base and blend, keeping the pixels of the blend image where different. This is useful for creating an image mask. For instance, taking two identical poses where the base is nude and the blend has a shirt, this will produce an image containing only the shirt. Functionally similar to an XOR operation.
- Overlay: Draws the blend image on top of the base image.
- EqualTo: Performs a pixel-wise AND of the images, discarding any pixels that do not match between the two images. The blend amount controls how close a pixel must be to be considered a match.
- Strength: A value from 0-100% for how much to blend the images. 0% means to use the base image while 100% means to use the blend image.
-
Clamp: When the blend image does not have the same dimensions as the base image, this determines what to do with pixels that are out of bounds on the blend image.
- Clamp: Any pixels out of bounds will be treated as transparent.
- Repeat: If the blend image is 10 pixels wide, then X: 11 will use the pixel 1 on the blend image. Creates a tiling effect.
- Mirror: Similar to Repeat, except every other tile is flipped. For instance, X: 2 and X: 22 will use X: 2, but X: 12 and X: 32 will use X: 10 - 2 = 8.
- Offset: When the blend image does not have the same dimensions as the base image, this determines how much to offset the blend image when applying it to the base.
Branch
Selects between True and False inputs based on a Predicate.Inputs
- Predicate: Determines which input to return. Pass Text/Parameter "true", "t", or "1" to return True, false otherwise.
- True: Image to return when true.
- False: Image to return when false.
Outputs
- Out: Output value.
Properties
- None
Channel Mixer
Controls how much of the RGB channels to include in the output. For example, to extract only the blue from an image.Inputs
- Image: The image to manipulate.
Outputs
- Image: The resulting image.
Properties
- R: How much of the red channel to include.
- G: How much of the green channel to include.
- B: How much of the blue channel to include.
Color
Emits a color valueInputs
- None
Outputs
- Color: The chosen color
Properties
- Value: The color to send to the output
Color Mask
Creates a mask from values in input In enqual to input Mask Color.Inputs
- In: An image
- Mask Color: A color to compare the pixels in the In image to for determining if they should be included in the mask
- Range: Select colors within this range from input Mask Color
- Fuzziness: Creates a softer selection mask
Outputs
- Out: The resulting mask
Properties
Cookie Cutter
Compares two images and either keep the similar pixels or discards themInputs
- Source: A source image
- Compare: Image to compare the source to
- Range: Controls how close pixels must be to be considered similar.
Outputs
- Value: The resulting image
Properties
- Keep: Which pixels to keep: either same (similar) pixels or the inverse.
- Clamp: See the Clamp property for Blend nodes
- Offset: See the Offset property for Blend nodes
Decimal
Emits a constant floating point valueInputs
- None
Outputs
- Value: The chosen number
Properties
- Value: The number to send to the output
Desaturate
Desaturates (removes the color) from an image.Inputs
- Source:The image to desaturate
Outputs
- Image: The desaturated image
Properties
- Amount: How much to desaturate the input by, where 0% is not at all and 100% is fully desaturated.
Image
Obtains an image from a file path (as opposed to a KKL code).Inputs
- None
Outputs
- Image: The image
Properties
- Source: The file path to the image.
Integer
Emits a constant integer between 0-255Inputs
- None
Outputs
- Value: The chosen number
Properties
- Value: The number from 0 to 255 to send to the output
Invert Colors
Inverts the colors of the input on a per channel basis.Inputs
- Image: The image to invert
Outputs
- Image: The resultant image.
Properties
- Red: Whether to invert the red channel.
- Green: Whether to invert the green channel.
- Blue: Whether to invert the blue channel.
- Alpha: Whether to invert the alpha channel.
Note
For internal comments and annotation.Inputs
- None
Outputs
- None
Properties
- Note: A comment
Parameter
Outputs a parameter from the parameter list for the current cell or stage being processed.Inputs
- None
Outputs
- Out: The text at that parameter index
Properties
- #: The index of the parameter to output.
Pipeline
Runs an image through another pipelineInputs
- In: An input image which will be used as the image for the Cell node of the sub-pipeline.
- Key: An override to what the Cell node of the sub-pipeline outputs for its "key" output.
Outputs
- Out: The result of the processing the sub-pipeline
Properties
- Pipeline: The name of the pipeline to execute. This must be another pipeline on this character's pose matrix and cannot create a cycle between pipelines.
Replace Color
Replaces colors that fall within a range with another color.Inputs
- In: An image
- From Color: The color to check for replacement
- To Color: The color to replace
- Range: Select colors within this range from input From Color
- Fuzziness: Creates a softer selection mask
Outputs
- Out: The resulting mask
Properties
Result
Node whose only purpose is to indicate the final result of the pipeline. You cannot delete this node nor add more than one.Inputs
- Image: The image to generate.
Outputs
- None. The passed in image is implied to be the pipeline's output.
Properties
- None
Slider
Emits a constant value between 0-1Inputs
- None
Outputs
- Value: The chosen number
Properties
- Value: The number from 0 to 1 to send to the output
Splitter
Splits the RGBA channels of an image into their numeric values which can be provided to an numeric input such as the Amount input of a Blend node.Inputs
- Image: The image to split.
Outputs
- R: The red value from 0-1
- G: The green value from 0-1
- B: The blue value from 0-1
- A: The alpha value from 0-1
Properties
Swizzle
Creates a color by flipping around channels of other colorsInputs
- Image: The image to modify
Outputs
- Image: The resultant image.
Properties
- Red: Whether to invert the red channel.
- Green: Whether to invert the green channel.
- Blue: Whether to invert the blue channel.
- Alpha: Whether to invert the alpha channel.
Text
Emits a constant text string.Inputs
- None
Outputs
- Value: The chosen string of text
Properties
- Value: The text to send to the output
Threshold
Converts pixels to grayscale, then compares them to a threshold value. If the value is beneath the threshold, the pixel is turned off. Otherwise it's turned on.Inputs
- Src: The image to modify
- Threshold: A value from 0-1.
Outputs
- Out: The resultant image.
Properties
- Use Alpha: If enabled, then pixels above the threshold are turned transparent instead of white.


Wonder Search Engine
This is a demo of the wonder search engine.
W O N D E R
Search Your Computer
Search
Lucky
Search Solid
Search
Lucky
Search The Web
Search
Lucky


This service offers a simple REST API to convert images to webp! In enforces a limit of 1000 conversions per IP per hour. IP-addresses are only stored as HASH, i.e. anonymously. The maximum request size is 25MB (please be aware of the overhead of base64 encoding). You are not allowed to upload illegal content to this service.
POST: /convert
{
"fileExtension": string; // e.g. "jpeg"
"base64String": string;
[optional] "quality": integer; // 1 - 100; Default-Value is 82
}
/convert
{
"success": boolean;
"size": number;
"oldSize": number;
"savingsInPercent": number;
"base64String": string;
"quality": integer;
}


WHAT LIES BENEATH (director: Robert Zemeckis; screenwriter: Clark Gregg/based on a story by Sarah Kernochan & Gregg; cinematographer: Don Burgess; editor: Arthur Schmidt; cast: Harrison Ford (Norman Spencer), Michelle Pfeiffer (Claire Spencer), Diana Scarwid (Jody), Miranda Otto (Mary Feur), James Remar (Warren Feur), Joe Morton (Dr. Drayton), Amber Valletta (Madison Elizabeth Frank), Victoria Birdwell (Beatrice), Katharine Towne (Caitlin Spencer); Runtime: 126; 2000)
Reviewed by Dennis Schwartz
A mindless psychological thriller set in Vermont, that starts out in a promising mysterious fashion but ends badly, ruining any credibility it might have generated. It tries very hard to be both a mystery and a supernatural story, but it goes off course on both its aims way before it sinks to its low abyss. It was a film that was all foreplay but couldn't come to a climax, and as the film started to clear up the mystery mood it created while moving at its snail pace, the revelations of the mystery weren't worth exploring. The only thing the film did well, was provide a lot of schlock.
The result is a dull film, with uninteresting and poorly developed characters, and too many manipulative fright scenes that I have seen before in too many other horror flicks. The only thing this film did really well aside from all its schlock setups, was photograph the lakeside Lake Champlain area and use the Champlain Bridge for some eerie shots. The story seemed to drag from the onset, as the director wasted time taking irrelevant long shots aimed to be frightening and then turning away from those shots without drawing anything out of them; it should have been an eighty minute film, like the B- movies of the 1950s, and then it might have been a more tolerable venture. Robert Zemeckis ("Forrest Gump"/"Contact"/"Back to the Future") is such an emotionally empty director, his characters seem more like robots than humans, that the movie seems to be such an effort in draining the life out of it that it becomes mostly a special effect movie with characters becoming secondary in importance.
Zemeckis has built a story around a lady-in-peril, one with too much idle time, who is overwrought with a healthy dose of neurotic tension, talking herself into thinking she sees ghosts, but who doesn't know how to internalize that fright. Michelle Pfeiffer is asked to carry this film, but without an adequate script, even if she is a good casting decision for that role, her task is too difficult to accomplish.
Norman Spencer (Harrison Ford) is a genius in genetics and has moved to Vermont to accept the prestigious Dupont seat at the university. He is doing lab reseach at the same university his father taught at. Claire (Michelle Pfeiffer) is the beautiful cellist who gave up her career to marry the genius. She comes with some baggage, she had a daughter (Towne) by another man before she married Ford. Claire is a little unnerved that her daughter has just been enrolled in an away college and that she will be left alone in the house. The couple has just completed the fixing up of their stately manse, and the roses in the garden, that Michelle takes such pride in, look wonderful in the early New England autumn. Everything seems blissful between the Spencers, now that she has recovered from the car accident she had a year ago.
Claire is upset that her new neighbors, the Feurs (Miranda Otto & James Remar), are loudly fighting outside in their driveway, where the Spencers can plainly hear them (Jimmy Stewart did that eavesdropping part in "Rear Window"). On one occasion Mary is uncontrollably sobbing in her yard but is unreceptive to Claire's willingness to help, as they converse through a wooden fence.  Norman checks out Warren Feur to calm his wife's fears, and finds out that the psychology professor at the university, is completely harmless. These suspicions of hers come to a fruitless conclusion, as Claire hysterically lashes out at Warren for murdering his wife when she is not seen for a few days, but when his wife makes her grand entrance at the university function, to the chagrin of Norman and the terrible embarrassment for Claire, the Feurs disappear from the picture as possible suspects to their haunted house.
The film then moves into the supernatural for its story and the typical Hollywood ghost story scenes: doors mysteriously open, a solitaire game on a computer is flashing the initials of the local university coed who has been missing for a year, a stereo system turns on unaided, a bathtub fills up by itself, and most importantly, visions of the dead girl (Amber Valletta) Norman had a secret affair with a year ago, the green-eyed blonde vixen, keep popping up whenever Michelle is home alone.
Pfeiffer in the meantime has turned a ghostly pale color for the remainder of the film and has become hysterically possessed by the ghost she keeps seeing in the house. She starts losing contact with her workaholic hubby, who is more enmeshed in the paper he is to present in New Haven than with her hysterics. So she turns to her divorced friend (Diana Scarwid) for psychic advice, but is given only cynical giggles for help. Upon her husband's request, she also sees a dogmatic Freudian shrink (Morton), as the film wastes too much time on these dead-end trails.
The last shocking scene takes place in a bathtub, one that could have been ordered from the Sears catalogue before World War 11, and seems to be ready-made for a horror flick. Michelle will lie in the tub drugged and in a paralysed state awaiting her fate, as the water rises. All the edgy middle-aged lady did, was bring up ghosts from the past and now someone must answer for those buried lies that brought on the ghosts.
If this is supposed to be like a Hitchcockian thriller, then why wasn't I thrilled by what I saw!
Zemeckis has created an unaffecting haunted house thriller, with samples from many other films thrown into this derivative stew, but nothing seems to work here. This is just a boring movie about a couple that are as unreal as the ghosts in their house.
REVIEWED ON 7/25/2000 GRADE: C
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
<EMAIL_ADDRESS>© ALL RIGHTS RESERVED DENNIS SCHWARTZ
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


At first the Cosmos Source can look like a daunting thing. This folder structure guide should help you to find what you're looking for.
Tools & 3rd party applications/files required for the building and running of a Cosmos OS
A folder added by Codeplex for some reason...
Various user end documentation for the Cosmos User Kit. Quite badly structured.
A single build script for doing something or other
Dependency .dll's that Cosmos needs
Files needed for the installer including the inno setup file
The first folder full of source and an assortment of used and non-used code
Lots of folders with source in to explain, a seperate page is linked above.
A single TeamProject.config file
Things for XSharp (the cosmos compiler language) but not all the source
(C) Cosmos Project 2007-2013


Error code: 404
Here are some helpful links instead:

Sample text here...

And another line of sample text here...


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Curriculum Vitae
Note
The most up-to-date source of my professional and academic history would be my LinkedIn page, which can be accessed here.
Education
- MSc. in Software Systems Engineering - RWTH Aachen University, Aachen, Germany GPA: 1.3 (German Scale)
- B.Tech (Honours) in Information Technology - Indian Institute of Information Technology, Allahabad. GPA: 9.08/10.0
- Higher Secondary Schooling - Delhi Public School, Patna, India. Grades: 93.6%
Work Experience
- Consultant Big Data Engineer at Data Reply GmbH, Munich, Germany
- Data Scientist Intern at AUDI AG Production IT, Neckarsulm, Germany (2018-2019)
Research Experience
- Bachelor Thesis Work - Conducted at the Chair of Databases and Information Systems, RWTH Aachen. Slides and Report available.
- Summer Internship - Conducted at the Knowledge Mining and Assessment Group, TU Darmstadt, Germany.
- Internship - At the Center for Development of Advanced Computing, Pune, India.
- Summer Internship - At the University of Wisconsin, Milwaukee, USA.
Publications
To access these papers in their original form, please visit my Google Scholar Page.
- An Integrated Ontology-Based Approach for Patent Classification in Medical Engineering
- Ontology Matching for Patent Classification
- Automatic Raga Recognition in Hindustani Classical Music
- Combining Keystroke Dynamics and Face Recognition for User Verification
- Ontology-based Classification and Analysis of non- emergency Smart-city Events
Standardized Test Scores
- Graduate Record Exam : 329/340 - Quantitative: 170/170, Verbal: 159/170, Analytical Writing: 5/6
- TOEFL : 118/120
- DSM Sprachenzentrum RWTH Aachen (German Level B1) : 2,0 (German Grading Scale)


All of these plug-ins are built on top of the OWL API.
The plug-ins are:
These plug-ins are compatible with each other, and can be used either together or seperately, possibly in conjunction with other compatible section-building and reasoning plug-ins.
All plug-ins are configurable in various ways, either programatically, via methods on the relevant classes, or else via the general MEKON configuration system.
{@link uk.ac.manchester.cs.mekon.owl.build.OBSectionBuilder} can be configured to determine which collections of entities will be loaded from the relevant ontologies, and exactly how they will be used in creating the MEKON FM entities.
Both {@link uk.ac.manchester.cs.mekon.owl.reason.ORClassifier} and {@link uk.ac.manchester.cs.mekon.owl.reason.ORMatcher} can be configured to determine how the FM instantiations will be interpreted semantically when composing the OWL expressions and networks of OWL individuals to be classified and queried over. In both cases, it is possible to provide pre-processors to reshape intermediate node/link network versions of the FM instantiations, prior to conversion into OWL constructs (see {@link uk.ac.manchester.cs.mekon.network}).
All plug-ins make use of the {@link uk.ac.manchester.cs.mekon.owl.OModel} class, which provides MEKON-friendly access of OWL ontologies and DL reasoners via the OWL API. Similarly to the plug-ins themselves, the {@link uk.ac.manchester.cs.mekon.owl.OModel} can be configured either programatically or else via the general MEKON configuration system.
For a general overview of MEKON-OWL, the MEKON framework, and other related software see mekon-hobo project website.


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I am Vishwa, an Information Technology Professional who can perform any challenging software or technology oriented tasks that seeks talent, skill and hard work and also provide Business Solutions for the organizations as per the requirements.
In quest of an energetic and thought-provoking role in a Global Business Services Enterprise, that offers value proposition through constant self- innovation and best opportunity to evolve as a competent software professional.
Involved in all stages of application development, from requirements gathering working directly with customer to final testing
JAVA, J2EE, JSF, AJAX and Middleware - WebSphere and MQ
May 2016 - Aug 2016
Software Developer Intern
Lead a 4 member offshore team involving development, configuration Engineering, upgrades, deployments, troubleshooting and Administration of Middleware - WAS, J2EE and Portal Applications and services for various environments
Middleware - Websphere Application/Portal/Web Servers 6.1,7.0,8.5 and WebSphere MQ
Oct 2012 - June 2015
Senior Systems Engineer


Descendants of Otho Porter
[ Click on the red arrow for a shortcut to
the list of family trees
s Click on the blue question mark for
assistance in navigating among family trees
Family of Otho Porter
1. Mr. PORTER
1.1. Jacob
PORTER was born in 1806. His
birthplace has been identified as Virginia, Pennsylvania and Maryland.
This relationship between Jacob, Otho, and David R.
is unproven. The reasons for believing that Jacob is a brother: 1) Jacob
followed the same migration patterns as Otho.
2) Otho named his oldest son Jacob. 3)
Jacob lived by Otho in Monroe County, Ohio.
Dorcas STARR was born between 1805 and 1809 in Maryland. She died between 1870 and 1880 at the age of 65 in Appanoose County, Iowa. Jacob PORTER and Dorcas STARR were married on 15 Aug 1838 in Belmont County, Ohio.3 Jacob PORTER and Dorcas STARR had the following children:
1.1.1. James PORTER was born about 1838 in Ohio. James hasn't been identified after the 1860 census.
1.1.2. Addison Silas PORTER was born on 15 Dec 1839 in Monroe County, Ohio. He died on 28 Dec 1922 at the age of 83 in Clearfield, Ringgold, Iowa. Information on this family from Terry Carlson<EMAIL_ADDRESS>(2002)
Sarah Ann BONTRAGER, daughter of Jacob BONTRAGER and Margaret ALLBAUGH, was born on 28 May 1842 in Monroe County, Ohio. She died on 4 Nov 1922 at the age of 80 in Clearfield, Ringgold, Iowa. Addison Silas PORTER and Sarah Ann BONTRAGER were married on 22 May 1862 in Monroe County, Ohio.
1.1.3. Alvin Louis PORTER was born in 1842 in Harrison County, Ohio. Birthplace came from his pension record acquired by Terry Carlton. He served in the military in 1865 in Co. C 2nd WV Calvary. He died on 24 Jul 1911 at the age of 69 in Valaparaiso, Nebraska.
Ann FOX was born in 1846 in Indiana. Alvin Louis PORTER and Ann FOX were married on 5 Sep 1866 in Appanoose County, Iowa.
1.2. Otha PORTER was born on 13 Apr 1809 in Maryland.4 Otha died on 15 May 1878 at the age of 69 in Appanoose County, Iowa.8 He was buried in Orleans Cemetery, Washington Township, Appanoose County, Iowa. Birth and death date from the tombstone incription: "Otha Porter, d 15 May 1878, 69y 1m."
Elizabeth DUSENBERRY, daughter of George DUSENBERRY
and Christina UNKNOWN, was born on 28 Oct 1810 in Ohio. She died on 12 Nov 1865
at the age of 55 in Appanoose County, Iowa.8
Birth and death dates are from the tombstone inscription. "Elizabeth
Porter d Nov. 12, 1865, 55y 15d w/o Otha. She
was buried in Orleans Cemetery, Washington Township, Appanoose County, Iowa.8
Elizabeth's parentage is unproven, but most likely to be George and Christina Dusenbury of Harrison County, Ohio.
Otha PORTER and Elizabeth DUSENBERRY were married on
30 Aug 1833 in Harrison County, Ohio.9 Otha PORTER and
Elizabeth DUSENBERRY had the following children:
1.2.1. Christena PORTER10 was born on 7 Jul 1834 in Harrison County, Ohio. She died on 4 Aug 1901 at the age of 67 in Lee Township, Monroe, Ohio. She was buried in Mt. Moriah Cemetery, Lee Township, Monroe County, Ohio.
William SCHOONOVER, son of John SCHOONOVER and Margaret (Mary) SHUMAN, was born on 22 Apr 1834 in Gilmer County, West Virginia.11 He died on 1 Mar 1917 at the age of 82 in Monroe County, Ohio. He was buried 4 March at Mt. Moriah Cemetery. Christena PORTER and William SCHOONOVER were married on 18 Apr 1855 in Monroe County, Ohio.
1.2.2. Jacob PORTER was born on 7 Jun 1836 in Ohio. He died on 6 Aug 1858 at the age of 22 in Appanoose County, Iowa. He was buried in Orleans Cemetery, Washington Township, Appanoose County, Iowa.
1.2.3. David PORTER was born in 1838 in Monroe County, Ohio. He served in the military in 1864. Sgt. David A. Porter enlisted 2 May 1864, Co. B 47th Inf., in Centerville, Iowa.
1.2.4. Calvin PORTER was born on 4 Mar 1841 in Monroe County, Ohio. He died on 25 May 1924 at the age of 83 in Appanoose County, Iowa.
Perlince J. LONGLEY was born on 9 Jan 1843. She died on 30 Apr 1923 at the age of 80 in Appanoose County, Iowa. Calvin PORTER and Perlince J. LONGLEY were married on 10 Nov 1861 in Appanoose County, Iowa.
1.2.5. Thomas PORTER was
born in 1842 in Monroe County, Ohio. He served in the military in 1862. Thomas
B. Porter of the 47th Iowa Infantry Co. B (Appanoose County, IA), died at Marks
Mills in 1862. [From Leann Porter Baker 2003]
1.2.6. William H. PORTER was born in 1844 in
Monroe County, Ohio. He served in the military between 1862 and 1865 in
Centerville, Iowa. William H. H. Porter served in 47th Iowa Infantry, Co. D.
Enlisted 21 Aug 1862. He was discharged on 15 May 1865 "by the
reason of a telegraphic order from War dept. AGO 3 May 1865." (Info
from Leann Porter Baker]
1.2.7. Silas Rite PORTER was born on 24 Nov 1848 in Monroe County, Ohio. He died on 18 Feb 1921 at the age of 72 in Iowa.
Ruth Ann BICKFORD was born on 23 Sep 1854 in Moulton, Appanoose County, IA.
1.2.8. Sarah J. PORTER was born in 1849 in Monroe County, Ohio. She died on 8 Aug 1875 at the age of 26 in Appanoose County, Iowa.8 She was buried in Orleans Cemetery, Washington Township, Appanoose County, Iowa.
1.2.9. Elizabeth PORTER was born on 29 Mar 1855 in Monroe County, Ohio. She died on 14 Aug 1881 at the age of 26 in Appanoose County, Iowa. She was buried after 14 Aug 1881 in Orleans Cemetery, Washington Township, Appanoose County, Iowa.8
W. S. MCCREARY was born on 10 Apr 1857. Elizabeth PORTER and W. S. MCCREARY were married on 10 Mar 1880 in Appanoose County, Iowa.
1.3. David R. PORTER was born in 1819 in Ohio.
His relationship to Otho and Jacob Porter is
unproven, but it is believed they are related either as brothers or cousins. He
married Mary E. Cox of Tyler County, WV. She was the widow of Jesse Shuman. He
divorced Mary and married Catherine Cope in Missouri. He died in
Indianapolis when he fell from a train. He was on his way home from WV to
visit his children.
Mary Elizabeth COX, daughter of Levi COX and Mary HART, was born on 20 Dec 1819 in Maryland. David R. PORTER and Mary Elizabeth COX had the following children:
1.3.1. Aretus J. PORTER was born in 1847 in Monroe County, Ohio. Most records indicate he was born in Ohio, which was probably Monroe County. He died on 9 Jun 1922 at the age of 75 in Marshall County, West Virginia.13 His death record states he died in Cameron, West Virginia.
Ella UNKNOWN was born in 1880 in West Virginia. Aretus J. PORTER and Ella UNKNOWN were married in 1908.
Mary E. HINES was born about 1853. Aretus J. PORTER and Mary E. HINES were married about 1870.
1.3.2. Eliza PORTER was born on 1 Jan 1849 in Jackson County, Iowa.
1.3.3. Marissa (Mary) PORTER was born on 6 Dec 1850 in Davis County, Iowa. She died on 22 Sep 1904 at the age of 53.
Frank GIBSON died on 22 Sep 1904. Marissa (Mary) PORTER and Frank GIBSON were married in Aug 1872.
1.3.4. Elisha PORTER was born in 1855. He died on 5 Nov 1938 at the age of 83 in Tyler County, West Virginia.13
1.3.5. Elijah PORTER was born in 1855.
Catharine COPE was born on 14 Aug 1832 in North Carolina. She died on 12 Jul 1915 at the age of 82 in Schuyler County, Missouri. David R. PORTER and Catharine COPE had the following children:
1.3.1. Euphrates PORTER was born in 1859 in Missouri.
1.3.2. Juliann PORTER was born in 1860 in Missouri.
1.3.3. Sarah E. PORTER was born in 1863 in Missouri.
Henry KIRKPATRICK was born in 1853 in Missouri. Sarah E. PORTER and Henry KIRKPATRICK were married about 1880.
1.3.4. Otho Meade PORTER was born on 6 Feb 1868 in Lancaster, Missouri. He died on 21 May 1952 at the age of 84 in Des Moines, Polk, Iowa.
1.3.5. David Wiley "Mack" PORTER was born in 1870 in Missouri. He died in 1947 at the age of 77 in Des Moines, Polk, Iowa.
1.3.6. Omega "Kate" PORTER was born in 1872 in Missouri.
1.3.7. Bertha Mae PORTER was born on 8 Nov 1876. She died on 13 May 1965 at the age of 88 in Schuyler County, Missouri.
For more on the Porter family, go to http://sites.google.com/site/othoporter/
Provided by Karen Romick 1/30/2010
1. "Early Ohio
Settlers".
2. Monroe County, Ohio Deeds, Vol 7 pg 535.
3. Belmont County, OH Probate records.
4. Tombstone Inscriptions
.
5. Monroe County, Ohio Deeds, Vol B pg 364.
6. Monroe County, Ohio Deeds, Vol 8 pg 105.
7. Monroe County, Ohio Deeds, Vol 15 pg 153.
8. Appanoose County, Iowa Cemetery
Inscriptions.
9. Harrison County Marriage Records.
10. Monroe County, Ohio Death Records.
11. Ohio Vital Statistics.
12. Monroe County, Ohio
Deeds, 3-423.
13. West Virginia Division
of Culture and History - Death Records Archive.
Last modified 1 January 2010 by reh
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