More on bridging the gap between Ruby and JavaScript.
A brief recap of our premise: After spending several weeks with the sugary, slimmed-down Ruby, JavaScript feels clunky and verbose. Got it? Good.
You have an array of integers. You want to get a new array, same as the old one, except every one of the integers has been doubled. How do you do that in Ruby?
Fantastic, you are beautiful animal. Full marks.
integers = [1, 2, 3, 5, 10]
#=> [1, 2, 3, 5, 10]
integers.map { |integer| integer * 2 }
#=> [2, 4, 6, 10, 20]
How do you do that same thing in JavaScript?
Cool cool. Looks pretty nice so far.
var integers = [1, 2, 3, 5, 10];
// [1, 2, 3, 5, 10]
Hey, that's... that's not too bad, actually. A few more keywords and brackets, but still pretty straightforward and readable. BUT! Can we do better?
integers.map(function(integer){ return integer * 2 });
// [2, 4, 6, 10, 20]
Holy crap! JavaScript isn't supposed to be this elegant. Put that in your
integers.map(integer => integer * 2 );
// [2, 4, 6, 10, 20]
|
and smoke it, Ruby.
This wonderful new syntax is known as an arrow function, and it's a new addition with ECMAScript 6, the most recently developed JavaScript standard. But arrow functions do more than just look pretty, they also provide a shortcut solution to a long-standing frustration with JavaScript functions.
Take as an example this rather contrived little object:
var fruitSalad = {
size: "big",
contents: ["apples", "avocados", "grapes"],
displayContents: function() {
this.contents.forEach(fruit => {
console.log("The " + this.size + " salad contains " + fruit + ".");
})
}
}
We already know we can't simply invoke eg. contents
, we have to call this.contents
. So things look pretty reasonable, here, what happens when we...
Oh dear. What's happening here is that when we invoke
fruitSalad.displayContents();
"The undefined salad contains apples."
"The undefined salad contains avocados."
"The undefined salad contains grapes."
// undefined
this.size
, the this
is not our fruitSalad
object, and it isn't the unnamed function inside the displayContents
property either. JavaScript just gets lost, and returns to either "window", if called in a browser (maybe, sometimes, still not clear on this one) or nothing, i.e. "undefined". And since neither of these safety nets have any property "size", JavaScript just shrugs its shoulders and tosses us a nice big bowl of undefined salad.
There are already a few workarounds for this problem, which I won't get into here, becasue the arrow function is newer and shinier than all of them. Check it out:
var fruitSalad = {
size: "large",
contents: ["apples", "avocados", "grapes"],
displayContents: function() {
this.contents.forEach(fruit => {
console.log("The " + this.size + " salad contains " + fruit + ".");
})
}
}
fruitSalad.displayContents();
"The large salad contains apples."
"The large salad contains avocados."
"The large salad contains grapes."
// undefined
One more tool for the belt, friends.
Source reading:


Plant Care API documentation version v1
http://localhost/
/invalidate-token
/invalidate-all-tokens
post
Invalidate user's tokens when the user logs out on all devices or changing a password
/users
get
Return user account info.
put
Update a user.
delete
Remove a user.


HURACAN PERFORMANTE SPYDER
VIVID TECHNOLOGY
The Huracán Performante has decided to lower its roof and transform itself into the Spyder with the highest performance that the Huracán family has ever seen. Its lines are designed to thrill at first sight and its state-of-the-art technology has been developed to provide a one-of-a-kind driving experience. Weighing in at 35 kg less than the Huracán 4WD Spyder and with 30 HP more, this newest addition to the House of the Raging Bull vaunts the best power-to-weight ratio in the Huracán Spyder range. It uses Forged Composites® material and the new ALA (Lamborghini Active Aerodynamics) technology. The Huracán Performante Spyder: power has become breathtakingly beautiful.
It would be impossible not to feel the thrill. The Huracán Performante Spyder is breathtaking beauty paired with extreme performance. A car with a strong and assertive character, designed to enrapture. With an ANIMA driving-mode selector that has been optimized to respond seamlessly to driver commands and its V10 640 HP Huracán Performante Spyder engine, the sensations you experience behind its wheel will travel from your head to your heart in a fraction of a second.
Design and aerodynamics developed with a passion that comes only from striving to attain the very highest in performance and beauty, and achieved thanks to the use of Forged Composites®, a hybrid chassis in aluminum and carbon fiber, and the new patented Lamborghini ALA (Lamborghini Active Aerodynamics) technology. Its sharp, clean and finely-honed lines make the Huracán Performante Spyder unmistakable.
All of the Italian luxury and elegance of a Lamborghini can be found inside this vehicle. The details are finished with care, devotion and precision. Elegantly concealed within each individual component of the Huracán Performante Spyder lies the most state-of-the-art technology. Take, for instance, the ANIMA (Adaptive Network Intelligence Management) driving-mode selector, which makes it possible to satisfy every driving need and allow this vehicle's character to shine under any conditions.
There are many aspects that make this vehicle the highest expression of the new concept of super sports car. The even more powerful V10 engine, the extensive use of Forged Composites®, which make it even lighter in weight, the LDF 7-speed dual-clutch transmission and the new ALA active aerodynamic system that controls the air and directs it in its favor.
ENGINE
ALA
SUSPENSION
Completely updated and redesigned, with fluid-dynamics optimized at both intake and exhaust, this engine is the aspirated V10 with the highest specific power. The new intake ducts come directly from Lamborghini Motorsport’s experience and improve response at all speeds. The double clutch transmission (LDF) has been further perfected and now is able to support even the highest performance. All of this is captured by the even more vibrant and thrilling sound of the new lightened exhaust system.
Aerodinamica Lamborghini Attiva is an intelligent and innovative system that manages active aerodynamics. The ALA system adapts to the driving style and type of route. When necessary, it increases vertical load to promote stability and speed through curves or reduces aerodynamic resistance to promote acceleration and make it easier to reach top speed.
The double wishbone architecture of the Huracán Performante Spyder’s suspension systems guarantees the perfect balance between ease of use and sports performance. The standard suspension is paired with an optional system of magnetorheological shock absorbers that instantaneously respond to driving style and adapt to road conditions and driving dynamics, improving control over the vehicle, especially on the race track.
TYPE SV10, 90°, MPI (Multi Point Injection) + DSI (Direct Stratified Injection)
DISPLACEMENT 5,204 cm3 (317.57 cu in)
BORE X STORE 84.5 x 92.8 mm (3.33 x 3.65 in)
COMPRESSION RATIO 12.7:1
MAX POWER 640 HP (470 kW) @ 8,000 rpm
MAX TORQUE 600 Nm @ 6,500 rpm
WEIGHT TO POWER RATIO 2.35 kg/HP (5.19 lb/HP)
LUBRICATION Dry sump
EMISSION CONTROL EURO 6 - LEV 3


Raised in the Crimean countryside, Ivan Konstantinovich Aivazovskytook to art at an early age and found sketching and painting as natural as walking and talking.
He excelled in marine landscapes and decided to devote his career to painting seascapes.
Aivazovsky haunting visionary marine paintings evoke feelings of wonderment, timelessness, and tranquility. He never tried to render the natural seascape, but wanted to portray the emotions which the oncoming storm generates in the viewer.
He preferred to paint scenes that suggested a feeling for the passage of time, such as the break of dawn, the transition from day into night.
One of the most prominent Ukrainian artists of his time, Aivazovsky was also popular in Europe and in the United States.
During his almost 60-year career, he created around 6,000 paintings, making him one of the most prolific artists of his time.
Followers of this movement were influenced by the high standards of the French Académie des Beaux-Arts, which practiced under the movements of Neoclassicism and Romanticism.
Most of Aivazovsky's works are kept in Ukrainian, Armenian and Russian museums as well as private collections.
"The movement of natural elements cannot be captured by the brush: to paint lightning, a gust of wind, or the splash of a wave from nature is inconceivable."


Review your business's recent activity and build in-depth reports that give you the insight needed to develop it further, there's plenty of useful data associated with your store's products and transactions.


Priest Kanis:
It seems that you are not as experienced or prepared as you say you are.
That place is extremely dangerous, and this mission is very important.
Please return here only when you are more experienced.
(Only characters who are level 78 or above may undertake this quest.)


|
My Project
|
The abstract class for all rendered images. More...
#include <imageBase.h>
Public Member Functions | |
| virtual float | getX () |
| Overridable function for getting x position. More... | |
| virtual float | getY () |
| Overridable function for getting y position. More... | |
| virtual void | addTime (float time) |
| Overridable function for updating ImageBase time. More... | |
| virtual void | setFlipX (bool flipped) |
| Overridable function for flipping ImageBase across the x plane. More... | |
| virtual void | setFlipY (bool flipped) |
| Overridable function for flipping ImageBase across the y plane. More... | |
| virtual bool | isFlippedX () |
| Overridable function for checking if ImageBase is flipped across the x plane. More... | |
| virtual bool | isFlippedY () |
| Overridable function for checking if ImageBase is flipped across the y plane. More... | |
| virtual void | setTexture (SDL_Texture *tex) |
| Overridable function for setting ImageBase texture generally used in the Camera class. More... | |
| virtual SDL_Texture * | getTexture () |
| Overridable function for getting a pointer to the ImageBase texture. Used for rendering. More... | |
| virtual SDL_RendererFlip | getRendererFlip () |
| Overridable function for getting the rendererflip for the ImageBase. Used for rendering. More... | |
| virtual SDL_Rect * | getDestRect () |
| Get a pointer to the destination rect used for positioning with the renderer. More... | |
| virtual SDL_Rect * | getSrcRect () |
| Get a pointer to the source rect used for positioning with the renderer. More... | |
| virtual void | setLayer (int layer) |
| Set the layer to be rendered on. 0 - low layer. 100 - high layer. More... | |
| virtual int | getLayer () |
| Get the layer ImageBase is on. More... | |
Protected Member Functions | |
| void | init (const char *file, SDL_Renderer *renderer) |
Protected Attributes | |
| SDL_RendererFlip | rendererFlip = SDL_FLIP_NONE |
| int | layer = 0 |
| SDL_Rect | destRect |
| SDL_Texture * | texture |
The abstract class for all rendered images.
|
virtual |
Overridable function for updating ImageBase time.
| time | The amount of time passed in the frame |
Reimplemented in blackhole::graphics::Camera, blackhole::graphics::AnimatorController, and blackhole::graphics::Animation.
|
virtual |
Get a pointer to the destination rect used for positioning with the renderer.
Reimplemented in blackhole::graphics::Text, blackhole::graphics::SpriteSheet, blackhole::graphics::Image, blackhole::graphics::AnimatorController, and blackhole::graphics::Animation.
|
virtual |
|
virtual |
Overridable function for getting the rendererflip for the ImageBase. Used for rendering.
|
virtual |
Get a pointer to the source rect used for positioning with the renderer.
Reimplemented in blackhole::graphics::SpriteSheet, blackhole::graphics::AnimatorController, and blackhole::graphics::Animation.
|
virtual |
Overridable function for getting a pointer to the ImageBase texture. Used for rendering.
Reimplemented in blackhole::graphics::Camera, blackhole::graphics::AnimatorController, and blackhole::graphics::Animation.
|
virtual |
Overridable function for getting x position.
return float of x position
Reimplemented in blackhole::graphics::Text, blackhole::graphics::SpriteSheet, blackhole::graphics::Image, blackhole::graphics::AnimatorController, and blackhole::graphics::Animation.
|
virtual |
Overridable function for getting y position.
return float of y position
Reimplemented in blackhole::graphics::Text, blackhole::graphics::SpriteSheet, blackhole::graphics::Image, blackhole::graphics::AnimatorController, and blackhole::graphics::Animation.
|
virtual |
Overridable function for checking if ImageBase is flipped across the x plane.
|
virtual |
Overridable function for checking if ImageBase is flipped across the y plane.
|
virtual |
Overridable function for flipping ImageBase across the x plane.
| flipped | Set ImageBase is flipped x |
|
virtual |
Overridable function for flipping ImageBase across the y plane.
| flipped | Set ImageBase is flipped y |
|
virtual |
Set the layer to be rendered on. 0 - low layer. 100 - high layer.
| layer | Layer position to render on |
|
virtual |
Overridable function for setting ImageBase texture generally used in the Camera class.
| tex | Pointer to the texture that should replace the old texture |


This is a mini highland cow. From the image, we see that it has hair, a tail, and four legs. Some other things that we know about this animal is that it has teeth and it produces milk.
The mini highland cow’s attributes are what are called the features of the animal. The class it belongs to is the mammal class. My goal is to develop a model that maps from the features of an animal to its class.
The Data I used a data set from the UCI Machine Learning repository.
The animals are divided into seven classes. A particularly interesting class is the non-insect invertebrate class. It includes are a variety of animals from worms, arachnids, crustaceans, mollusks, and others.
There are 101 animals in the data set. There were only five reptiles and four amphibians. This is important to keep in mind during the splitting of the data. I want at least one example of reptile and amphibian in my testing data.
This is a clean data set with no missing values or outliers. The only non-binary feature was the number of legs of each animal. I scaled the number of legs to values between 0 and 1 using a max-min scaler.
There are many algorithms to choose for classification. There is a rule of thumb for logistic regression requiring ten training observations per feature to have properly calibrated model probabilities. I decided to not use logistic regression. Naive Bayes has the assumption that the features used are independent. Since I had features such as “Does this animal have fins” and “Does this animal live in the water”, my features were not independent. I decided not to use naive bayes.
I built four models and compared the results.
These models were built without any tuning of hyperparameters. Random forest and decision tree were producing high accuracy and moved forward with these algorithms.
I used randomized grid search to tune the hyperparameters for a decision tree and random forest model. Random forest produced the best results.
The random forest model correctly classified every observation in the test set.
Conclusion I made a model that maps from animal features to the class of that animal using random forest. The model was trained on 81 observations and tested on 20 observations. It had 100% accuracy on the test set.
I made an interactive app that shows how the model works.
The code for this project can be found on my Github.


Outside Kulturhuset in Stockholm, you can see the iconic glass obelisk created by Edvin Öhrström. There are many split opinions about it, some people think it's beautiful whilst others think it's ugly. The sculpture is called "Crystal – vertical accent in glass and steel".
This story is about the history behind, and how ideas and visions sometimes can turn out to be some-thing else than what you expected…
Everything began with the creation of Sergels Torg, which was finished in the year 1964 after a big reno-vation. Stockholm City announced a competition for a modern monumental sculpture in the middle of the fountain of Sergels Torg. Edvin was one of the nine male competitors, and his idea of a crystal glass statue won.
His idea was to build a 37,5 metres tall sculpture of crystal glass with a construction made of steel. 60,000 glass prisms in different colours; pink, soda green, blue and clear glass. Inside there would be lights in different colours, which would glow up the sculpture during day and night, and the colours would slowly shift between the different shades. The grand sculpture would give a sense of intimacy and contrast the surrounding environment
of Sergels Torg. It would be like a colourful ray of light with dancing water from the fountain.
During the winter it would provide Sergels Torg with warm red-yellow colours, and perhaps the cold weather would contribute
to its beauty with frost and icicles.
A sunny day it would shine with cooler colours, such as ocean green, blue and violet. Edvin also imagined the crystal to sparkle in the sunshine and create a poetic shimmer…
Building a statue of crystal glass turned out to be too expensive, and so Edvin was forced to use ordinary glass instead. Glass doesn't break light as beautiful as crystal glass does, and also it collects more dust and dirt. This gave the statue a greyer look, instead of the crystal effect which Edvin had imagined.
He entrusted the town to provide the lightning, which sparked a twenty-year long period of testing different kinds of solutions. During the 70's, there didn't exist lightning solutions good enough to make Edvin's vision come true. They tried everything from power-hungry halogen lamps with and without colours to advanced solutions with a light-guiding optical plastic film. None of this made Edvin satisfied. He even financed his own light experiment, which didn't give a satisfactory result either.
Since the sculpture didn't really remind of a crystal, people started calling it "the stick" and "the glass obelisk" instead. They were disappointed that they couldn't see any sparkle in the day. During the day the sculpture had a grey, hard and cold surface, but in the night, it lit up and trans-formed into a different form.
Edvin was at the time an old man, and he followed the process of his sculpture at Sergels Torg to the end of his time. He passed away in 1994, and of course, it was a pity to never have the chance to see the pillar become the colourful ray of light he had imagined.
In 2015, the sculpture
was very dirty due to all
smog and air pollution,
the 60,000 prisms were calcified and needed a thorough cleaning. With the modern technique at the time, they also changed the lightning to modern LED-lightning, which can be illuminated in any colour and is much stronger than previous attempts.
In the Year of 2017, Stockholm had a new, clean glass sculpture which lits up in one colour every night. Hopefully, Edvin would've been happier with this result, even if the colours don't shift between shades as he imagined. And only do so during the night since the light is not visible during daylight. Today, one shade of colour displays during a week until it changes to another one. The result is thirty-six different shades of colours over an entire year.
Maybe a sparkling crystal in the middle of Sergels Torg would've been a blinding traffic hazard. Edvin talked about a poetic shimmer, and today it is poetic but in a different way; in an honest, grey, hard and cold one. Perhaps after reading this story, you will see the glass obelisk in a different way than before and even appreciate it a little bit more.
Switch to DAY mode
Switch to NIGHT mode


--excludeedit
Summaryedit
This flag only functions within the scope of index selection or snapshot selection.
Exclude indices or snapshots matching the provided pattern. Multiple items can
be excluded by using the --exclude
flag multiple times with different
patterns.
--exclude
patterns will not exclude anything added with the --index
flag.
Flagsedit
-
--exclude
A regular expression pattern. This flag can be invoked multiple times.
Examplesedit
Show all indices, excluding indices beginning with log:
curator show indices --exclude '^log.*'
Optimize all indices, excluding indices ending with -prod
or -qa
:
curator show indices --exclude '^.*-prod$' --exclude '^.*-qa$'
Delete all snapshots, excluding those with 2015
in the snapshot name. If the
default naming pattern is used, with curator-YearMonthDayHourMinuteSecond
as
the pattern, and the year is 2015, this would effectively delete all 2014
snapshots:
curator delete snapshots --repository REPO_NAME --exclude '^.*2015.*$'


Prince Rupert is principally a commercial port, both for cargo and cruise ships. It is a useful base before cruising on to either Alaska and the Queen Charlotte Islands.
Although fishing boats are catered for, comfortable berths for small cruising yachts are not so plentiful.


BillDesk_Logo
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BillDesk Payment Gateway is the most used PG in India. A leading choice for businesses and governments across web, mobile and app.
In 2001, BillDesk pioneered BillDesk Biller Network (BBN) - the largest aggregation of billers for presentment of multiple bills at third party platforms.
Get access to a revamped and feature rich Dashboard, which helps you monitor real time transaction activity along with detailed analysis.
Accept payments from a wide range of payment methods
Enable BillDesk Biller Network for convenient bill, recharge payments
Partner with BillDesk for recuring payments through ACH/ECS
Power BillDesk across its payment solutions in India


Blue Collar Coding © 2017 | site by Josh Kestenberg
We do the work your engineers shouldn't
- • Repository Organization & Cleanup
- • Documentation Overhaul & Smoke Testing
- • Code Linting with Continuous Integration
Software organizations are like car companies; they have engineers to design all the pieces that come together in a finished product. Unlike a car, however, software is constantly being driven around by users and developers. Changing the oil and other little maintenance tasks often fall behind. At Blue Collar Coding, we dig deep into your software project and clean out all the cobwebs. What does this mean?
- • Improve approachability of repositories to new users / developers
- • Organize and clarify the workflow of multiple repositories
- • Simplify, streamline, and consolidate documentation
- • Apply standardized linting recommendations and include in CI
Provide a seamless developer experience
Documentation is the on ramp to every software project. We give your docs a thorough smoke test to improve the new user experience. By approaching a software project as beginners, we find and fill gaps that might be barriers to entry for junior programmers. This includes:
- • Update outdated instructions
- • Remove unnecessary complexity
- • Clarify steps that have implicit knowledge
- • Consolidate disparate information
Ensure easy onboarding for new users of your product
Every language has a linter, yet few projects include it as part of their Continuous Integration from day one. Many of the required lints are often simple but time consuming. We'll tackle them all and get your codebase up to standard, then enforce it by adding the linter to your CI. Linting provides:
- • Clean, consistent code
- • Improved developer experience
- • Serendipitious discovery of bugs
Comply with the standard of your chosen programming language


Herbert Railton’s Pen Drawings of Florence is one of my favourite collections of drawings in pen & ink.
The book, over a hundred years old, is in the public domain and can be viewed and downloaded from archive.org. However, I thought I would provide you with some high resolution reproductions taken from the original, which I own. That way you can really study the amazing line work from the pen of Herbert Railton.
It's not actually a book but a collection of loose pages. There are a total of 70 plates that each measure 21 by 30 cm.
Over the next week I’ll be updating this post daily with more high resolution images.
You are welcome to use these images for any non-commercial use. For commercial use, please contact me.
Posted on January 10, 2016. Last updated January 17, 2016.


Package algorithms.imageProcessing
Class DistanceTransform
- java.lang.Object
-
- algorithms.imageProcessing.DistanceTransform
-
public class DistanceTransform extends java.lang.Object
Euclidean square distance transforms are computed for every zero pixel relative to a non-zero point. The implementations are euclidean distance by default unless stated otherwise. Chessboard implementations may be added. All adjacent pixels, including diagonal have a distance of '1' for chessboard implementation. Useful papers in current implementations and tests were: Meijster, Roerdink, and Hesselink 2000, https://www.rug.nl/research/portal/files/3059926/2002CompImagVisMeijster.pdf and http://www.agencia.fapesp.br/arquivos/survey-final-fabbri-ACMCSurvFeb2008.pdf first implemented in project http://github.com/nking/curvature-scale-space-corners-and-transformations w/ Copyright (c) 2014 Climb With Your Feet and using The MIT License (MIT) then moved here to share with other projects.- Author:
- nichole
-
-
Constructor Summary
Constructors Constructor Description DistanceTransform()
-
Method Summary
All Methods Instance Methods Concrete Methods Modifier and Type Method Description int[][]
applyMeijsterEtAl(int[][] input)
The square of Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for two-dimensional input.int[][]
applyMeijsterEtAl(gnu.trove.set.TLongSet points, int width, int height)
The square of Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for two-dimensional input.int[][]
applyMeijsterEtAl(java.util.Set<PairInt> points, int width, int height)
The square of Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for two-dimensional input.int[]
applyMeijsterEtAl1D(int[] input)
The Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for one-dimensional input.
-
-
-
Method Detail
-
applyMeijsterEtAl
public int[][] applyMeijsterEtAl(int[][] input)
The square of Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for two-dimensional input. Note that values 1 and 2 do not need square root applied when extracting the distances.For example original data: row 0: 1 1 1 1 1 1 1 1 1 row 1: 1 1 1 1 1 1 1 1 1 row 2: 1 1 1 0 0 0 1 1 1 row 3: 1 1 0 0 0 0 0 1 1 row 4: 1 1 0 0 0 0 0 1 1 row 5: 1 1 0 0 0 0 0 1 1 row 6: 1 1 1 0 0 0 1 1 1 row 7: 1 1 1 1 1 1 1 0 1 row 8: 1 1 1 1 1 1 0 1 1 distance transform: row 0: 0 0 0 0 0 0 0 0 0 row 1: 0 0 0 0 0 0 0 0 0 row 2: 0 0 0 1 1 1 0 0 0 row 3: 0 0 1 2 4 2 1 0 0 row 4: 0 0 1 4 8 4 1 0 0 row 5: 0 0 1 2 4 2 1 0 0 row 6: 0 0 0 1 1 1 0 0 0 row 7: 0 0 0 0 0 0 0 1 0 row 8: 0 0 0 0 0 0 1 0 0
an O(N) runtime complexity algorithm for computing the distance transform by Meijster, Roerdink, and Hesselink 2000, implemented from their pseudocode. "Mathematical Morphology and its Applications to Image and Signal Processing", in Volume 18 of the series Computational Imaging and Vision, 200, pp 331-340 ISBN 978-0-306-47025-7 * https://www.rug.nl/research/portal/files/3059926/2002CompImagVisMeijster.pdf- Parameters:
input
-- Returns:
-
applyMeijsterEtAl
public int[][] applyMeijsterEtAl(java.util.Set<PairInt> points, int width, int height)
The square of Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for two-dimensional input. Note that values 1 and 2 do not need square root applied when extracting the distances.For example original data: row 0: 1 1 1 1 1 1 1 1 1 row 1: 1 1 1 1 1 1 1 1 1 row 2: 1 1 1 0 0 0 1 1 1 row 3: 1 1 0 0 0 0 0 1 1 row 4: 1 1 0 0 0 0 0 1 1 row 5: 1 1 0 0 0 0 0 1 1 row 6: 1 1 1 0 0 0 1 1 1 row 7: 1 1 1 1 1 1 1 0 1 row 8: 1 1 1 1 1 1 0 1 1 distance transform: row 0: 0 0 0 0 0 0 0 0 0 row 1: 0 0 0 0 0 0 0 0 0 row 2: 0 0 0 1 1 1 0 0 0 row 3: 0 0 1 2 4 2 1 0 0 row 4: 0 0 1 4 8 4 1 0 0 row 5: 0 0 1 2 4 2 1 0 0 row 6: 0 0 0 1 1 1 0 0 0 row 7: 0 0 0 0 0 0 0 1 0 row 8: 0 0 0 0 0 0 1 0 0
an O(N) runtime complexity algorithm for computing the distance transform by Meijster, Roerdink, and Hesselink 2000, implemented from their pseudocode. "Mathematical Morphology and its Applications to Image and Signal Processing", in Volume 18 of the series Computational Imaging and Vision, 200, pp 331-340 ISBN 978-0-306-47025-7 * https://www.rug.nl/research/portal/files/3059926/2002CompImagVisMeijster.pdf- Parameters:
points
-width
-height
-- Returns:
-
applyMeijsterEtAl
public int[][] applyMeijsterEtAl(gnu.trove.set.TLongSet points, int width, int height)
The square of Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for two-dimensional input. Note that values 1 and 2 do not need square root applied when extracting the distances.For example original data: row 0: 1 1 1 1 1 1 1 1 1 row 1: 1 1 1 1 1 1 1 1 1 row 2: 1 1 1 0 0 0 1 1 1 row 3: 1 1 0 0 0 0 0 1 1 row 4: 1 1 0 0 0 0 0 1 1 row 5: 1 1 0 0 0 0 0 1 1 row 6: 1 1 1 0 0 0 1 1 1 row 7: 1 1 1 1 1 1 1 0 1 row 8: 1 1 1 1 1 1 0 1 1 distance transform: row 0: 0 0 0 0 0 0 0 0 0 row 1: 0 0 0 0 0 0 0 0 0 row 2: 0 0 0 1 1 1 0 0 0 row 3: 0 0 1 2 4 2 1 0 0 row 4: 0 0 1 4 8 4 1 0 0 row 5: 0 0 1 2 4 2 1 0 0 row 6: 0 0 0 1 1 1 0 0 0 row 7: 0 0 0 0 0 0 0 1 0 row 8: 0 0 0 0 0 0 1 0 0
an O(N) runtime complexity algorithm for computing the distance transform by Meijster, Roerdink, and Hesselink 2000, implemented from their pseudocode. "Mathematical Morphology and its Applications to Image and Signal Processing", in Volume 18 of the series Computational Imaging and Vision, 200, pp 331-340 ISBN 978-0-306-47025-7 * https://www.rug.nl/research/portal/files/3059926/2002CompImagVisMeijster.pdf- Parameters:
points
- pixel indexeswidth
-height
-- Returns:
-
applyMeijsterEtAl1D
public int[] applyMeijsterEtAl1D(int[] input)
The Euclidean distances are computed for every zero pixel relative to the nearest non-zero pixels for one-dimensional input.For example original data: 1 1 0 0 0 0 0 1 1 distance transform: 0 0 1 2 3 2 1 0 0
an O(N) runtime complexity algorithm for computing the distance transform by Meijster, Roerdink, and Hesselink 2000, implemented from their pseudocode. "Mathematical Morphology and its Applications to Image and Signal Processing", in Volume 18 of the series Computational Imaging and Vision, 200, pp 331-340 ISBN 978-0-306-47025-7 * https://www.rug.nl/research/portal/files/3059926/2002CompImagVisMeijster.pdf- Parameters:
input
-- Returns:
-
-


REVIEW: Anastasia By Luke Buckmaster<EMAIL_ADDRESS>Featuring the voices of: Meg Ryan, John Cusack, Kelsey Grammer, Angela Lansbury, Christopher Lloyd, Hank Azaria, Bernadette Peters, Kirsten Dunst Directors: Don Bluth, Gary Goldman Screenplay: Susan Gauthier & Bruce Graham, Bob Tzudiker & Noni White
Australian theatrical release date: June 25, 1998
>From 0 stars (bomb), to 5 stars (a masterpiece): 4 stars
Due to what we have been witness to in the past, it's hard to label any animated movie as anything except a "family film." Such is the story with Anastasia - which has a mature, adult-like plot but some weaker moments for the kids which in the end distracts the viewer from the power of the film. It's almost as if an animated film must have people walking away smiling, ready to buy new Happy Meal toys. But, even when observing it in an adult frame of mind, it's still damn good as a distraction from ordinary, less stimulating films. It also serves as a reminder than animated features can indeed have a good amount of substance, and can genuinely stir your emotions.
In its most shallow moments, Anastasia is just a simple tale told well. In 1916, the Romanov family are celebrating their 300th anniversary as the ruling dynasty in Russia. The evil, party-crashing Rasputin (who sold his soul to the Devil) puts a curse on the Romanov's, and goes on a killing spree across the nation, slaughtering all members of the family except two. Anastasia (Meg Ryan) and her grandmother the Dowager Empress (Angela Landsbury) manage to escape the evil hands of Rasputin, but are separated along the way.
Flash forward ten years and Anastasia is 18 years old, with only glimpses of her tragic past. The Empress, now residing in Paris, is offering ten thousand dollars to anyone that can deliver her granddaughter to her. Anastasia joins con men Dmitri (John Cusak) and Vlad (Kelsey Grammer) on their trip to Paris. Meanwhile in the underworld, Rasputin learns that she is still alive, and hatches various plots to murder her.
The inevitable romance between Anastasia and Dmitri is the vehicle for many of the film's gags; but is also its emotional core. The relationship between these two characters is truly enticing, and a lot more interesting and mature than many of the recent animated romances. Perhaps this is why Anastasia can effectively appeal to adults - it works as a drama as much as it does a comedy. It's a film that you can imagine in a non-animated form, unlike Disney classics like Aladdin, The Lion King and Beauty and the Beast. Whilst many have dubbed Anastasia as simply an attempt for a different company to cash in on animated successes, directors Don Bluth and Gary Goldman have been careful not to mimic Disney films. Much to their credit, it looks, feels and sounds genuinely original, bar the occasional exception.
Most of Anastasia's duration is filled with healthy, skillful moments, but like most animated films it does have its flaws. Strangely, most of the scenes involving Rasputin fail to impress or innovate - making the viewer wish that he had never been included in the first place. Rasputin could have been a wonderfully complex, religious character but instead appears cliché and predictable; appearing every so often just so the heroes of the story could have someone to fight against.
If previous animated features have taught us anything, it's that there has to be a bad guy, a hero and a final confrontation. In fact, the only film of this type that I can think of that was not afraid to show complex scenes and characters was The Hunchback of Notre Damn, which I still regard as the best exhibit of film animation ever.
But in all fairness, Anastasia shouldn't be compared to all the other cartoon classics because, as I mentioned before, it does stand out as an original piece of work. And more than that - it's a beautiful, unexpectedly touching experience that will make you wonder how on Earth an animated film can be so moving.
If only Bluth and Goldman could have dared to forget the "family film" tradition and make a genuinely adult, mature film - perhaps then we would have a clear-cut masterpiece.
Review © copyright Luke Buckmaster
Email<EMAIL_ADDRESS>to subscribe to my newsletter (unless, of course, you already have) or<EMAIL_ADDRESS>for any inquiries or feedback
Read more of my reviews at Movie Zone: http://moviezone.alphalink.com.au
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
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Related links: index of all rec.arts.movies.reviews reviews


SHAP¶
-
ExpyBox.
shap
()¶ Create dialog for shap, providing force and decision plots
- Returns
None
Method parameters¶
- Plot
Which plot to draw decision, force or both
- Background data
What background data will be used to sample from, when simulating “missing” feature
KMeans: use KMeans to sample from provided dataset
Custom variable: provide variable (that is in
kernel_globals
) with instances to use
- Count of KMeans centers
Number of means to use when creating background data. Only used if
Background data
is set toKMeans
- Background data variable
Variable with background data from which the “missing” features will be sampled. Only used if
Background data
is set toCustom variable
- Link
A generalized linear model link to connect the feature importance values to the model output
Since the feature importance values, phi, sum up to the model output, it often makes sense to connect them to the ouput with a link function where link(outout) = sum(phi).
If the model output is a probability then the LogitLink link function makes the feature importance values have log-odds units.
- Model sample size
Number of times to re-evaluate the model when explaining each prediction.
More samples lead to lower variance estimates of the SHAP values.
- Auto choose model sample size
The
auto
setting usesModel sample size
= 2 * train_data.shape[1] + 2048.
- L1 regularization
The l1 regularization to use for feature selection (the estimation procedure is based on a debiased lasso).
You can choose following inputs:
The
auto
option currently uses “aic” when less that 20% of the possible sample space is enumerated, otherwise it uses no regularization.The
aic
orbic
options use the AIC and BIC rules for regularizationInteger
selects a fix number of top featuresfloat
directly sets the “alpha” parameter of the sklearn.linear_model.Lasso model used for feature selection
- Class to plot
If explaining classification problem, select which class prediction to explain


The original idea of a tool for calculating the SQL Server Max Memory comes from Vlad Catrinescu, SharePoint MVP, who wrote a very popular whitepaper SQL Server Performance in a SharePoint Environment:
Despite of the formula (see below) in the whitepaper, Vlad Catrinescu also provided a tool for calculating max memory, a windows forms application that is freely downlodable at sqlmem.codeplex.com
The goal of the SQL Max web app is to take this idea a step further and make it available directly in your browser, on desktop at work, or on the go in your mobile. This mobile web app will also be available for offline access. Simply put, why should you dowload a zip file, extract and run the .exe file? Perhaps you cannot run executable files due restrictions, or perhaps you are not running Windows at all.
Check out our contributors!SQL Max Memory = TotalPhyMem - (NumOfSQLThreads * ThreadStackSize) - (1GB * CEILING(NumOfCores/4)) - OS Reserved
NumOfSQLThreads = 256 + (NumOfProcessors*- 4) * 8 (* If NumOfProcessors > 4, else 0)
ThreadStackSize = 2MB on x64 or 4 MB on 64-bit (IA64)
OS Reserved = 20% of total ram for under if system has 15GB. 12.5% for over 20GB
In Object Explorer, right-click a server and select Properties.
Click the Memory node.
Under Server Memory Options, enter the amount that you want for Minimum server memory and Maximum server memory.
Use the default settings to allow SQL Server to change its memory requirements dynamically based on available system resources. The default setting for min server memory is 0, and the default setting for max server memory is<PHONE_NUMBER> megabytes (MB). The minimum amount of memory you can specify for max server memory is 16 MB.


{% extends 'base.html' %} {% block bodydata %} data-project-id="{{ project.id }}" data-project-locked="{{ project.islocked }}" {% endblock %} {% block title %} | Project: {{ project.name }} - Subsets{% endblock %} {% block main %}
The project is locked, therefore subsets cannot be edited. If you wish to edit them, you have to unlock the project in the project settings first.
{% else %}Create subsets to dynamically generate and output data based on set criterias.
{% endif %}{{ subset.description }}
{% endif %}We couldn't find any subsets for this project.
{% if project.islocked %}Unfortunately, you cannot create new subsets when the project is locked.
{% elif not project.categories.all %}Unfortunately, you cannot create new subsets when there are no categories added to the project.
{% else %} Create new subset {% endif %}


Input two words and check if they are anagram (assume case insensitive)
Example: Earth and heart are anagram, while grove and groove are not
All cases are insensitive
All spaces will be removed (in case you like "Tom Marvolo Riddle" and "I am Lord Voldemort")


{% extends "badgekit_webhooks/app_base.html" %} {% block body %}
Sorry, I couldn't find a match for your claim code. If you got this link from an e-mail, you could try copy+pasting it again.


glamlasso: Penalization in Large Scale Generalized Linear Array Models
Functions capable of performing efficient design matrix free penalized estimation in large scale 2 and 3-dimensional generalized linear array model framework. The generic glamlasso() function solves the penalized maximum likelihood estimation (PMLE) problem in a pure generalized linear array model (GLAM) as well as in a GLAM containing a non-tensor component. Currently Lasso or Smoothly Clipped Absolute Deviation (SCAD) penalized estimation is possible for the followings models: The Gaussian model with identity link, the Binomial model with logit link, the Poisson model with log link and the Gamma model with log link. Furthermore this package also contains two functions that can be used to fit special cases of GLAMs, see glamlassoRR() and glamlassoS(). The procedure underlying these functions is based on the gdpg algorithm from Lund et al. (2017) <doi:10.1080/10618600.2017.1279548>.
| Version: |
3.0 |
| Imports: |
Rcpp (≥ 0.11.2) |
| LinkingTo: |
Rcpp, RcppArmadillo |
| Published: |
2018-01-19 |
| Author: |
Adam Lund |
| Maintainer: |
Adam Lund <adam.lund at math.ku.dk> |
| License: |
GPL-3 |
| NeedsCompilation: |
yes |
| CRAN checks: |
glamlasso results |
Downloads:
Reverse dependencies:
Linking:
Please use the canonical form
https://CRAN.R-project.org/package=glamlasso
to link to this page.


List of Books
Book name
Book description
Book details
Update option
Delete option
Details
Update book
Delete book
Create


Lechuan Qiu
Yunjia Zeng
Project Part 1
Data
To collect Airbnb data, we use Scrapy along with Scrapy-Splash. Scrapy is a Python application framework for extracting structured data from websites. It provides crawlers called Spider, to scrape the website by user-convenience defined functions. Scrapy-Splash is a Python library provides JavaScript integration for Scrapy. Therefore, we use docker to run a Splash HTTP API, to provide the working environment for Scrapy.
To avoid banning by Airbnb’s anti-scraping detection, with the limit of one page per 6 seconds, we scrape the website at a rate around 500 per hour. We scraped everything listed on Airbnb listing webpage including: host’s general information (host response rate, host superhost status, listing counts, review scores, etc), location information (neighborhood, city, state, zip code, longitude, latitude, etc), room information (amenities, price, accommodates, rooms, cancellation policy status, etc)
Restaurant data is directly scraped from yelp.com. Restaurants are selected based on distance to Airbnb houses, all within 2 miles of walking distance. Restaurants information are including restaurant name, rating, number of reviews, price range, address, etc.
In order to scrape data, we use python package LXML, therefore we are able to parse the HTML Tree Structure using Xpaths. With the help of the scraper, all information can be captured even in multiple different pages.
As competitors, hotel is also affecting the pricing strategy of Airbnb houses. Price of nearby hotel is collected from Hotels.com, with information including hotel names, zip codes, prices, addresses, country names, region and rating.
We use Chromedrive with Selenium, which provides methods to auto control Chrome with user defined functions to click, scroll, type, submit on the target webpage, and lxml to parse the target HTML page using Xpath.


Proximity stores layout information when you save a query
in the Query Editor, letting the Query Editor re-display the query as
currently laid out the next time it’s opened. Layout information, in
the form of x and y
coordinates, is stored in the
editor-data
element in the query
XML file.
The editor-data
element
contains one vertex-location
element for each vertex in the query. Each
vertex-location
element includes
three required attributes, representing the
name and coordinates of the vertex.
Proximity currently only saves the location of vertices in the Query Editor; edge location is determined by vertex location and is thus not saved.
<editor-data>
Attributes None.
Children
vertex-location |
one or more | Vertex location in the query editor |
Content Model
(vertex-location+)
Example
See vertex-location
.
<vertex-location>
Attributes
name |
required | Vertex name as used in the query; vertex names are case sensitive |
x |
required | The x coordinate describing the vertex’s location in the Query Editor |
y |
required | The y coordinate describing the vertex’s location in the Query Editor |
Children None.
Content Model
EMPTY
<editor-data> <vertex-location name="vertex1" x="514" y="99" /> <vertex-location name="vertex2" x="314" y="232" /> </editor-data>


Experience
-
Full stack developer, The Coingaming Group, (Nov 2017—Present)
- Responsible for design system.
- Responsible for frontend applications development and UI implementation.
-
Frontend Developer, Genestack, (Mar 2016—Nov 2017)
- JavaScript development for bioinformatics platform applications.
- Responsible for frontend applications development and UI implementation.
- Successfully introduced react/redux into major applications.
Talks
-
Nov 2019, TallinnJS, Estonia
Design Systems: Are they worth it?
There has been a lot of noise around Design Systems, some love them, some are skeptical. Based on my experience with our own Design System I'll separate the reality from hype. After this session, you’ll be able to make a decision about whether to invest your technology into a Design System armed with an understanding of the risks and benefits.
Articles
Education
2007—2014, Master & Bachelor's degree with honors, Saint Petersburg Electrotechnical University "LETI", Russia, Information Systems and Technologies