Partnerships contact other organizations like Magnify for Instagram takeovers, workshops, webinars, and form long-term relationships with those organizations.
Hi!  I joined Magnify to end the stigma of mental health to ensure a safe community.
Hi! My name is Jimin Lee, a high school freshman from South Korea. I joined Magnify Wellness because mental health is so important and I wanted to contribute to the great initiative Magnify has.
Hello! I’m Ella Kang, a grade 11 student. I joined Magnify as a member of Art and Partnership teams. Through Magnify Wellness, I hope to bring impactful changes in society and contribute to promoting positive mental health for everyone!
Jean Hyun Kim is currently a high school senior in Seoul, South Korea. He is a Mental Health Changemaker, and a member of the marketing and partnerships teams at Magnify Wellness. He loves to watch movies and talk with people.
My name is Shruti Kale and I'm a rising sophomore in high school from the Bay Area. I joined Magnify Wellness to educate and help others about mental health, and I'm excited to be a part of such an amazing project. In my free time, I enjoy painting, playing flute, singing, and dancing.


Contents
<module>
.so modules
including ctl_oss, ctl_pulse, pcm_a52, pcm_jack, pcm_oss,
pcm_pulse, pcm_upmix, pcm_usb_stream, pcm_vdownmix,
rate_lavcrate*, rate_samplerate*, and rate_speexrate*
Short Descriptions
|
Allows native ALSA applications to run on OSS. |
|
|
Allows upmixing sound to 4 or 6 channels. |
|
|
Allows downmixing sound from 4-6 channels to 2 channel stereo output. |
|
|
Allows native ALSA applications to work with jackd. |
|
|
Allows native ALSA applications to access a PulseAudio sound daemon. |
|
|
Converts S16 linear sound format to A52 compressed format and sends it to an SPDIF output. |
|
|
Provides an external rate converter through |


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Class
BlastMatchAn data structure to hold a blast match, also known as high-scoring segment pair (HSP)
| Implements | AssignableConcept, CopyConstructibleConcept, DefaultConstructibleConcept, EqualityComparableConcept, LessThanComparableConcept |
|---|---|
| All Impl'd | AssignableConcept, CopyConstructibleConcept, DefaultConstructibleConcept, EqualityComparableConcept, LessThanComparableConcept |
| Defined in | <seqan/blast.h> |
| Signature |
struct BlastMatch<TAlign, TPos, TQId, TSId> { ... };
|
Template Parameters
TAlignRow0 |
Type of the first alignment row, usually Gaps |
|---|---|
TAlignRow1 |
Type of the second alignment row, usually Gaps |
TPos |
Position type of the sequences, defaults to uint32_t |
TQId |
Type of qId, defaults to std::string |
TSId |
Type of sId, defaults to std::string |
TSAccs |
Type of sAccs, defaults to std::vector of std::string |
TSTaxIds |
Type of sTaxIds, defaults to String of uint32_t |
Member Function Overview
-
BlastMatch::BlastMatch() BlastMatch::BlastMatch(sId) BlastMatch::BlastMatch(qId, sId) [deprecated]
Constructor, can be called with arguments for qId and sId. -
bool BlastMatch::operator< (BlastMatch const & bm2) const
The comparison operator (for sorting by bit-score).
Member Functions Inherited From AssignableConcept
Member Functions Inherited From EqualityComparableConcept
Member Functions Inherited From LessThanComparableConcept
Interface Function Overview
-
void computeAlignmentStats(blastMatch, context);
Compute the alignStats member of a BlastMatch. -
double computeBitScore(blastMatch, context);
Compute the bit-score for a BlastMatch. -
double computeEValue(blastMatch, qLength, context); [[deprecated]] double computeEValue(blastMatch, context);
Compute the E-Value for a BlastMatch.
Interface Functions Inherited From AssignableConcept
Member Variable Overview
-
TAlign BlastMatch::alignRow0
First alignment row (Gaps object). -
TAlign BlastMatch::alignRow1
Second alignment row (Gaps object). -
AlignmentStats BlastMatch::alignStats
An AlignmentStats object holding further stats of the alignment. -
double BlastMatch::bitScore
The bit-score of the alignment. -
double BlastMatch::eValue
The e-value of the alignment. -
TPos BlastMatch::qEnd
The end of the alignment on the (possibly translated) query sequence. -
char BlastMatch::qFrameShift
An indicator for query frame and query strand. -
TQId BlastMatch::qId
The verbose Id of the query. -
TPos BlastMatch::qLength
The length of the original query sequence (possibly before translation). -
TPos BlastMatch::qStart
The start of the alignment on the (possibly translated) query sequence. -
TSId BlastMatch::sAccs
The Accession number(s) of the subject. -
TPos BlastMatch::sEnd
The end of the alignment on the (possibly translated) subject sequence. -
char BlastMatch::sFrameShift
An indicator for subject frame and subject strand. -
TSId BlastMatch::sId
The verbose Id of the subject. -
TPos BlastMatch::sLength
The length of the original subject sequence (possibly before translation). -
TPos BlastMatch::sStart
The start of the alignment on the (possibly translated) subject sequence. -
TSId BlastMatch::sTaxIds
The taxonomic ID(s) of the subject.
Detailed Description
You should set the following members manually: qId, sId, qLength, sLength, qFrameShift and sFrameShift.
If you then also set valid alignRow-members (alignRow0, alignRow1), you can let the other members be computed by computeAlignmentStats and computeBitScore, computeEValue.
Member Functions Detail
BlastMatch::BlastMatch()
BlastMatch::BlastMatch(sId)
BlastMatch::BlastMatch(qId, sId) [deprecated]
Data Races
bool BlastMatch::operator< (BlastMatch const & bm2) const
To facilitate fast sorting of matches in a BlastRecord, only the bit-score is compared. Also large bit-score are sorted to front (i.e. operator< on BlastMatch checks operator>= on the bitScores).
Data Races
Interface Functions Detail
void computeAlignmentStats(blastMatch, context);
Parameters
blastMatch
|
A BlastMatch that has a valid align member. |
|---|---|
context
|
A BlastIOContext with parameters and buffers. |
The alignRow-members (alignRow0, alignRow1) are used as in-parameter to compute the alignStats member. This includes the raw score, amount of gaps, mismatches et cetera. This is a prerequisite for printing a match to file or computing it's e-value.
Data Races
double computeBitScore(blastMatch, context);
Parameters
blastMatch
|
A BlastMatch that has a valid align member. |
|---|---|
context
|
A BlastIOContext with parameters and buffers. |
Returns
double |
blastMatch.bitScore after computation |
|---|
Remarks
This will compute the bit-score for a BlastMatch. At least the following members need to be set before calling this function:
Data Races
double computeEValue(blastMatch, qLength, context);
[[deprecated]] double computeEValue(blastMatch, context);
Parameters
blastMatch
|
A BlastMatch that has a valid align member. |
|---|---|
qLength
|
The length of the query sequence (pass qLength). |
context
|
A BlastIOContext with parameters and buffers. |
Returns
double |
blastMatch.eValue after computation |
|---|
Remarks
This will compute the e-value for a BlastMatch. At least the following members need to be set before calling this function:
Note, that in contrast to the general interface (computeEValue), this interface caches some computation steps in the context and is therefore faster.
Data Races
Member Variables Detail
TAlign BlastMatch::alignRow0
TAlign BlastMatch::alignRow1
AlignmentStats BlastMatch::alignStats
double BlastMatch::bitScore
double BlastMatch::eValue
TPos BlastMatch::qEnd
char BlastMatch::qFrameShift
one out of { -3, -2, -1, +1, +2, +3 } where the absolute value - 1 is the shift of the translation frame and a negative sign indicates the reverse complement strand [query sequence, only applies for BlastFormatProgram == BLASTX | TBLASTX]; -1 implies reverse complement for BLASTN.
TQId BlastMatch::qId
TPos BlastMatch::qLength
TPos BlastMatch::qStart
TSId BlastMatch::sAccs
TPos BlastMatch::sEnd
char BlastMatch::sFrameShift
one out of { -3, -2, -1, +1, +2, +3 } where the absolute value - 1 is the shift of the translation frame and a negative sign indicates the reverse complement strand [subject sequence, only applies for BlastFormatProgram == TBLASTN | TBLASTX].


http://action.vday.org/site/R?i=aAeVPRUoV8BEl8wervp0rQ
http://action.vday.org/site/R?i=8B43vHE0U3YB4-J3W2wlrA
http://action.vday.org/site/R?i=Az6nZAQ_i4fDk3uKJzB5zg
http://action.vday.org/site/R?i=L_-avH6xx8aXv1E2CrR6ew
http://action.vday.org/site/R?i=BerGLEwhwvN8X4H313njxg
http://action.vday.org/site/R?i=vxEff7k6LmBmwJ-JGIQjfw
As 2015 comes to a close, we wish to share these recent updates on the
achievements of City of Joy and the V-World Farm this year.
It is a report that comes as a result of people like you who care
deeply about our work. It gives hope, activates our energy to serve,
and lets us keep going in our vision to Transform Pain to Power. The
88 women who graduated in June are the seeds of the revolution we need
to make change happen in the history of the DR Congo. The work is
being recognized. Recently both VICE and Time magazine came to visit
City of Joy for upcoming stories on rape in conflict zones.
It is with the great help of our big V-family, our V-friends and our
donors that all these achievements are carried out at the center of
madness where survivors of gender violence turn into brave, stunning
women. May all of YOU receive our thanks and heartfelt gratitude!
Happiest holidays wishes to you and yours,
Christine & Eve
evechristine
http://action.vday.org/site/R?i=vW8NBN7txTCL8_cQx4C5bg
Christine Schuler Deschryver
Director of City of Joy and V-Day Congo
Eve Ensler
Playwright & Founder of V-Day & One Billion Rising
CITY OF JOY
Despite the many challenges facing Congo ongoing conflict, increased
violence against women, weather and infrastructure challenges - City
of Joy is thriving. To date seven classes, totaling 579 women, have
graduated from the program. The City of Joy continues to serve as a
center for leadership development where women are transforming their
painful pasts into fuel for personal and emotional success, learning
real, practical life skills to map out their goals and hopes. At the
same time, the City of Joy stands as a powerful symbol for the
Congolese people. As one community leader told our staff, the City of
Joy is unique because it is focused not on the urgent and immediate
needs of survivors (addressing medical needs, etc.), but because it
focuses on the long-term leadership capacities of women and the role
they will play in the future of Congolese society. City of Joy staff
continues to be in close contact with classes that have left, and they
too are doing well, integrating into their communities.
cojgrad
http://action.vday.org/site/R?i=sSruLU_CCPTHM1OjQfkjsw
SEVENTH GRADUATION!
On June 4, City of Joy graduated 88 women and girls of the seventh
session in an extraordinary ceremony. Among the participants we had
the Governor of South-Kivu province, local authorities, parents of
graduates, members of partner associations/organizations, and many
other guests.
The graduation day was a day in which every woman celebrated herself.
It was a day to tell how City of Joy is an engine of transformation in
which they lived for six months to turn into brave, beautiful, and
strong women leaders. The change physical, emotional, intellectual,
etc. was something the audience noticed in the face and in the life
of every woman. Many parents and associations who referred women to us
were unable to identify these women because of their healing and
change. Read the full report here.
http://action.vday.org/site/R?i=Wv31R8u33obvbEFcZUAGkg
jane
http://action.vday.org/site/R?i=onQz6dZ0BcByqCf5HCntgA
JANE MUKUNINWA INTERVIEWED BY A.R.T. AT HARVARD UNIVERSITY
This Fall, Jane Mukuninwa was interviewed by A.R.T. (Artist Repertory
Theater) at Harvard University for their newsletter in anticipation of
Eve Ensler’s upcoming one woman play, In The Body of the World
http://action.vday.org/site/R?i=LRYx9AoU6lwcWzOSMWt3LQ
, the world premiere of her critically acclaimed memoir of the same
name. Jane’s meeting with Eve Ensler in 2007 helped lead to the
creation of City of Joy. Jane graduated with the first class and now
works as a staff member. Read the interview here.
http://action.vday.org/site/R?i=i2FmYxjOMaS7pLk13MR3Uw
cojfarm
http://action.vday.org/site/R?i=nJW3MfqRdO6GzoOMn-dPWA
TURNING PAIN TO POWER TO PLANTING
City of Joy’s sister project, the V-World Farm, is a bustling
sustainable farm 30 minutes from the City of Joy. It serves as
teaching opportunity for women participants who learn about farming -
and helps to feed the City of Joy. The project has grown leaps and
bounds since it was first conceived. Crops abound - honey bee hives,
avocados, oranges, pineapples, guavas, maize, string beans, cabbage,
celery, carrots amaranth, beans, sweet potatoes, ground nuts,
eggplants and tomatoes. The tilapia ponds are brimming with fish,
which will help to feed the women at City of Joy and will soon be
sold. Thirty tons of rice was harvested and selling the harvest of
rice from the year before paid for the new rice machine.
http://action.vday.org/site/R?i=dWCilWnhRx2JMEpQl7npIQ
Twenty thousand new trees have been planted along the border of the
property and more will be planted in the upcoming months. Construction
of houses for women who will live and work at V-World is underway.
Upon completion, we will be able to house 40 women. These women will
begin to form the basis for the collective that we hope will one day
run and own V-World Farm. View more photos here.
http://action.vday.org/site/R?i=qFMqODX_o9A-QmHq6jQo_g
coj-roads
http://action.vday.org/site/R?i=1aFLLI0ht4-g5f4GCuDz8w
ROADS!
Here is a photo of Essence Road (the main thoroughfare out to City of
Joy and Panzi Hospital) recently in the rain juxtaposed with an image
of our newest roads at V-World Farm! The completion of these new roads
and bridges at V-World Farm took place over the past few months.
Infrastructure is critical to the farm as it makes it more accessible
to jeeps and cars which bring in supplies and ship out produce and
farm products. To see more images, visit the photo blog.
http://action.vday.org/site/R?i=mcpZ8sfgMDQLdUviSpmgEA
congorising
http://action.vday.org/site/R?i=AiHOv4AtCiRxjdnm-sWpkQ
CONGO RISING, GREEN REVOLUTION
The rising which launched in November 2015 coincided with The Official
16 Days of Activism Against Gender Violence Campaign with the theme
“From Peace in the Home to Peace in the World: Make Education Safe for
All!” It is a campaign that focuses specifically on the relationship
between militarism and the right to education in situations of violent
conflict, in relative peace, and variety of education settings, while
continuing to make the links with militarism, as an encompassing
patriarchal system of discrimination and inequality based on our
relationships to power. It will be launched in the V-World Farm, a
farm that proves that a new world is possible.
http://action.vday.org/site/R?i=CEkOKsdc1rWclv_Ca4xnXg
http://action.vday.org/site/R?i=V43V2j-NpFaWmXs0Yr8u8g
The rising in DRC in 2016 will bring “THE GREEN REVOLUTION” into
focus. Since we started rising and standing in solidarity with women
across the world who experience violence in general and those from DRC
who have experienced great losses including loss of lives, rape,
kidnapping, incest, etc., we need the humanity and the Congo to bring
national and international focus to another aspect that needs
revolution and for which we are determined to invite people to rise
and create a new kind of consciousness through resistance and action.
The campaign of One Billion Rising Revolution: Listen! Act! Rise! 2016
will get inspiration from the paradox of life in the Congo that needs
to be revolutionized.
From East to West and from South to North, DR Congo is a paradox, in
that it is rich in natural resources yet is one of the poorest
countries in the world. Its population has to put up with violence,
disease, hunger and the mass displacement of people caused by more or
less two decades of wars and cross-border conflicts. With impunity,
political impotence, conflicts over natural resources which have
continually flared, East Congo has remained a hotbed of all forms of
violence.
In 2016, we will tell the DRC and the planet that it is high time for
Congolese to bring change and improve their lands, benefit from their
forests by keeping bees to produce honey, plowing their lands to
become agricultural entrepreneurs, breeding animals for economic
empowerment, planting trees to nourish and protect Mother Nature.  It will be an opportunity for GREEN
REVOLUTION!
In solidarity!
http://action.vday.org/site/R?i=YT6P61Z0sISWCEuNIpg7Cg
Support our work in the Congo. DONATE today.
http://action.vday.org/site/R?i=iY9evwUcOPT9ogAW


|
V8 API Reference Guide for node.js v0.11.11
|
#include <v8.h>
Classes | |
| class | AsciiValue |
| class | ExternalAsciiStringResource |
| class | ExternalStringResource |
| class | ExternalStringResourceBase |
| class | Utf8Value |
| class | Value |
Public Types | |
| enum | Encoding { UNKNOWN_ENCODING = 0x1, TWO_BYTE_ENCODING = 0x0, ASCII_ENCODING = 0x4, ONE_BYTE_ENCODING = 0x4 } |
| enum | WriteOptions { NO_OPTIONS = 0, HINT_MANY_WRITES_EXPECTED = 1, NO_NULL_TERMINATION = 2, PRESERVE_ASCII_NULL = 4 } |
| enum | NewStringType { kNormalString, kInternalizedString, kUndetectableString } |
| typedef ExternalAsciiStringResource | ExternalOneByteStringResource |
Public Member Functions | |
| int | Length () const |
| int | Utf8Length () const |
| bool | IsOneByte () const |
| bool | ContainsOnlyOneByte () const |
| int | Write (uint16_t *buffer, int start=0, int length=-1, int options=NO_OPTIONS) const |
| int | WriteOneByte (uint8_t *buffer, int start=0, int length=-1, int options=NO_OPTIONS) const |
| int | WriteUtf8 (char *buffer, int length=-1, int *nchars_ref=NULL, int options=NO_OPTIONS) const |
| bool | IsExternal () const |
| bool | IsExternalAscii () const |
| V8_INLINE ExternalStringResourceBase * | GetExternalStringResourceBase (Encoding *encoding_out) const |
| V8_INLINE ExternalStringResource * | GetExternalStringResource () const |
| const ExternalAsciiStringResource * | GetExternalAsciiStringResource () const |
| V8_DEPRECATED ("Use NewFromOneByte instead", V8_INLINE static Local< String > New(const char *data, int length=-1)) | |
| V8_DEPRECATED ("Use NewFromTwoByte instead", V8_INLINE static Local< String > New(const uint16_t *data, int length=-1)) | |
| V8_DEPRECATED ("Use NewFromUtf8 instead", V8_INLINE static Local< String > NewSymbol(const char *data, int length=-1)) | |
| bool | MakeExternal (ExternalStringResource *resource) |
| bool | MakeExternal (ExternalAsciiStringResource *resource) |
| bool | CanMakeExternal () |
| V8_DEPRECATED ("Use NewFromUtf8 instead", V8_INLINE static Local< String > NewUndetectable(const char *data, int length=-1)) | |
| V8_DEPRECATED ("Use NewFromTwoByte instead", V8_INLINE static Local< String > NewUndetectable(const uint16_t *data, int length=-1)) | |
| Public Member Functions inherited from v8::Value | |
| V8_INLINE bool | IsUndefined () const |
| V8_INLINE bool | IsNull () const |
| bool | IsTrue () const |
| bool | IsFalse () const |
| V8_INLINE bool | IsString () const |
| bool | IsSymbol () const |
| bool | IsFunction () const |
| bool | IsArray () const |
| bool | IsObject () const |
| bool | IsBoolean () const |
| bool | IsNumber () const |
| bool | IsExternal () const |
| bool | IsInt32 () const |
| bool | IsUint32 () const |
| bool | IsDate () const |
| bool | IsBooleanObject () const |
| bool | IsNumberObject () const |
| bool | IsStringObject () const |
| bool | IsSymbolObject () const |
| bool | IsNativeError () const |
| bool | IsRegExp () const |
| bool | IsArrayBuffer () const |
| bool | IsArrayBufferView () const |
| bool | IsTypedArray () const |
| bool | IsUint8Array () const |
| bool | IsUint8ClampedArray () const |
| bool | IsInt8Array () const |
| bool | IsUint16Array () const |
| bool | IsInt16Array () const |
| bool | IsUint32Array () const |
| bool | IsInt32Array () const |
| bool | IsFloat32Array () const |
| bool | IsFloat64Array () const |
| bool | IsDataView () const |
| Local< Boolean > | ToBoolean () const |
| Local< Number > | ToNumber () const |
| Local< String > | ToString () const |
| Local< String > | ToDetailString () const |
| Local< Object > | ToObject () const |
| Local< Integer > | ToInteger () const |
| Local< Uint32 > | ToUint32 () const |
| Local< Int32 > | ToInt32 () const |
| Local< Uint32 > | ToArrayIndex () const |
| bool | BooleanValue () const |
| double | NumberValue () const |
| int64_t | IntegerValue () const |
| uint32_t | Uint32Value () const |
| int32_t | Int32Value () const |
| bool | Equals (Handle< Value > that) const |
| bool | StrictEquals (Handle< Value > that) const |
| bool | SameValue (Handle< Value > that) const |
| template<class T > | |
| Value * | Cast (T *value) |
Static Public Member Functions | |
| static v8::Local< v8::String > | Empty () |
| static V8_INLINE v8::Local< v8::String > | Empty (Isolate *isolate) |
| static V8_INLINE String * | Cast (v8::Value *obj) |
| static Local< String > | NewFromUtf8 (Isolate *isolate, const char *data, NewStringType type=kNormalString, int length=-1) |
| static Local< String > | NewFromOneByte (Isolate *isolate, const uint8_t *data, NewStringType type=kNormalString, int length=-1) |
| static Local< String > | NewFromTwoByte (Isolate *isolate, const uint16_t *data, NewStringType type=kNormalString, int length=-1) |
| static Local< String > | Concat (Handle< String > left, Handle< String > right) |
| static Local< String > | NewExternal (ExternalStringResource *resource) |
| static Local< String > | NewExternal (ExternalAsciiStringResource *resource) |
| Static Public Member Functions inherited from v8::Value | |
| template<class T > | |
| static V8_INLINE Value * | Cast (T *value) |
A JavaScript string value (ECMA-262, 4.3.17).
Write the contents of the string to an external buffer. If no arguments are given, expects the buffer to be large enough to hold the entire string and NULL terminator. Copies the contents of the string and the NULL terminator into the buffer.
WriteUtf8 will not write partial UTF-8 sequences, preferring to stop before the end of the buffer.
Copies up to length characters into the output buffer. Only null-terminates if there is enough space in the buffer.
| buffer | The buffer into which the string will be copied. |
| start | The starting position within the string at which copying begins. |
| length | The number of characters to copy from the string. For WriteUtf8 the number of bytes in the buffer. |
| nchars_ref | The number of characters written, can be NULL. |
| options | Various options that might affect performance of this or subsequent operations. |
| bool v8::String::CanMakeExternal | ( | ) |
Returns true if this string can be made external.
Creates a new string by concatenating the left and the right strings passed in as parameters.
| bool v8::String::ContainsOnlyOneByte | ( | ) | const |
Returns whether this string contain only one byte data. Will read the entire string in some cases.
|
static |
A zero length string.
| const ExternalAsciiStringResource* v8::String::GetExternalAsciiStringResource | ( | ) | const |
Get the ExternalAsciiStringResource for an external ASCII string. Returns NULL if IsExternalAscii() doesn't return true.
| String::ExternalStringResource * v8::String::GetExternalStringResource | ( | ) | const |
Get the ExternalStringResource for an external string. Returns NULL if IsExternal() doesn't return true.
| String::ExternalStringResourceBase * v8::String::GetExternalStringResourceBase | ( | String::Encoding * | encoding_out | ) | const |
If the string is an external string, return the ExternalStringResourceBase regardless of the encoding, otherwise return NULL. The encoding of the string is returned in encoding_out.
| bool v8::String::IsExternal | ( | ) | const |
Returns true if the string is external
| bool v8::String::IsExternalAscii | ( | ) | const |
Returns true if the string is both external and ASCII
| bool v8::String::IsOneByte | ( | ) | const |
Returns whether this string is known to contain only one byte data. Does not read the string. False negatives are possible.
| int v8::String::Length | ( | ) | const |
Returns the number of characters in this string.
| bool v8::String::MakeExternal | ( | ExternalStringResource * | resource | ) |
Associate an external string resource with this string by transforming it in place so that existing references to this string in the JavaScript heap will use the external string resource. The external string resource's character contents need to be equivalent to this string. Returns true if the string has been changed to be an external string. The string is not modified if the operation fails. See NewExternal for information on the lifetime of the resource.
| bool v8::String::MakeExternal | ( | ExternalAsciiStringResource * | resource | ) |
Associate an external string resource with this string by transforming it in place so that existing references to this string in the JavaScript heap will use the external string resource. The external string resource's character contents need to be equivalent to this string. Returns true if the string has been changed to be an external string. The string is not modified if the operation fails. See NewExternal for information on the lifetime of the resource.
|
static |
Creates a new external string using the data defined in the given resource. When the external string is no longer live on V8's heap the resource will be disposed by calling its Dispose method. The caller of this function should not otherwise delete or modify the resource. Neither should the underlying buffer be deallocated or modified except through the destructor of the external string resource.
|
static |
Creates a new external string using the ASCII data defined in the given resource. When the external string is no longer live on V8's heap the resource will be disposed by calling its Dispose method. The caller of this function should not otherwise delete or modify the resource. Neither should the underlying buffer be deallocated or modified except through the destructor of the external string resource.
|
static |
Allocates a new string from Latin-1 data.
|
static |
Allocates a new string from UTF-16 data.
|
static |
Allocates a new string from UTF-8 data.
| int v8::String::Utf8Length | ( | ) | const |
Returns the number of bytes in the UTF-8 encoded representation of this string.
| v8::String::V8_DEPRECATED | ( | "Use NewFromOneByte instead" | , |
| V8_INLINE static Local< String > | Newconst char *data, int length=-1 | ||
| ) |
Allocates a new string from either UTF-8 encoded or ASCII data. The second parameter 'length' gives the buffer length. If omitted, the function calls 'strlen' to determine the buffer length.
| v8::String::V8_DEPRECATED | ( | "Use NewFromTwoByte instead" | , |
| V8_INLINE static Local< String > | Newconst uint16_t *data, int length=-1 | ||
| ) |
Allocates a new string from 16-bit character codes.
| v8::String::V8_DEPRECATED | ( | "Use NewFromUtf8 instead" | , |
| V8_INLINE static Local< String > | NewSymbolconst char *data, int length=-1 | ||
| ) |
Creates an internalized string (historically called a "symbol", not to be confused with ES6 symbols). Returns one if it exists already.
| v8::String::V8_DEPRECATED | ( | "Use NewFromUtf8 instead" | , |
| V8_INLINE static Local< String > | NewUndetectableconst char *data, int length=-1 | ||
| ) |
Creates an undetectable string from the supplied ASCII or UTF-8 data.
| v8::String::V8_DEPRECATED | ( | "Use NewFromTwoByte instead" | , |
| V8_INLINE static Local< String > | NewUndetectableconst uint16_t *data, int length=-1 | ||
| ) |
Creates an undetectable string from the supplied 16-bit character codes.


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--- title: Civic Tech Events permalink: "/hackathon/" layout: one_off type: blank --- {% include head.html %}
Join local civic hackers and innovators at Jobcase in Kendall Square for the 2019 Code for Boston Hackathon to address local social and civic challenges through creative uses of technology.
The Code for Boston Civic Hackathon is an event spanning the weekend of April 6th and 7th, designed to bring together passionate individuals with the goal of using technology to solve social and civic problems in the greater Boston community. Code for Boston is a Code for America brigage made up of developers, designers, data scientists, passionate citizens, and more.
* Schedule is subject to change in the coming weeks.
If you are interested in making a financial contribution, donating a meal, or other forms of sponsorship, please contact our sponsorship coordinator Alex<EMAIL_ADDRESS>If you have a general question not covered here, contact<EMAIL_ADDRESS>with questions.


Unlimited Games. How should Red play 44?
pips Red=161 White=157
(CorrectAnswer= 0/0, ErrorScore= 0)
With White having an anchor making the ace-point is the wrong idea. This puts two checkers out of play prematurely for very little return.
The right idea is to make the blocking 9-pt with 13/9(2). The other two fours can either be played 13/5 or 24/20, 13/9. There is nothing to choose between the two plays. Anything else is at least an error.
The right idea is to make the blocking 9-pt with 13/9(2). The other two fours can either be played 13/5 or 24/20, 13/9. There is nothing to choose between the two plays. Anything else is at least an error.
1. Cubeful 2-ply 13/5 13/9(2) Eq.: -0.040 0.491 0.118 0.004 - 0.509 0.122 0.007 2. Cubeful 2-ply 24/20 13/9(3) Eq.: -0.058 (-0.018) 0.490 0.119 0.005 - 0.510 0.135 0.007 3. Cubeful 2-ply 13/1 5/1 Eq.: -0.067 (-0.028) 0.483 0.121 0.003 - 0.517 0.130 0.006 4. Cubeful 2-ply 13/9(3) 6/2 Eq.: -0.069 (-0.029) 0.486 0.114 0.004 - 0.514 0.130 0.007 5. Cubeful 2-ply 13/9(3) 5/1 Eq.: -0.078 (-0.038) 0.483 0.113 0.004 - 0.517 0.131 0.007


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Feel as if you're walking through a field of sunflower blooms and more. These inexpensive mixed flowers bouquet will evoke sunshine that will brighten up any home or office or someone special and deserving! Warm fall hues, seasonal and fresh cut alstroemeria mix with colorful pom blossoms for a hand delivered farm inspired flower arrangement that's certain to make one smile. Both affordable and touching, it feels as though the countryside comes indoors with this display. The jar can be used afterwards for whatever your recipient wants!
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## Mako can find this base file because it's in the settings.py -> MAKO_TEMPLATES_DIRS list <%inherit file="base.htm" /> <%block name="content">
| Type | Product | Name | Quantity | Options | Price |
|---|---|---|---|---|---|
Purchase |
${ i[0].product_name} |
${ i[1]} | Delete | $${ i[0].price * i[1]} |
|
Rental |
${ r[0].product_name} |
Delete | $${ r[0].daily_rent_rate * r[1]} |
||
Repair |
${ a[0].repair_item} |
Delete | $${ a[0].repair_fees} |
||
Subtotal: |
$${ subtotal} |
Checkout |


For more information on how to properly use this tool please refer to the documentation included in the following document


{% extends 'layouts/layout.html' %} {% block pageTitle %} About - NHS.UK prototype kit {% endblock %} {% block beforeContent %} {{ breadcrumb({ items: [ { href: "/diat/home", text: "Home" }, { href: "/diat/assessment", text: "Assessment" } ], href: "/diat/assessor-training", text: "Service assessor training" }) }} {% endblock %} {% block content %}
Format: Workshop
Length: 1 day
In this training you’ll find out how to be part of the service assessment team at the NHSBSA.
The training will help you deliver better services, build networks, and help raise your profile across the NHSBSA and government.
You’ll learn:
what an assessor does
how assessors make decisions based on the Digital Service Standard
how to write an assessment report
There’ll be a question and answer session with experienced assessors and the opportunity to take part in a mock assessment.
After the training you’ll be encouraged to observe 2 assessments before becoming an assessor yourself. You’ll then take part in an assessment once a quarter.
Contractors or civil servants working in Home Office Digital, Data and Technology.
You need a recommendation from your head of profession or professional lead.
You need to be familiar with the Digital Service Standard.
Sessions run a few times a year, or on request.
Any Home Office location.
Email<EMAIL_ADDRESS>for more information or to book.
You may also find the following content useful:


Review: Elizabeth
Starring: Cate Blanchett, Geoffrey Rush, Joeseph Fiennes, Christopher Eccleston and Richard Attenborough
Directed by Shekhar Kapur
Approx running time 130 min
Though it is a fine piece of filmmaking, there's something about Elizabeth...that left me a bit cold, and I think it is something that bugs me quite often in films, particularly these days; I just didn't care about the characters. To me, the first and foremost job of a filmmaker is to create characters (be they imagined or historical as the case may be) that the audience gives a hoot about. And though Elizabeth works well on many levels, it falls short of excellence because of that very reason.
Elizabeth takes place in England in 1554, as Queen Mary, half sister of Elizabeth and a monarch on the side of Catholicism is dying. Before she dies, though, she cannot bear to sign a document which would condemn her half sister to death because of her heretical Protestant beliefs. As a result, amidst much anger within the council, Elizabeth becomes the Queen of England. The film chronicles her rise to power as she fights for a unified Church of England and tries to bring order to her personal and political life.
Much of the film deals with Elizabeth's love for Lord Robert, a mysterious man who thrusts his lordship onto many a woman as he continues to proclaim his love for the queen. There is much ado about her lack of a husband, and political pressures from Spain and France enter into the equation. The problem with the film lies with this as its centerpiece, as love interests are such a character driven element. I didn't much care about the characters (perhaps aside for Elizabeth who is played quite well by Blanchett) and so I didn't have much interest in who would join her in her nuptials. The cast is rounded out well with the marvelous Rush who plays the queen's most loyal advisor, Sir Francis, and Attenborough as a well-meaning but old-fashioned lead council.
Why then, you must be asking, do I recommend Elizabeth? Simply because it is the result of a perfect pairing of director and cinematographer. Kapur and his cinematographer Remi Adefarasin (neither of whom I have heard) create a beautifully realized piece of filmmkaing from the technical side. The light streams through each frame as in any painting from the period and beautifully captures the realistic light sources that would have been found in churches, cellars and castles in 16th century Europe. Each frame is rich with color contrasted with blackness or blown-out white light from windows. The costumes by Alexandra Byrne deserve a mention as they are such an inportant aspect of each shot. Indeed, Elizabeth is one of the most visually beautiful films of the decade, ranking with Kundun and Braveheart. Watch also for the incredibly "Godfather-esque" mass murder scene. It made me think in retrospect of the similarities between the two films.
* * * out of * * * * stars ©1998 Nick Amado
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


Paradise Island Resort
Accommodations
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Appkit Adapts to your Style
Choose your Color
Any element inside Appkit that has the color-highlight or bg-hightlight or gradient-highlight will automatically use your desired universal color. It's super easy to change your color scheme.
Appkit Adapts to your Style
Any element inside Appkit that has the color-highlight or bg-hightlight or gradient-highlight will automatically use your desired universal color. It's super easy to change your color scheme.


Pound is tic-tac-toe right? A sea of waiters and no one will take a drink order. For there's a man inside me, and only when he's finally out, can I walk free of pain. She's not that Mexican, Mom. She's my Mexican. And she's Columbian or something. I mean, it's one banana, Michael. What could it cost, ten dollars? Douche chill! She calls it a mayonegg. I'd rather be dead in California than alive in Arizona. The worst that could happen is that I could spill coffee all over this $3,000 suit. COME ON. Mom always taught us to curl up in a ball and remain motionless when confronted. Suddenly he's too much of a big-shot to brush mother's hair. I know, I just call her Annabelle cause she's shaped like a…she's the belle of the ball! What do you think about Sudden Valley? It sounds like a salad dressing, but for some reason I don't want to eat it. And don't make the water too hot. The scabs come right off. I made a huge tiny mistake. Go ahead, touch the Cornballer. I've been in the film business for a while but I just can't seem to get one in the can. Never once touched my per diem. I'd go to Craft Service, get some raw veggies, bacon, Cup-A-Soup…baby, I got a stew goin'. They frame my junk. Hey, it was one night of wild passion! Michael: And yet you didn't notice her body? Gob: I like to look in the mirror. What do you think about Sudden Valley? It sounds like a salad dressing, but for some reason I don't want to eat it. In fact, it was a box of Oscar's legally obtained medical marijuana. Primo bud. Real sticky weed. Dead Dove DO NOT EAT. Stop it, stop it. This objectification of women has to stop. Michael: It's just Mom and whores.  They want to break his legs. It's a good thing he's already got that little scooter. ♪♪ It ain't easy being white. It ain't easy being brown. ♪♪ Why are you squeezing me with your body? Douche chill! If I make this comeback, I'll buy you a hundred George Michaels that you can teach to drive! Never once touched my per diem. I'd go to Craft Service, get some raw veggies, bacon, Cup-A-Soup…baby, I got a stew goin'. Pound is tic-tac-toe right?  A-coodle-doodle-doo. A-coodle-doodle-doo. I spent so much time making sweet love on my wife that it's hard to hear anything over the clatter of her breasts. Someone order 140 pounds of upper body strength? It's as Ann as the nose on plain's face. I've always been deeply passionate about nature. Perhaps you remember Neuterfest? Wine only turns to alcohol if you let it sit. Do you have any idea how often you say the word "afraid"? Well, I know I used it in the Jacuzzi. She wanted to look 48. I nearly airbrushed her into oblivion. Ended up checking "albino" on the form. Maybe it was the other George Michael. You know, the singer-songwriter. So did you see the new Poof? His name's Gary and we don't need anymore lawsuits. We all need to pick a day to try and make trend.  Mister gay! You're Killing Me, Buster. YOU'RE the Chiclet! Not me. Caw ca caw, caw ca caw, caw ca caw! That coat costs more than your house!  God knows they're squinters.


MKOPO (Quick Credit) is a platform which was created to provide soft loans to needy individuals so that they can alleviate themselves from poverty
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All Classes
-
All Classes Interface Summary Class Summary Enum Summary Exception Summary Class Description AppConfig ArtifactChangeManager ArtifactDescriptionRequestTest Testing the MDM connector with Spring MockMvc in order to see if the descriptions are correctly added to the connector self-descriptionArtifactFactory ArtifactFactoryTest ArtifactIndex ArtifactIndexTest ArtifactListener ArtifactWithContractHandler ContractAgreementMessageHandler ContractAgreementMessageHandler ContractOfferMessageHandler ContractOfferMessageHandler ContractRequestMessageHandler Contract Negotiation Handler From Provider Perspective.ContractRequestMessageHandler Contract Negotiation Handler From Provider Perspective.ContractRequestTest Testing the MDM connector with Spring MockMvcContractUtil Objects for comparing and Editing ContractsDapsInteractionConfig DapsRetrievalTest Testing the DAP-Token generation and provding functions for the other testsDapsSecurityTokenProviderGenerator DefaultSuccessMAP DescriptionRequestHandler SelfDescription Negotiation, step 1+3 from IDS handshake, provider perspectiveDirectoryWatcher DirectoryWatcherTest DynamicArtifactSelfDescriptionProvider DynamicConnectorSelfDescription DynamicConnectorSelfDescriptionTest EchoCommunicationTest EchoException InMemoryArtifactIndex LocalConnectorConfig LoggingInteractor Class for sending Message And Payload to an External Logging Service, Further Inclusion of DAPS might be possible here.Main Mixed Testing Builder Classes within the Connector An Error after an Update of the Components, implies possible Invalidity of Messages, Contracts DescriptionsNukleusTemplates Testing Builder Classes within the Connector An Error after an Update of the Components, implies possible Invalidity of Messages, Contracts DescriptionsRemoteArtifactRequest First try to get a proper Spring Boot test, requires that the server is already started at localhost:8080RemoteBrokerLogging RemoteBrokerLogging.BrokerOperation RemoteEcho RetrieveArtifactTest SerialiserTest SpringRequestArtifactTest Testing the MDM connector with Spring MockMvc


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MAURICE [Spoilers] A film review by Manavendra K. Thakur Copyright 1987 by Manavendra K. Thakur and THE TECH. Reprinted with permission.
1987 MAURICE 135 mins.
Great Britain English Rated R Dolby Stereo Color 35mm/1.66
Cast: James Wilby, Hugh Grant, Rupert Graves, Denholm Elliott, Simon Callow, Billie Whitelaw, Ben Kingsley, Judy Parfitt, Phoebe Nicholls, Mark Tandy, Helena Mitchell, Kitty Aldridge, Patrick Godfrey, Michael Jenn, and Barry Foster.
Credits: Directed by James Ivory. Produced by Ismail Merchant. Screenplay by Kit Hesketh-Harvey and James Ivory. Director of Photography: Pierre Lhomme. Composer: Richard Robbins. Editor: Katherine Wenning. Production Designer: Brian Ackland-Snow. Costume Design by Jenny Beaver and John Bright. Art Director: Peter James. Associate Producer: Paul Bradley.
Studio: Merchant-Ivory Productions Distributor: Cinecom Entertainment Group 1250 Broadway New York, NY 10001<PHONE_NUMBER>
There has been much discussion about the film MAURICE and reviews of it. May I take this opportunity to give my opinions about MAURICE? I would like to address both aspects of the quality of the film: as a film itself and secondly as a film dealing with the very sensitive and important issue of homosexuality.
As a film, MAURICE is a notable accomplishment, especially as a followup to the major commercial and artistic success of A ROOM WITH A VIEW. The producer/director team of Ismail Merchant and James Ivory did not let their previous success go to their head. They set out to adapt Forster's novel to the screen, and that is what they have done, no more and no less. Although their achievement in MAURICE does not equal their success in A ROOM WITH A VIEW, the film is most certainly worth seeing.
There are many themes common to both MAURICE and A ROOM WITH A VIEW. In both films, the denial of physical and sensual pleasures that characterizes Edwardian society is portrayed as a major flaw in that society. Marriage is depicted as a social contract, an inhibiting force against the true expression of feelings and happiness. Societal pressures to conform are intense.
Both films resolve the conflict with a gentle yet firm repudiation of the negative pressures society can impose on its members. The fact that the lovers in MAURICE are of the same sex does not lessen the strength of their endearing and true love for each other. Both films end with a reaffirmation of the common human bonding that transcends nationality, class, and societal expectations. Instead of presenting their views as a polemic, the films entertain and present thoughts for further contemplation.
There are differences, too. In A ROOM WITH A VIEW, Lucy and George only risk their virtue, whereas in MAURICE, the lovers must risk being disgraced as well as being imprisoned. In the first film, the two lovers are re-united while society and family give their blessing: there is no doubt that the two will marry and live together happily. In MAURICE there is a great deal of uncertainty as to the future (although the joy of the present is clear when Maurice and Alec meet in the boathouse). The two men clearly cannot marry legally, and their relationship will in all probability be forced to continue hidden from public view. While A ROOM WITH A VIEW is a humorous comedy of manners, MAURICE is somewhat darker both in cinematic style and narrative tone.
My complaint with MAURICE is that in 135 minutes of screen time, we only get to know the two of the three main characters with any significant depth. The two are, of course, Maurice and Clive. These two are portrayed very well, and we learn a great deal about them and their motivations. It is Alec that we don't know as much about. We learn very little about who he is, what his background is, and why he loves Maurice as much as he does. Just exactly why Alec climbs a ladder up to Maurice's bedroom, apparently on a hunch, is not immediately clear. Alec and Maurice had exchanged nothing more than a few glances. It's this sort of ambiguity that stops us from fully understanding Alec, despite however hard we try.
The other characters (the mothers, Clive's wife, sisters, and the man who goes to jail for his homosexual activity--sorry, I don't remember his name) are just there. We don't know much about them, and therefore we don't care as much about them. They just take up screen time. Most of the time, they are incidental to the real narrative which is about the relationship of Clive with Maurice and Maurice with Alec. Of course, these relationships do not exist in a vacuum, and therefore Merchant-Ivory, like any other film makers, are forced to incorporate the supporting characters into the narrative. Whereas this task of incorporation was accomplished with great success in A ROOM WITH A VIEW, MAURICE fails to achieve the same results. Maurice and Clive are convincing in their own depth, but the other characters are not nearly as compelling. This is the main flaw that prevents me from ranking MAURICE with A ROOM WITH A VIEW.
However, I should note that my complaint has nothing to do with the fact that many and perhaps most of the dullest characters are women. I do not have any compulsive need to have charming and intelligent women on the screen in order to make the film's depiction of male homosexuality palatable and acceptable. To its inestimable credit, the film does not take that easy escape route. (In fact, it may be possible that Merchant-Ivory deliberately de-emphasized the supporting characters so that viewers would be forced to concentrate on the relationship between the main characters. But that purpose could have been far better accomplished in many other ways.) My complaint is based on the rather unsuccessful portrayal and integration of Alec and the supporting characters, period. Whether those characters are male or female is irrelevant to my complaint.
So that's how I feel about MAURICE as a film, per se. But the very fact that the film has been made and distributed so widely is important in of itself. The film does not exist solely as a film in a bubble of its own. I can judge the film as a film, but I would be negating the tremendous social value and importance of the film if I were to do only that. While I can debate its merits as a film critic, it is impossible to deny that I am a also member of the human race and a product of Western society. MAURICE forces me to make that acknowledgement and to act on it rather than focus exclusively on my skills as a film reviewer.
I cannot forget the muted squeals of excitement and joy an elderly man sitting in front of me uttered whenever a love scene occurred between Maurice and Alec.  But that man's emotions were just as genuine as Maurice's love for Clive and later Alec. It was clear that he was overjoyed at seeing two men engaging in sensual acts in a major film released in the United States. The power of MAURICE in that regard simply cannot be denied or denigrated.
As Mario Prats on the net so movingly wrote, the film evokes the classic dilemma of being forced to subvert one's innermost desires for societal gain and acceptance. The societal and religious pressures that Clive succumbs to are tremendously strong and still in existence today. The simple act of seeing a positive depiction in a mainstream film of love and joy in a homosexual relationship is a powerful negation of incessant reminders and warnings from religious fundamentalists and society at large that homosexuality is considered immoral and wrong. MAURICE succeeds in negating that pernicious societal view, and it is that success which delighted that kindly old man.
MAURICE is not a great film, but it is a good one. If Alec's motivations had been more fully explored, perhaps the full potential of the film's power to touch viewers with its humanity and sensitivity would have been realized. And perhaps that would have helped even more to increase the number of individuals sympathetic to the lesbian and gay community. Some members of that community may not want the help and/or sympathy of the larger (and therefore dominant) heterosexual group. But I would submit that we do have only one world to live in, and I for one feel that a world based on mutual love, understanding, and tolerance is far more preferable than one based on fearful isolation and bitter divisions.
MAURICE is not a belated or reluctant attempt to welcome unobtrusive and docile gays and lesbians to society's living room of guarded acceptance. Rather, it is an affirmation, a celebration, an intelligent presentation of the strengths, hopes, fears, desires, and problems of homosexuals in Edwardian society and (by extension) our own society of today. MAURICE has done its part to give the homosexual community the attention it deserves. That great achievement, coupled with its cinematic excellence, makes it a very significant film and one well worth seeing.
Filmography of James Ivory:
THE HOUSEHOLDER 1963 101 mins. SHAKESPEARE WALLAH 1965 125 mins. THE GURU 1969 112 mins. BOMBAY TALKIE 1970 105 mins. SAVAGES 1972 108 mins. "Helen--Queen of the Nautch Girls" 1973 30 mins. "Mahatma and the Mad Boy" 1973 THE WILD PARTY 1975 95 mins. "Autobiography of a Princess" (Television Feature) 1975 60 mins. SWEET SOUNDS 1976 ROSELAND 1977 102 mins. "The 5:48" (Television Feature) 1979 HULLABALOO OVER GEORGIA & BONNIE'S PICTURES 1979 83 mins. THE EUROPEANS 1979 83 mins JANE AUSTEN IN MANHATTAN 1980 111 mins. QUARTET 1981 101 mins. HEAT AND DUST 1983 130 mins. THE BOSTONIANS 1984 120 mins. A ROOM WITH A VIEW 1986 115 mins. MAURICE 1987 135 mins.
Director James Ivory and producer Ismail Merchant created Merchant-Ivory Productions way back in 1963, and the two have been making films together since. James Ivory studied under and was influenced by the great Indian director Satyjit Ray. Frequently, they have collaborated with Ruth Prawer Jhabvala in the preparation of their scripts. Merchant-Ivory's films are known for viewing English society in a particularly picturesque manner. Their most successful film so far has been last year's A ROOM WITH A VIEW, which won Oscars for Best Art Direction, Costume Design, and Best Adapted Screenplay.
Manavendra K. Thakur {rutgers,decvax!genrad,ihnp4}!,mit-eddie!thakur<EMAIL_ADDRESS><EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Yolanda Calderon
Democrat
I am a music teacher at Wheeling Elementary in Aurora Public Schools, Kindergarten through 5th grade currently a mix of online and in person. This year I am completing my 10th year of teaching and I am very excited to stay in the profession.
I received a Bachelor in Music Performance and a Bachelor in Music education from Metropolitan State University in 2010. I have been active and dedicated to the study of music all through my education which is why I continue to teach music to this day.
80218
I think since I turned 18 I may have missed only one or two elections. I really feel that voting is a great way to start getting involved in the democratic process. I also volunteered on various ballot issues from bond and mills to referendum C and D. I want to become more involved so I can continue to share the idea that we are all in charge or protecting democracy.
I am the Vice President of the Aurora Education Association, member of AEA Bargaining Team. I serve on the National Education Association and Colorado Education Association resolutions committee. I am also a member of the steering committee of Coloradoans for the Common good which is a non partisan coalition of faith leaders, labor unions and other organizations dedicated to making democracy work.
As the Vice President of a labor union organizing is where I shine. During several elections from ballot initiatives to school board I have been able to organize dozens of teachers and motivate them to hit the streets and knock on doors. I also serve on the National Education Association Resolutions Committee which is a the group that writes, edits, and maintain the foundational documents for our union. When I represent at the national level I have to consider the positions of Colorado and represent those perspectives at the national level even if they are different from my personal views. Rallying people to move forward on a project and being able to balance my personal views with others is a strength I can bring to this commission.
I think voting is so important and I want our elections to be fair and truly representative of the will of Colorado. As a state we are an example of how elections should be run and how mail in ballots can be safe an effective way to engage citizens in the democratic process. I also think this commission can be another shining example about how Coloradoans can put their heads together, work collaboratively and come up with solutions to important issues that affect our state. Our legislative districts for the next 10 years is vital to the operations of our state and how our voice is elevated nationally. I know that I can work with a wide variety of people and can help in uplifting Colorado as an example for the nation on how to elect and work together for the common good.
As a member of the AEA Bargaining Team I represent a diverse membership and it is my job to understand the will of the membership and negotiate to meet their needs. There have been several times during negotiations when I have had to move forward with an idea that I personally may not have wanted to push forward. An example of that was our districts recent decision to have "hard to staff" stipends for certain teaching positions. Personally I am very much against this idea as I think we should all get paid equally by our tenure and education. However, it was the will of the membership that this idea move forward. Not only did I advocate to that end but I joined a group of AEA members and APS leadership to come up with rules around those stipends and how they will be assessed to make sure they stay true to the initial intention behind this shift in compensation.
A skill that is overlooked that is strengthened through the performing arts are real time problem solving skills. If you consider when you are performing with a 90 piece orchestra we can't just throw on the brakes I makes a mistake. I have to asses a lot visually and aurally in seconds to fix the issue because there are another 89 people depending on me to do it. One thing I know for certain is currently we are in a dynamic time and I have the ability to stop on a dime and change course if it means that we can move forward together. I am a native to this state and I want to see Colorado continue to be shining example for the country on how to move forward together.
female


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Ch. Staghorn's Prodigal Son (a.k.a. McDuff)
(Ch Lindenhall's McIlwain Protege X Ch BNB's Plaid Skirt At Staghorn)
Date of Birth: July 31, 2003
Hips/Elbows Certified Clear, Optigen A-1, EIC Clear, CERF cleared annually.
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| Our handsome boy, enjoying the sun after a swim. He looks a little darker when wet, but is actually a fairly light creme. |
Bringing in the dummy. This canvasback dummy is about 28 years old, and belonged to my late father and his "prize" black male Duke, who went back to Wimberway lines.  He seems to know how special it is. He finds it among all the newer ones and this is the one he wants to use. My dad would have been very proud of McDuff. |
This handsome Mac & Patty son is another great pride and joy of Staghorn. He is all we ever could have hoped for. He finished his championship easily (breeder/owner handled) after placing as a puppy at several Labrador Specialty shows.
McDuff is USA pointed, having won Best of Breed, (breeder/owner handled) from the classes at the Leatherstocking Cluster in Syracuse, N.Y, Best of Opposite to the lovely Tabatha's Pristine, (over male specials) in Buffalo and Winners Dog at Hamburg.
McDuff is easy to live with, very soft mouthed and good natured. He is a joy to have in the house. Like his sire, he has excellent black pigment, is compact and well balanced with a very nice nice headpiece, a heavy double coat, light creme in colour. He is loaded in bone and substance, yet is very "together" and agile. He's a fun dog to have around, loves people and dogs alike, (especially girls!) I get very nice comments on his looks and structure. He's consistently produces very nice pups with exceptional bone, coat, head and pigment. (
See Annie's page) and some of his kids in the Hall of Fame section. He is available at stud to approved bitches with suitable clearances.
To see more pictures of our handsome boy when younger,
click here.
To inquire E-mail:
linda@staghorn-labs.com


Authors: Everett G. Farr
Source: FERMAT, Volume 7, Article 1, Jan-Feb., 2015
Abstract: We introduce here a simple theory of antenna radiation and scattering that fully extends into the time domain a number of standard antenna terms, including gain, realized gain, effective length, antenna pattern, beamwidth, scattering cross section, and radar cross section. Power wave theory applies to linear reciprocal antennas of all feed impedances and feed types, including waveguide feeds. It also applies to antennas embedded in any lossless medium. The theory also leads to a natural definition of mutual coupling coefficient in antenna arrays. The approach is analogous to that used to describe circuits with generalized scattering parameters, with different reference impedances at each port. We identify receiving and transmitting impulse responses, and prove that they always have a simple relationship to each other, provided that the antenna has no nonlinear or nonreciprocal components. We also identify a scattering impulse response that can be applied to either an antenna or an arbitrary scatterer. From these functions, we build a Generalized Antenna Scattering Matrix (GASM), which provides a complete description of antenna response in the far field. This establishes a formalism that allows one to calculate antenna response under a variety of conditions, including, for example, a source or load of arbitrary impedance. The approach simplifies and clarifies terminology for characterizing antenna performance in both the time and frequency domains.
Index Terms:Antenna Characterization, Frequency Domain, Time Domain, Antenna Impulse Response, Scattering Impulse Response, Generalized Antenna Scattering Matrix (GASM), Antenna Equation.
View PDF
A Power Wave Theory of Antennas


Ernakulam is known for Marine Drive, a busy waterfront promenade where boats offer backwater cruises. The Kerala Folklore and Hill Palace museums explore local heritage through art and antiquities. Shops along Broadway and on MG Road sell fabrics, crafts, and spices, while modern Lulu Mall also has a cinema and an ice rink. Simple eateries serve Keralan specialties and South Indian seafood.
Ernakulam district includes Kochi city, which is known as the commercial capital of Kerala. The district is famous for its ancient temples, churches, and mosques. The district includes the largest metropolitan region of the state, Greater Cochin.


IMMORTAL BELOVED A film review by Eric Grossman Copyright 1995 LOS ANGELES INDEPENDENT
January may be the wet season for weather but it is the dry season when it comes to movies. Having fired the last of their big guns for Oscar contention and still completing their new blockbusters for spring and summer, January typically consists of movie dregs. Fortunately, there are leftover goodies from December. Such is the case with IMMORTAL BELOVED, an engaging new film about the life and loves of Ludwig Van Beethoven.
The movie begins just after Beethoven's death. His trusted friend, Anton Schindler (Jeroen Krabbe), discovers a cryptic letter from the late composer stating that all of his possessions and money are to be left to his "Immortal Beloved." Since the letter does not state specifically who the beneficiary is, Schindler sets out to find Beethoven's mystery woman. In the course of his search, he discovers several of Beethoven's love interests and as they talk, the film fades into flashbacks where Gary Oldman plays the famous figure at various stages of his life.
Part love story, part mystery, writer/director Bernard Rose provides a great deal of atmosphere and passion in this movie. Using powerful visuals and highly effective sound design, Rose takes us into the mind of Beethoven. We hear what he cannot and see what the music creates in his mind. There is one shot in particular that I think everyone who sees this film will remember. During the Ninth Symphony, we see a boy running through the forest until he reaches a lake and lies down. When the music climaxes, we pull away from the boy until he is lost in an oblivion of stars. The image fits so well with the music that if there was a best shot award for last year, this one would be the winner.
Beethoven was a great composer, but as a human being, he gives Ty Cobb a run for his money. After his brother died of consumption, Beethoven stole away his nephew from the widow. He had a terrible temper and was self-centered, although much of this can attributed to the frustration of losing his hearing, a sense so important to him that its loss was enough to push him over the edge. Oldman plays the man without judgment and we are left with the right balance of fascination and disgust for his character. His performance is one of controlled ferocity, with rising fits of love and anger that captivate but never fall into the realm of over-acting.
A strong supporting cast includes Isabella Rossellini as the beautiful, Hungarian Countess, Anna Marie Erdody, a woman who was in love with the man as much as his music. Valeria Golino plays Julia Guicciardi, a former Countess who is the opposite of Anna Marie. Julia is completely enthralled with Beethoven's music, so much so that she overlooks his faults. Jeroen Krabbe does a fine job in his role as Schindler, the character who leads the audience on their journey through the film. Other cast members include Johanna Ter Steege and Marco Hofschneider as Carl, Beethoven's nephew.
Shot in Prague which doubles for Vienna, the film is filled with stunning locations. Cinematographer Peter Suschitzky deserves extra recognition for the outstanding lighting and shot design. Film editor Dan Rae finds the right pace and effectively weaves the images to Nigel Holland's sound design. Jiri Hlupy's production design and Maurizio Millenotti's costumes are of the highest order. Of course, the real star of the film is the music, all taken from Beethoven's compositions by music director Sir George Solti of the London Symphony Orchestra.
Now in wide release, IMMORTAL BELOVED is the answer to the January movie blues. Bernard Rose has combined great filmmaking with great music to create a film that both educates and entertains.
.
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
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Related links: index of all rec.arts.movies.reviews reviews


This year's VANAS theme is about getting people connected in our schools, whether it be teacher to student, student to student, or parents to school community.
How can we, as educators, create an environment of connectivity and inclusivity?
A nationally-recognized presenter,author, and humorist, Jack Berckemeyer, began his career as a middle school teacher in Denver, Colorado. After two years of teaching he was named as an outstanding educator at his school, and shortly thereafter he was identified as one of the outstanding educators in the district. In 2003, he received the Outstanding Alumni Award from the Falcon School District. Jack brings his energy, humor, and expertise to all staff development as he helps teachers and administrators remember why this job makes a difference. Jack has presented in conference and school district settings both nationally and internationally. Jack served as a judge for the Disney American Teacher Awards and the selection committee for the USA TODAY All-Teacher Team.
Jack Berckemeyer is known for his motivating, practical ideas communicating a message of hope, laughter, and insight into education.
Jack was also the Assistant Executive Director for the National Middle School Association for 13 years and is the author of Managing the Madness - A Practical Guide to Middle Grades Classrooms. He is also the co-author of H.E.L.P. for Teachers. His most recent publications are Taming of the Team - How Great Teams Work Together and Deliberate Optimism - Reclaiming the Joy in Education, co-authored with Dr. Debbie Silver and Judith Baenen.
Beth Baker, M.S.Ed., is an independent behavioral consultant and an intervention specialist at Colegio Internacional de Caracas. She was formerly the lead PBIS coach for a school district in the Minneapolis metropolitan area, as well as a special educator for many years, working with students who have emotional behavioral disability (EBD) needs. Beth is the co-author of The PBIS Team Handbook and will be writing the second book soon!
Beth is a sought after presenter in the areas of PBIS and Social-Emotional Learning. She shares her personal experiences from 20 plus years as a teacher, including lessons learned and lessons still learning, honestly with a bit of gentle humor. Her presentations are hands-on and practical – attendees could be implementing new ideas or practices recommended by Beth within a day or so. She considers teaching to be a journey that we never quite complete; always changing and growing. Follow Beth on Twitter at @PBIS_Beth and on Facebook @the PBIS Team Handbook.
| Event | Time | Location |
|---|---|---|
| Breakfast | 8:00-8:45 | Cantina |
| Registration | 8:00-9:00 | Entranceway |
| Welcome and Keynote, Mr. Jack Berckemeyer | 9:00-10:30 | Covered Courts |
| Break | 10:30-11:00 | Cantina |
| Session 1 | 11:00-12:00pm | TBD |
| Lunch | 12:00-1:00 | Cantina |
| Second Keynote, Ms. Beth Baker | 1:00-1:45 | Covered Courts |
| Session 2 | 1:55-2:55 | TBD |
| Job Alike Session | 3:05-4:00 | TBD |
| Reception | 4:00-5:00 | Cantina |
| Job Alike | Room |
|---|---|
| Head of Schools | Classroom |
| Secondary Principals | Classroom |
| Elementary Principals | Classroom |
| Early Years Teachers | Classroom |
| KG | Classroom |
| Grade 1 | Classroom |
| Grade 2 | Classroom |
| Grade 3 | Classroom |
| Grade 4 | Classroom |
| Grade 5 | Classroom |
| Humanities | Classroom |
| English | Classroom |
| Math | Classroom |
| Science | Classroom |
| Modern Languages | Classroom |
| PE/Athletics | Classroom |
| Music | Classroom |
| ESOL | Classroom |
| Technology/Design | Classroom |
| Visual Arts | Classroom |
| Counselor | Classroom |
VANAS 2016 is a paperless conference - all presentation materials, information, and announcements will be hosted on Google Drive. The link of the Presentations’ Main folder will be uploaded soon. For more detailed instructions on how to join the group, see this document. If you have any questions, please contact carlos.matheus@ciccaracas.com.ve


The Return of Sherlock Holmes
by Sir Arthur Conan Doyle
Chapter V: “The Adventure of the Priory School, Part 1”
Additional Information
- Year Published: 1905
- Language: English
- Country of Origin: England
- Source: Doyle, A.C. (1905) The Return of Sherlock Holmes London: Georges Newnes, Ltd
-
Readability:
- Flesch–Kincaid Level: 5.8
- Word Count: 2,704
- Genre: Mystery
- Keywords: 20th century literature, british literature, sherlock holmes
- ✎ Cite This
Downloads
WE have had some dramatic entrances and exits upon our small stage at Baker Street, but I cannot recollect anything more sudden and startling than the first appearance of Thorneycroft Huxtable, M.A., Ph.D., etc. His card, which seemed too small to carry the weight of his academic distinctions, preceded him by a few seconds, and then he entered himself—so large, so pompous, and so dignified that he was the very embodiment of self-possession and solidity. And yet his first action when the door had closed behind him was to stagger against the table, whence he slipped down upon the floor, and there was that majestic figure prostrate and insensible upon our bearskin hearthrug.
We had sprung to our feet, and for a few moments we stared in silent amazement at this ponderous piece of wreckage, which told of some sudden and fatal storm far out on the ocean of life. Then Holmes hurried with a cushion for his head and I with brandy for his lips. The heavy white face was seamed with lines of trouble, the hanging pouches under the closed eyes were leaden in colour, the loose mouth drooped dolorously at the corners, the rolling chins were unshaven. Collar and shirt bore the grime of a long journey, and the hair bristled unkempt from the well-shaped head. It was a sorely-stricken man who lay before us.
“What is it, Watson?” asked Holmes.
“Absolute exhaustion—possibly mere hunger and fatigue,” said I, with my finger on the thready pulse, where the stream of life trickled thin and small.
“Return ticket from Mackleton, in the North of England,” said Holmes, drawing it from the watch-pocket. “It is not twelve o’clock yet. He has certainly been an early starter.”
The puckered eyelids had begun to quiver, and now a pair of vacant, grey eyes looked up at us. An instant later the man had scrambled on to his feet, his face crimson with shame.
“Forgive this weakness, Mr. Holmes; I have been a little overwrought. Thank you, if I might have a glass of milk and a biscuit I have no doubt that I should be better. I came personally, Mr. Holmes, in order to ensure that you would return with me. I feared that no telegram would convince you of the absolute urgency of the case.”
“When you are quite restored—”
“I am quite well again. I cannot imagine how I came to be so weak. I wish you, Mr. Holmes, to come to Mackleton with me by the next train.”
My friend shook his head.
“My colleague, Dr. Watson, could tell you that we are very busy at present. I am retained in this case of the Ferrers Documents, and the Abergavenny murder is coming up for trial. Only a very important issue could call me from London at present.”
“Important!” Our visitor threw up his hands. “Have you heard nothing of the abduction of the only son of the Duke of Holdernesse?”
“What! the late Cabinet Minister?”
“Exactly. We had tried to keep it out of the papers, but there was some rumour in the GLOBE last night. I thought it might have reached your ears.”
Holmes shot out his long, thin arm and picked out Volume “H” in his encyclopaedia of reference.
“‘Holdernesse, 6th Duke, K.G., P.C.’—half the alphabet! ‘Baron Beverley, Earl of Carston’—dear me, what a list! ‘Lord Lieutenant of Hallamshire since 1900. Married Edith, daughter of Sir Charles Appledore, 1888. Heir and only child, Lord Saltire. Owns about two hundred and fifty thousand acres. Minerals in Lancashire and Wales. Address: Carlton House Terrace; Holdernesse Hall, Hallamshire; Carston Castle, Bangor, Wales. Lord of the Admiralty, 1872; Chief Secretary of State for—’ Well, well, this man is certainly one of the greatest subjects of the Crown!”
“The greatest and perhaps the wealthiest. I am aware, Mr. Holmes, that you take a very high line in professional matters, and that you are prepared to work for the work’s sake. I may tell you, however, that his Grace has already intimated that a cheque for five thousand pounds will be handed over to the person who can tell him where his son is, and another thousand to him who can name the man, or men, who have taken him.”
“It is a princely offer,” said Holmes. “Watson, I think that we shall accompany Dr. Huxtable back to the North of England. And now, Dr. Huxtable, when you have consumed that milk you will kindly tell me what has happened, when it happened, how it happened, and, finally, what Dr. Thorneycroft Huxtable, of the Priory School, near Mackleton, has to do with the matter, and why he comes three days after an event—the state of your chin gives the date—to ask for my humble services.”
Our visitor had consumed his milk and biscuits. The light had come back to his eyes and the colour to his cheeks as he set himself with great vigour and lucidity to explain the situation.
“I must inform you, gentlemen, that the Priory is a preparatory school, of which I am the founder and principal. ‘Huxtable’s Sidelights on Horace’ may possibly recall my name to your memories. The Priory is, without exception, the best and most select preparatory school in England. Lord Leverstoke, the Earl of Blackwater, Sir Cathcart Soames—they all have entrusted their sons to me. But I felt that my school had reached its zenith when, three weeks ago, the Duke of Holdernesse sent Mr. James Wilder, his secretary, with the intimation that young Lord Saltire, ten years old, his only son and heir, was about to be committed to my charge. Little did I think that this would be the prelude to the most crushing misfortune of my life.
“On May 1st the boy arrived, that being the beginning of the summer term. He was a charming youth, and he soon fell into our ways. I may tell you—I trust that I am not indiscreet, but half-confidences are absurd in such a case—that he was not entirely happy at home. It is an open secret that the Duke’s married life had not been a peaceful one, and the matter had ended in a separation by mutual consent, the Duchess taking up her residence in the South of France. This had occurred very shortly before, and the boy’s sympathies are known to have been strongly with his mother. He moped after her departure from Holdernesse Hall, and it was for this reason that the Duke desired to send him to my establishment. In a fortnight the boy was quite at home with us, and was apparently absolutely happy.
“He was last seen on the night of May 13th—that is, the night of last Monday. His room was on the second floor, and was approached through another larger room in which two boys were sleeping. These boys saw and heard nothing, so that it is certain that young Saltire did not pass out that way. His window was open, and there is a stout ivy plant leading to the ground. We could trace no footmarks below, but it is sure that this is the only possible exit.
holmes and watson sitting at a table with a client
“His absence was discovered at seven o’clock on Tuesday morning. His bed had been slept in. He had dressed himself fully before going off in his usual school suit of black Eton jacket and dark grey trousers. There were no signs that anyone had entered the room, and it is quite certain that anything in the nature of cries, or a struggle, would have been heard, since Caunter, the elder boy in the inner room, is a very light sleeper.
“When Lord Saltire’s disappearance was discovered I at once called a roll of the whole establishment, boys, masters, and servants. It was then that we ascertained that Lord Saltire had not been alone in his flight. Heidegger, the German master, was missing. His room was on the second floor, at the farther end of the building, facing the same way as Lord Saltire’s. His bed had also been slept in; but he had apparently gone away partly dressed, since his shirt and socks were lying on the floor. He had undoubtedly let himself down by the ivy, for we could see the marks of his feet where he had landed on the lawn. His bicycle was kept in a small shed beside this lawn, and it also was gone.
“He had been with me for two years, and came with the best references; but he was a silent, morose man, not very popular either with masters or boys. No trace could be found of the fugitives, and now on Thursday morning we are as ignorant as we were on Tuesday. Inquiry was, of course, made at once at Holdernesse Hall. It is only a few miles away, and we imagined that in some sudden attack of home-sickness he had gone back to his father; but nothing had been heard of him. The Duke is greatly agitated—and as to me, you have seen yourselves the state of nervous prostration to which the suspense and the responsibility have reduced me. Mr. Holmes, if ever you put forward your full powers, I implore you to do so now, for never in your life could you have a case which is more worthy of them.”
Sherlock Holmes had listened with the utmost intentness to the statement of the unhappy schoolmaster. His drawn brows and the deep furrow between them showed that he needed no exhortation to concentrate all his attention upon a problem which, apart from the tremendous interests involved, must appeal so directly to his love of the complex and the unusual. He now drew out his note-book and jotted down one or two memoranda.
“You have been very remiss in not coming to me sooner,” said he, severely. “You start me on my investigation with a very serious handicap. It is inconceivable, for example, that this ivy and this lawn would have yielded nothing to an expert observer.”
“I am not to blame, Mr. Holmes. His Grace was extremely desirous to avoid all public scandal. He was afraid of his family unhappiness being dragged before the world. He has a deep horror of anything of the kind.”
“But there has been some official investigation?”
“Yes, sir, and it has proved most disappointing. An apparent clue was at once obtained, since a boy and a young man were reported to have been seen leaving a neighbouring station by an early train. Only last night we had news that the couple had been hunted down in Liverpool, and they prove to have no connection whatever with the matter in hand. Then it was that in my despair and disappointment, after a sleepless night, I came straight to you by the early train.”
“I suppose the local investigation was relaxed while this false clue was being followed up?”
“It was entirely dropped.”
“So that three days have been wasted. The affair has been most deplorably handled.”
“I feel it, and admit it.”
“And yet the problem should be capable of ultimate solution. I shall be very happy to look into it. Have you been able to trace any connection between the missing boy and this German master?”
“None at all.”
“Was he in the master’s class?”
“No; he never exchanged a word with him so far as I know.”
“That is certainly very singular. Had the boy a bicycle?”
“No.”
“Was any other bicycle missing?”
“No.”
“Is that certain?”
“Quite.”
“Well, now, you do not mean to seriously suggest that this German rode off upon a bicycle in the dead of the night bearing the boy in his arms?”
“Certainly not.”
“Then what is the theory in your mind?”
“The bicycle may have been a blind. It may have been hidden somewhere and the pair gone off on foot.”
“Quite so; but it seems rather an absurd blind, does it not? Were there other bicycles in this shed?”
“Several.”
“Would he not have hidden A COUPLE had he desired to give the idea that they had gone off upon them?”
“I suppose he would.”
“Of course he would. The blind theory won’t do. But the incident is an admirable starting-point for an investigation. After all, a bicycle is not an easy thing to conceal or to destroy. One other question. Did anyone call to see the boy on the day before he disappeared?”
“No.”
“Did he get any letters?”
“Yes; one letter.”
“From whom?”
“From his father.”
“Do you open the boys’ letters?”
“No.”
“How do you know it was from the father?”
“The coat of arms was on the envelope, and it was addressed in the Duke’s peculiar stiff hand. Besides, the Duke remembers having written.”
“When had he a letter before that?”
“Not for several days.”
“Had he ever one from France?”
“No; never.
“You see the point of my questions, of course. Either the boy was carried off by force or he went of his own free will. In the latter case you would expect that some prompting from outside would be needed to make so young a lad do such a thing. If he has had no visitors, that prompting must have come in letters. Hence I try to find out who were his correspondents.”
“I fear I cannot help you much. His only correspondent, so far as I know, was his own father.”
“Who wrote to him on the very day of his disappearance. Were the relations between father and son very friendly?”
“His Grace is never very friendly with anyone. He is completely immersed in large public questions, and is rather inaccessible to all ordinary emotions. But he was always kind to the boy in his own way.”
“But the sympathies of the latter were with the mother?”
“Yes.”
“Did he say so?”
“No.”
“The Duke, then?”
“Good heavens, no!”
“Then how could you know?”
“I have had some confidential talks with Mr. James Wilder, his Grace’s secretary. It was he who gave me the information about Lord Saltire’s feelings.”
“I see. By the way, that last letter of the Duke’s—was it found in the boy’s room after he was gone?”
“No; he had taken it with him. I think, Mr. Holmes, it is time that we were leaving for Euston.”
“I will order a four-wheeler. In a quarter of an hour we shall be at your service. If you are telegraphing home, Mr. Huxtable, it would be well to allow the people in your neighbourhood to imagine that the inquiry is still going on in Liverpool, or wherever else that red herring led your pack. In the meantime I will do a little quiet work at your own doors, and perhaps the scent is not so cold but that two old hounds like Watson and myself may get a sniff of it.”


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Cheshire3 Objects: Normalizer
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Description
Normalizer objects are chained after Extractors in order to transform the data from the record or query.
A Normalizer might standardise case, perform stemming or transform a date into ISO8601 format.
Normalizers are also needed to transform the terms in a request into the same format as the term in the Index.
For example a date index might be searched using a free text date and that would need to be parsed into the normalised form in order to compare it with the stored data.


Introduction
Hi all! I'm Stefanie Riehle - my pronouns are she/her, I'm a former HR professional making the switch to coding like I should have done over 20 years ago. I live in Seattle with a precocious 5-year old part of the time and with many, many plants all of the time.
Education History
- Full-stack Javascript Developer, Code Fellows, expected graduation December 2021
- Jr. Web Developer Certificate, Generation USA, February 2021
- Bachelor of Arts in Organizational Leadership, Northern Kentucky University, 2013
Work Experience
- Compensation & Benefits Partner at Allen Institute
- HR Operations Analyst at ExtraHop Networks
- Sr. Application Analyst at University of Washington
- Sr. HR Generalist at Moz
- Inventory Management and Sales Support at Chiquita Brands International
- Payroll at Chiquita Brands
- Paralegal for a foreclosure law firm (right before the bubble burst; we were VERY busy)
- Administrative Support for an industrial hygiene non-profit
- Account Coordinator at Cintas
- Ticket Agent at Delta Air Lines
My Goals
My primary goal is to have a solid understanding of JavaScript so that I can become a full-stack developer. My next goal is to find a role with a mid-sized tech company with transparent leadership and a fantastic company culture.
My Top Ten Favorite Books or Series
- Fierce Invalids Home From Hot Climates by Tom Robbins
- The Name of the Wind Trilogy (unfinished) by Patrick Rothfuss
- Old Man's War Series by John Scalzi
- [Pretty much anything by Neil Gaiman]
- Otherland Series by Tad Williams
- The Happy Isles of Oceania by Paul Theroux
- The First Fifteen Lives of Harry August by Claire North
- Spinning Silver by Naomi Novik
- Preacher Comic Series by Steve Dillon and Garth Ennis
- Me Talk Pretty One Day by David Sedaris


{% extends "base.html" %} {% block content %}
Please open an Issue on GitHub if this problem persists
Back


Program structure:
#include <system-header>
< >
, enclose system headers. System headers may or may not be
implemented as files.
#include "user-defined-header-file-name"
include
d by enclosing the name in quotes. Typically,
user-defined headers have a suffix of .h
.
Header files should be guarded against multiple inclusion by wrapping the file in an
#ifndef GUARD
_header_name directive. Headers should avoid declaring names
that they do not use. In particular, they should not include using
-declarations, but instead
should prefix standard-library names with std::
explicitly.
Types:
T&
T
. Most commonly used to pass a parameter
that a function may change. Arguments to such parameters must be lvalues.
const T&
T
that may not be used to change the value
to which the reference is bound. Usually used to avoid cost of copying a
parameter to a function.
Structures: A structure is a type that contains zero or more members. Each object of the structure type contains its own instance of each of its members. Every structure must have a corresponding definition:
struct type-name { type-specifier member-name; ... }; // note the semicolon
Like all definitions, a structure definition may appear only once per source file, so it should normally appear in a properly guarded header file.
Functions: A function must be declared in every source file that uses it, and defined only once. The declarations and definitions have similar forms:
ret-typefunction-name (parm-decls) // function declaration [inline] ret-typefunction-name (parm-decls) { // function definition // function body goes here }
Here, ret-type
is the type that the function returns, parm-decls
is a comma-separated list of
the types for the parameters of the function. Functions must be declared before they are
called. Each argument's type must be compatible with the corresponding parameter. A
different syntax is necessary to declare or define functions with sufficiently complicated
return types; see §A.1.2/297 for the full story.
Function names may be overloaded: The same function-name
may define multiple functions
so long as the functions differ in the number or types of the parameters. The implementation
can distinguish between a reference and a const
reference to the same type.
We can optionally qualify a function definition with inline, which asks the compiler
to expand calls to the function inline when appropriate—that is, to avoid function-call
overhead by replacing each call to the function by a copy of the function body, modified
as necessary. To do so, the compiler needs to be able to see the function definition, so
inline
s are usually defined in header files, rather than in source files.
Exception handling:
try { // code
throw
an exception.
} catch(t) { /* code* / }
try
block and handles exceptions that match the type t
.
The code following the catch
performs whatever action is appropriate
to handle the exception reported in t
.
throw e;
Exception classes: The library defines several exception classes whose names suggest the kinds of problems they might be used to report:
logic_error domain_error invalid_argument length_error out_of_range runtime_error range_error overflow_error underflow_error
e.what()
Library facilities:
s1 < s2
string
s s1
and s2
by applying dictionary ordering.
s.width(n)
s
to n
for the next output operation (or leaves it
unchanged if n
is omitted). The output is padded on the left to the given
width. Returns the previous width. The standard output operators use
the existing width value and then call width(0)
to reset the width.
setw(n)
streamsize
(§3.1/36) that, when written on an
output stream s
, has the effect of calling s.width(n)
.
4-0. Compile, execute, and test the programs in this chapter.
4-1. We noted in §4.2.3/65 that it is essential that the argument types in a call to max
match
exactly. Will the following code work? If there is a problem, how would you fix it?
int maxlen; Student_info s; max(s.name.size(), maxlen);
4-2. Write a program to calculate the squares of int
values up to 100. The program should write
two columns: The first lists the value; the second contains the square of that value. Use
setw
(described above) to manage the output so that the values line up in columns.
4-3. What happens if we rewrite the previous program to allow values up to but not including
1000 but neglect to change the arguments to setw
? Rewrite the program to be more robust
in the face of changes that allow i
to grow without adjusting the setw
arguments.
4-4. Now change your squares program to use double
values instead of int
s. Use manipulators
to manage the output so that the values line up in columns.
4-5. Write a function that reads words from an input stream and stores them in a vector
. Use
that function both to write programs that count the number of words in the input, and to
count how many times each word occurred.
4-6. Rewrite the Student_info
structure to calculate the grades immediately and store only the
final grade.
4-7. Write a program to calculate the average of the numbers stored in a vector<double>
.
4-8. If the following code is legal, what can we infer about the return type of f
?
double d = f()[n];


You can choose to use the service only in view mode, to compare your Spotify’s favorite
tracks with the rest
of the users in FR and US (using a dataset we receive from Deezer). By default the tool does not store any
of your information.
To help SVE team understand better how personal taste spreads through the music catalog, we would love that
you share with us your personal statistics using the “Donate your stats” button below. This will be very
helpful as we are defining SVE strategy for personalizing User voice recognition model to make Sonos Voice
Experience as enjoyable as possible.
Should you share your data with us, note that:
We do not store your Spotify credentials
We anonymize your Spotify ID along with the record we store
We only record the statistics of how your favorite tracks spread in the catalog and not your actual
music favorites
You can connect back to the service to opt-out so that we erase the data you have shared with us in case
you change your mind (use the “opt-out” button below)
We will wipe out the data you have shared with us by end of 2020 latest
If you agree on donating us your stats, this is what we will store: