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Index:
What are Javascript Objects?
Object is the main data type in JavaScript. "Everything" in JavaScript is an Object. Even primitive data types (except null and undefined) can be treated as objects. Here is a list of some different objects in Javascript:
- Booleans can be objects (or primitive data treated as objects)
- Numbers can be objects (or primitive data treated as objects)
- Strings are also objects (or primitive data treated as objects)
- Dates are always objects
- Maths and Regular Expressions are always objects
- Arrays are always objects
- Even functions are always objects
A JavaScript object is a complex variable, with properties and methods. The content of an object is composite: It can contain multiple property types (both primitive values and other objects). In JavaScript, all values except primitive values are objects. Primitive values are: strings ("John Doe"), numbers (3.14), true, false, null, and undefined.
Back To Top
Object Properties
Properties are the values associated with an object. A JavaScript object is an unordered collection of properties. Each property has a name and a value. The syntax for accessing the property of an object is:
objectName.property or objectName[expression]
Object Methods
Methods are the actions that can be performed on objects. You can call a method with the following syntax:
objectName.methodName()
Creating an Object in Javascript
With JavaScript, you can define and create your own objects. There are different ways to create new objects:
Define and create a single object, using an object literal.
This is the easiest way to create a JavaScript Object. Using an object literal, you both define and create an object in one statement. An object literal is a list of name:value pairs (like age:50) inside curly braces {}. The following example creates a new JavaScript object with four properties:
var person = {firstName:"John", lastName:"Doe", age:50, eyeColor:"blue"};
Define and create a single object, with the keyword new.
var person = new Object(); person.firstName = "John"; person.lastName = "Doe"; person.age = 50; person.eyeColor = "blue";
Define an object constructor, and then create objects of the constructed type.
The examples above are limited in many situations. They only create a single object. Sometimes we like to have an "object type" that can be used to create many objects of one type. The standard way to create an "object type" is to use an object constructor function:
function person(first, last, age, eyecolor) { this.firstName = first; this.lastName = last; this.age = age; this.eyeColor = eyecolor; } var myFather = new person("John", "Doe", 50, "blue"); var myMother = new person("Sally", "Rally", 48, "green");
What's up with THIS!
In JavaScript, the thing called this, is the object that "owns" the JavaScript code. The value of this, when used in a function, is the object that "owns" the function. The value of this, when used in an object, is the object itself. The this keyword in an object constructor does not have a value. It is only a substitute for the new object. The value of this will become the new object when the constructor is used to create an object. Note that this is not a variable. It is a keyword. You cannot change the value of this.
var Client = function(name, age, quote){ this.name = name; this.age = age; this.quote = quote; this.showQuote = function(){ console.log(this.quote); } };
Built-In Constructors for your use
JavaScript has built-in constructors for native objects:
var x1 = new Object(); // A new Object object var x2 = new String(); // A new String object var x3 = new Number(); // A new Number object var x4 = new Boolean() // A new Boolean object var x5 = new Array(); // A new Array object var x6 = new RegExp(); // A new RegExp object var x7 = new Function(); // A new Function object var x8 = new Date(); // A new Date object
Why Use Primitive Values, Instead of Complex Objects!
As you can see, JavaScript has object versions of the primitive data types String, Number, and Boolean. There is no reason to create complex objects. Primitive values execute much faster.
- There is no reason to use new Array(). Use array literals instead: []
- There is no reason to use new RegExp(). Use pattern literals instead: /()/
- There is no reason to use new Function(). Use function expressions instead: function () {}.
- There is no reason to use new Object(). Use object literals instead: {}
JavaScript Objects are Mutable
Object are mutable: They are addressed by reference, not by value. If y is an object, the following statement will not create a copy of y:
var x = y; // This will not create a copy of y.
The object x is not a copy of y. It is y. Both x and y points to the same object. Any changes to y will also change x, because x and y are the same object.
var person = {firstName:"John", lastName:"Doe", age:50, eyeColor:"blue"} var x = person x.age = 10; // This will change both x.age and person.age


POLISH WEDDING (director/writer: Theresa Connelly; cinematographer: Guy Dufaux; editors: Curtiss Clayton/Suzanne Fenn; cast: Lena Olin (Jadzia Pzoniak), Gabriel Byrne (Bolek Pzoniak), Claire Danes (Hala Pzoniak), Adam Trese (Russell Schuster), Mili Avital (Sofie Pzoniak), Daniel Lapaine (Ziggi Pzoniak), Rade Serbedzija (Roman); Runtime: 110; Fox Searchlight Pictures/Lakeshore Entertainment; 1998)
Reviewed by Dennis Schwartz
This is a muddled human interest/comedy story about the travails of a large Polish-American family living in a Detroit suburb (which looked like the small Illinois hometown of the director, because that's where it was filmed). It's an old-fashioned type of film, that has the main characters talking in phony Polish accents and throwing out schmaltzy dialogue at will, as it suffers so much from being poorly scripted. In one ponderous scene, Lena Olin as Jadzia Pzoniak, a Polish-American cleaning woman, tells her not-so-secret office boss lover Roman (Rade Serbedzija): "There was a reason for marrying my husband, but I can't remember what it is." There must have been a reason why neophyte director/writer Theresa Connelly made this film into a nostalgia story that wants to look like it was made in the 1950s, I just wish she included that reason as part of the storytelling and dropped all those clichés to explain every situation. In the realm of movies that try so hard to please its audience, this one almost begs for audience approval, but the only thing that should please the crowd is the sex appeal of the beautiful looking ensemble cast.

Mother and daughter are supposed to be mirror images of each other, each with questionable values but a love for children. Mother sneaks out one night a week pretending she's going to a meeting of the Polish Ladies' Auxiliary, instead she goes to Roman, which is hard to understand why, since there was no heat on screen between them.
Meanwhile, Hala sneaks out nightly through a basement window, and on one of these outings is attracted by the young neighborhood policeman Russell (Adam Trese), which soon leads to her pregnancy. The unrealistic plot in this basically plotless film, is about how the family rallies around her condition and the middle-aged matriarch marches her sons over to Russell's house to force him to marry Hala. Jadzia is proud that she married Bolek when she was 15 and pregnant, and she sees nothing wrong with her daughter's pregnancy. In fact she loves children and wants more grandchildren. In a moment of deep reflection, Jadzia says, "making life and love" are her "religion." I'm sure there could have been some comedy over this, but the film was so flat, it couldn't draw out the comedy or any worthwhile observation about this zany situation. The situation becomes even messier when Hala is chosen to impersonate the virgin in an annual church procession and fails to tell the priest that she's no longer a virgin.
To give the film a decidedly Polish flavor, the domineering mother is shown as an excellent ethnic cook, making her own homemade pierogi, duck's blood soup and keeping a cellar full of homemade pickles. It was supposed to be a film of small moments and the farce was supposed to be endearing, showing how a large, functioning ethnic family can struggle with each other; but, in the end everything will turn out to be just peachy, which will include a Polish wedding after all the obstacles to the marriage are pushed aside. It didn't work for me, I got no warm and fuzzy feeling for this working-class family. It was a film of many vignettes, all coming together with the themes of family values, sex, and religion, but none of the themes is brought to any fruition where it could register with any credibility.
REVIEWED ON 3/26/2001 GRADE: C-
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
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VSL // Good Eggs and Bad Ass Farmers
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Welcome to Balthisar Tidy!
Use Balthisar Tidy to sweep away your poor HTML clutter. It will pretty-format your HTML, fix many HTML problems, diagnose difficult problems, and generally make your HTML much, much better.
- Getting Started
- A step-by-step walkthrough to getting started with Balthisar Tidy.
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- How to accomplish common tasks with Balthisar Tidy.
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- An overall reference to Balthisar Tidy.


We fight to protect NC’s environment and promote solutions for a safer, healthier state. We collaborate with nearly 100 environmental groups and mobilize tens of thousands of people, like you, to pass strong policies at all levels of government.
The NC Conservation Network supports, trains, and coordinates diverse groups and directly advocates to achieve equitable and sustainable solutions for our environment. We focus on a varitey of issues.
North Carolina is ranked among the top states in the country for solar energy.
North Carolina has suffered devastating rollbacks of environmental protections.
Communities worldwide are beginning to experience the devastating impacts of climate change.
Coal ash is the waste that is generated when power plants burn coal to produce electricity.


About Me
Bio
My name is David Cole and I was born in the Seattle area.
Education
BA in philosophy from Seattle University
Job Experience:
- Pizza Deilvery
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- Learn code
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David's 10 Favorite Songs
- "Are you Afraid of the Dark?" Figure
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- "At the Bottom of Everything" Bright Eyes
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Sat May 23, 2020
Self-isolation week 11.
We are entering “Phase 2” - a gradual reopening of services and return to societal norms. It will, however, take a long time for everything to return to the way it was. After so many weeks, we are now habituated to physical distancing and it will be hard to just stop.
This is the new reality: Zoom is now worth more than the world’s seven biggest airlines - combined. If you were reading this six months ago, you’d ask what the heck Zoom is.
All too often, it feels like we’ve travelled down the wrong timeline - as if we weren’t supposed to wonder into this mildly dystopian future. I’ll admit that this perspective has been tainted by the book I’m currently reading - Gone World by Tom Sweterlitsch.
The time-travel concept in this novel is brilliant: the past cannot be altered, and the present (called “terra firma” ) is the only true reality. You can travel into the future, but will be flung randomly into an infinite number of possible future timelines.
So, you can’t return to the present and win the lottery - the numbers will be different in every IFT (inadmissible future trajectory). “Inadmissible” because you can’t arrest somebody Minority-Report style for a crime they haven’t committed yet. Anyway, definitely read the book if you love the time-travel genre as much as I do - it’s great.
For me, this feeling of dissonance with the current reality has kindled a nostalgia for the past. I don’t want to live in the past - I would miss things like document auto-save and a little thing called “the internet”. But I understand why people often say that the past seems like a simpler time…
Let’s be honest, any time before COVID-19 seems like “a simpler time”. Having said that, there is one particular decade that everybody has a thing for. And a nostalgia trip to this decade is just the distraction we all need in these troubled times.
I’m talking, of course, about the 1980s. The reasons for 80s nostalgia varies, but you can’t deny the exuberance, the colour, and the brashness of this decade - in short, the 80s was just plain fun (Cold War aside).
From Haim to Stranger Things to denim jackets, the 80s has been re-appropriated countless times in the 21st century. Yet, as much as I loved binge-watching Chernobyl and enjoy playing the odd 8-bit indie game, you just can’t beat the real thing.
Maybe I’m just a biased old man (even though I try to keep an open mind). I was just a kid in the 80s, so naturally my childhood memories evoke a certain wistfulness. The many cultural touchstones of that time that I still carry today are so much more poignant than the imitations, no matter how sincere the tribute. I’d like to share some of them with you.
There are plenty of great movies that have come out in the past twenty to thirty years, but…the best movies are 80s movies. I’m talking Back to the Future, Ghostbusters, Raiders of the Lost Ark, Aliens, Return of the Jedi, Rambo, Beetlejuice, The Goonies - the list goes on and on.
If you’re new around here - as in new to Planet Earth - you may not have hands-on experience with pure 80s cheese. Perhaps you’re looking for that one obscure 80s movie that epitomizes the time. Look no further than the hilarious and heart-warming Summer School. Here’s a clip for you.
If that was a bit too authentic for you, maybe just wait for Wonder Woman 1984 - yet another throwback to the 80s, coming this August. Also one of the only blockbusters coming out this year.
I grew up on classic 80s TV shows such as Knight Rider, MacGyver, Airwolf, The A-Team, and Magnum, P.I. Although these shows have excellent nostalgic value, I’m under no illusion that they’re any good. Re-watching any of these shows today kind of ruins the memory - they haven’t aged well.
TV back then was a far more insidious affair. Scheduled broadcast times often coincided with dinnertime (giving rise to the awful TV dinner). Also, you couldn’t skip the ads. Ads like this one. I don’t know how many commercials I watched as a child, but I’m sure it is a shockingly-high number.
It’s clear that the state of “television” entertainment is so much better today.
But I still see KITT at suburban car shows, Mr. T is still a pop-culture icon, and Tom Selleck will always look good in a Ferrari. TV shows may have been bad in the 80s, but the characters, who live on in our collective consciousness, still make us smile.
 Non-offensive background noise for every mall everywhere. Which is why I’m so glad we’ve moved into the streaming era. And the online commerce era. We never have to listen to 80s music again. Video did not kill the radio star, Spotify did.
Except… now that it isn’t being forced down our throats, I can gingerly return to those glory days on my terms - without the nausea. If you’re looking for a really good time, pick a favourite year from the 80s and watch the YouTube remix. You’ll find a new appreciation for the sheer, unstoppable, hit-after-hit, fashion-making power of the 80s music industry.
PC gaming in the 80s started off right. Before the industry became saturated with violent first-person shooters, adventure games reigned supreme. I still find it depressing that the goal shifted from puzzle solving to killing people. From humour to warfare. But in the 80s, the best games were Sierra games. I spent hours playing through fun, narrative-driven adventures such as King’s Quest and Leisure Suit Larry.
If I had to pick one though, my favourite Sierra game of all time is Space Quest III: The Pirates of Pestulon. When I first played it, the meta ending blew my mind - you had to rescue the two actual programmers of the game from an evil CEO who was forcing them to design terrible games under the crack of a whip. You then deliver the poor souls to Ken Williams, the president of Sierra games on Earth - a happy ending of improved working conditions. It was amazing.
Take a moment to appreciate the latest advances in game engines. Watch the Unreal Engine 5 demo to see the impressive virtualized geometry and real-time lighting effects coming to next-gen consoles. Then take a step back and appreciate how Sierra created one of the first game engines - the Adventure Game Interpreter (AGI). We’ve come a long way, but AGI allowed artists and writers to focus on the story to create timeless adventure games over thirty years ago.
These days you can play Sierra games directly in your browser. But when I was a kid, you had to make schoolyard deals to trade floppy disks. If you were a good source, you’d join an exclusive insider group of young pirates. I had to build up quite the trading network back in the day - it wasn’t easy. Unless you had rich parents who could actually afford to buy the games of course.
If you got stuck, you would have to call up friends who had finished the game or, if you were in good standing, consult the trading network. If you had no other recourse, you could buy an extremely overpriced hint book.
Having emerged from the primordial ooze of the 80s as a kid, I lived my teenage years in the 90s - which is a whole other blog post I might write about sometime.
But for now, shun all the substandard 80s remakes. There is nothing more intoxicating than the original - no matter how raw.  Escape from this dark timeline and drift into a neon-coloured fever dream, into a pleasant purgatory where the 80s never ends.


Games created with the TAINT model have a structure which is very simple and at the same time very powerful! Because it is very abstract, it really is up to you to use it and be creative.
In this section you’ll learn exactly what the TAINT model is and how to use it to create your own games!
Main building blocks
- TAINT has the following core building blocks:
- Scene: Scenes represent a location or a state in the game world.
- Resource: Resources represent anything that needs to be tracked! The player’s HP, Mana, the time or date in the game world, whether or not the player has an item etc. One example of a resource can have a name of “Hitpoints” and a value of 10.
- Action: Actions represent happenings in the game world, whether it is something that occurs by itself (passive) or something that is triggered by the player (active). An action consists of conditions and effects. One list of effects are triggered if the conditions are true and another if the conditions are false.
- Condition: Conditions are ways to give further branching to your game, by checking if certain things are true or not (e.g. does the player have the required item to open the door?). Conditions have a left-hand side and a right-hand side argument and then an operator which compares them. For example, the left-hand side argument might be a Resource called “HP” and the right-hand side argument might be the number 0. Using a Condition, it is possible to check whether the “HP” has dropped below 0 or not.
- Effect: Effects are the resolutions of an Action. Basically, effects can be things like going to a new Scene, changing the value of a Resource or simply giving some additional information to the player.
- Narrative: The narrative is the story which is presented to the player in the form of text.
These building blocks are then combined in the game structure in order to create interactive experiences!
Game structure
A game contains a list of scenes, a list of global resources and a list of global actions. Global resources are resources which are accessible from all scenes of the game. Similarly, Global actions are actions which are accessible from all scenes. A game also has a starting scene which is the scene in which the game begins.
Each scene of the game, contains a list of actions and resources. Those are also called local actions and local resources, because unlike their global counterparts, they are only accessible within the scene to which they belong.
So for example, a global action could be an action that tells the player what is in their inventory and it is global because you want the player to be able to check his inventory at all times, no matter where he is. On the other hand, a local action (an action within a scene) could be an action which opens a door in that specific scene. It is clear that there is no reason for this action to be available in any other scene of the game. Actions have three switches which can be toggled between on and off.
The enabled switch, sets an action as accessible or entirely not accessible (as if it doesn’t exist).
The active switch sets the action as passive or active. Active actions can only be triggered by the player (e.g. the player decides to open a door) while passive actions are evaluated in every turn (e.g. always check if the player’s “HP” falls below 0 and if it does let them know they are dead).
The visible switch makes the action visible to the player.
The player can always see a list of all visible actions (just like many traditional interactive novels). One case where you don’t want a scene to be visible is in the case you want the player to input commands rather than choose from a list. Another case would be to include easter eggs!
Conditions and effects
Conditions and effects are a layer which can be customised to add your own. If you are interested in something like that, read more on the How to extend TAINT with custom functions? section. Having said that, the default list of conditions and effects should cover more than the basic needs of a game.
- Here is a list of all the comparisons you can do with the default conditions:
- equals: Checks if two things are equal (e.g. Resource “PlayerHasAxe” equals True).
- less than: Checks if the value of one thing is less than the value of another (e.g. Resource “HP” is less than 0).
- less or equal: Similar to the above but checks if the value of one thing is less or equal to the value of another.
- greater than: Checks if the value of one thing is greater than the value of another (e.g. Resource “ItemsInInventory” is greater than 10).
- greater or equal: Similar to the above but checks if the value of one thing is greater or equal to the value of another.
- This is a list of all the effects available by default:
- Tell player: displays text to the player by adding it to the game’s Narrative.
- Go to scene: takes the player to a new scene.
- Add global resource: adds a global resource to the game.
- Edit global resource: changes the value of an already existing global resource.
- Delete global resource: deletes an already existing global resource.
- Add local resource: adds a local resource to a scene.
- Edit local resource: changes the value of an already existing local resource.
- Delete local resource: deletes an already existing local resource.
- Display all actions: displays all enabled actions to the player.
- Display all visible actions: displays only the actions which are set as visible.
- Make action visible: Sets an action as visible.
- Make action invisible: Sets an action as not visible.
- Make action enabled: Sets an action as enabled.
- Make action disabled: Sets an action as not enabled.
- Make action active: Sets an action as active.
- Make action passive: Sets an action as not active.
Resource priority
It is generally recommended that you use different names for each resource, even if one is global and the other is local. In the case that multiple resources have the same name, only the first resource found will be handled.
Local resources are searched first before global resources.


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About Hue
Click the About tab in the navigation bar at the top of the Hue web browser window to open the About page. This displays the version of Hue you are running.
Within the About page you can:
- Click the Configuration tab to view the current Hue configuration.
- Click the Check for misconfiguration tab to have Hue validate your Hue configuration. It will note any potential misconfigurations and provide hints as to how to fix them. You can edit the configuration file or use Cloudera Manager, if installed, to manage your changes.
| Note: The location of the Hue configuration files is shown on the Check for Misconfiguration page. |
- Click the Server Logs tab to view the Hue server logs. You can also download the logs to your local system as a zip file from this page.


Welcome to the mobile app of "Interactive Phonetics".
In learning phonetics, it is necessary to learn a set of symbols with which one may notate speech sounds. The most commonly used alphabet for this purpose is the International Phonetic Alphabet (IPA) developed by the International Phonetic Association (established 1886 in Paris).
The IPA contains a list of symbols (phonetic letters). Each of these letters represents an unit of linguistic sound known as a phone/segment.
This list is presented in a table known as the IPA chart.
In learning phonetics, it is necessary to learn a set of symbols with which one may notate speech sounds. The most commonly used alphabet for this purpose is the International Phonetic Alphabet (IPA) developed by the International Phonetic Association (established 1886 in Paris).
The IPA contains a list of symbols (phonetic letters). Each of these letters represents an unit of linguistic sound known as a phone/segment.
This list is presented in a table known as the IPA chart.


FLAME A film review by James Berardinelli Copyright 1997 James Berardinelli
RATING (0 TO 10): 6.5 Alternative Scale: **1/2 out of ****
Zimbabwe, 1996 Running Length: 1:30 MPAA Classification: No MPAA Rating (Violence, rape, mature themes, profanity) Theatrical Aspect Ratio: 1.66:1 Shown at the Philadelphia Festival of World Cinema, 5/1/97, 5/3/97 & 5/7/97
Cast: Marian Kunonga, Ulla Mahaka, Norman Madawo, Moise Matura Director: Ingrid Sinclair Producers: Simon Bright, Joel Phiri Screenplay: Ingrid Sinclair with Barbara Jago and Philip Roberts Cinematography: Joao Costa Music: Philip Roberts with Dick "Chinx" Chingaira and Keith Goddard
FLAME, the first feature from British-born film maker Ingrid Sinclair, takes on the age-old issue of image versus reality in war, and how there is a price to be paid for even the most celebrated victories. Life in the military is hard, and, contrary to romanticized perceptions of it, there's far more brutality and ugliness than glory and adulation. This is a lesson that all soldiers must learn at one time or another, and a scenario that, because of its inherent strength, has been dramatized for the screen countless times before. But, while the themes and ideas presented in FLAME are not unique, the setting and characters are. The events related in this movie transpire during the late 1970s, when Zimbabwe's war for independence "spread like a bush fire." The perspective is that of a pair of native female soldiers.
If there's a constant in the military, it's that men dominate the field of battle. Regardless of the culture and time period, this has always been true, and the male bias of armies makes it especially difficult for would-be female soldiers. Not only must they face the rigors of training, but they are forced to endure forms (some subtle, some obvious) of discrimination and sexual harassment. FLAME makes clear what we expect: such things happen in the untamed lands of Africa as readily as at the United States' famed military academies.
FLAME introduces us to two adolescent girls, Florence (Marian Kunonga) and Nyasha (Ulla Mahaka), who, seduced by the romantic lure of a war for freedom, leave their small home town in Zimbabwe (which, at the time, was still known as Rhodesia) and travel on foot to Mozambique to be trained as soldiers. One of the requirements for acceptance into a "liberation camp" is that they choose new names. Nyasha becomes known as "Liberty" and Florence as "Flame." Over the course of the war, Florence lives up to her new name, becoming one of the most courageous and passionate soldiers in her unit. But tragedy dogs her steps: she is raped, becomes pregnant, then faces several devastating losses. In the end, even her close friendship with Nyasha is fractured, and it takes an epilogue years after the end of the war to offer healing and closure.
At its heart, FLAME is less about war in general than about how the experience of being in the line of fire changes personalities. Florence and Nyasha drift apart because their different roles in the militia mold their viewpoints. Florence becomes involved in combat and is consumed by it; Nyasha, who joined the military to get an education, works as a typist. While the gradual widening of the rift between them is presented effectively, the "big scene" that severs their relationship is abrupt and unsatisfactory. In general, FLAME falters whenever a sequence demands a forceful display of emotion. Neither the director nor her actors appear capable of elevating the production to that more critical level.
While FLAME is interesting because of its unique perspective on a war that many North Americans know little about and its recognition of the contribution of women soldiers, it lacks the emotional depth necessary to transform it from a competent motion picture to a remarkable one. Sinclair is a widely-respected documentary film maker, so it comes as a surprise that one of FLAME's flaws is that it doesn't seem real enough. There isn't much attention to detail -- Sinclair is interested in telling her story, but not fine tuning it to the point where the audience develops more than a cursory sympathy for the main characters. A film with such broad, rich material should touch an audience on a more fundamental level than the intellectual one. FLAME never quite manages to accomplish that, making the experience of watching it worthwhile but incomplete.
- James Berardinelli e-mail<EMAIL_ADDRESS>ReelViews web site: http://www.cybernex.net/~berardin
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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{% load static %}
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Once the analysis is finished you can either take a look at the data
here
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July 18th will be powerful! Thank you to those who have already sent an RSVP to join the Caravan Through CUNY Communities in person or on Zoom! We will have hundreds of members in cars or on bikes and many more on Zoom. On Friday we will send the Zoom registration to all who have RSVP'd. If you have not yet RSVP'd please sign up here to attend in person or on zoom.
We're aiming to reach out to CUNY communities and show CUNY that we are more organized than ever, so your participation is essential!! On Zoom, we will show live footage of the FOUR borough caravans!! Plus, guest speakers will include members speaking on issues such as use of annual leave time, Research Foundation and adjunct layoffs, and returning to on-site work and a Budget Justice Coalition partner.
For those who are participating in the caravan, all participants must wear a mask at all times and remain socially distant. Here are the routes in each borough. Please print route and bring it with you! Bronx Brooklyn Queens Staten Island Experienced cyclists who are committed to wearing masks and maintaining social distance are welcome to attend but in Staten Island and the Bronx we are not organizing a bike contingent so in those boroughs, cyclists should stay at the rear of the caravan. Please read these further details for biking participants in advance of the event!
Further instructions and ideas! But be sure to RSVP if you haven't already ! Post signs on your car BEFORE arriving. Signs on the roof can be seen from apartments above. Take photos of your car and post on social media! We'll do our best to stay together but, if your car is separated, try to catch up and find the noise! Drive with your blinkers on, HONK, have fun and be #unionstrong! SOCIAL MEDIA is CRUCIAL! At our last action, Zoom participants caused our issues to trend to second on Twitter in NYC! Let's try to get to #1 on July 18th! Tag ▪ @PSC_CUNY ▪ @CUNY ▪ @NyGovCuomo ▪ @AndreaSCousins ▪ @CarlHeastie Use Hashtags: ▪ #CUNYSummerOfStruggle ▪ #CutCovidNotCUNY ▪ #MakeBillionairesPay ▪ #AdjunctsHoldUpCUNY ▪ #FundCUNYNow
Hashtags can also be used for signs, and here are a few more suggestions: NYC Needs CUNY Quality Ed = Funded CUNY Honk To Save CUNY Save Jobs - Fund CUNY New Deal 4 CUNY Shame on CUNY! - Stop Layoffs!
See you Saturday, in person or on Zoom!
Solidarity & power,
Andrea Vásquez, PSC First Vice President Luke Elliott-Negri, PSC University-wide Officer


I'm Jonah, a bacholers in Computer Information Science student. I am extremely passionate about technology and have been programming since the beginning of highschool. In addition to programming I am also an avid gamer, dungon master, and science fiction writer when I get the chance.


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AHAMMAD
I'm
web developer
javascript developer
About
I'm Raju Ahammad
Hello, I’m a UI/UX Designer & Frontend. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor.
Resume
Work & Education
FOUNDING HER FIRM (2018)
After founding, she has been celebrated for her intelligent integration of architecture and interior.
WIDEN THE WORKING SCOPE (2015)
Eschewing vernacular, Rhoda’s projects have ranged from sprawling country homes city residences.
FIRST BIG COMMISSIONS (2011)
First big commissions include the renovation of a 20,000-square-foot Manhattan townhouse.
RUNNING RB COLLECTION (2009)
RB Collection, Rhode’s fabric and rug lines, is available through designer showrooms country.
RECEIVING AD100 AWARD (2015)
Rhode has been awarded many of the country’s top design honors, including Architectural Digest.
B.S.C IN COMPUTER SCIENCE ENGINEERING (2019)
After founding, she has been celebrated for her intelligent integration of architecture and interior.
DIPLOMA IN COMPUTER TECHNOLOGY (2018)
Eschewing vernacular, Rhoda’s projects have ranged from sprawling country homes to elegant city residences.
S.S.C IN SCIENCE (2014)
First big commissions include the renovation of a 20,000-square-foot historical Manhattan townhouse.
JUNIOR SCHOOL CERTIFICATE (2011)
RB Collection, Rhode’s fabric and rug lines, is available through designer showrooms across the country.
Latest
From my Blog
Weekend trip Offers by HasTech
Treat yourself to a night re-living the golden age of the railway with a stay at The Old Railway Station in Petworth, West Sussex.
Become Who You Say You Always Will
If I have a chance to whisper the best advice to a baby and he’ll remember it for the rest of his life is this: ENJOY YOUR LIFE. Nothing
Explore Vancouver Mountain
During the summer my wife and I got to go on an amazing road trip in Vancouver Mountain with our good friends Samuel and Hildegunn Taipale


Tori was forked from one of four main modules of Yotsuba Project. Its objectives are:
- Simplify and minimize the setup and deploying process for tiny-to-large-scale web development.
- Based on top of Facebook's open-source Tornado Web Framework.
-
Support the deployment as a standalone WSGI server, a WSGI
application for Apache 2 (with
mod_wsgi
) and a Google App Engine application.


Chapter 8
Chapters
1: Introduction
2: Recommendation systems
3: Item-based filtering
4: Classification
5: More on classification
6: Naïve Bayes
7: Unstructured text
8: Clustering
Attributions
Clustering
This chapter looks at two different methods of clustering: hierarchical clustering and kmeans clustering.
Contents
- what is clustering
- hierarchical clustering
- single-linkage, complete-linkage, average-linkage
- clustering dog breeds
- clustering breakfast cereals
- kmeans clustering
- kmeans++
- Clustering Enron Email
The PDF of the Chapter
Python code
- hierarchicalClustererTemplate.py (p 20)
- hierarchicalClusterer.py (p 21)
- kmeans.py (p 40)
- kmeansPlusPlus.py (p 54)
Data
- dog.csv (dog breed example)
- cereal.csv (breakfast cereals)
- mpg.txt (car mpg data)
- enrondata.txt (Enron from-to counts data)
- mongodb dump of entire Enron data (> 300mb)


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Usability guidelines
Labeling of name fields
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The Apache CarbonData community welcomes all kinds of contributions from anyone with a passion for faster data format! Apache CarbonData is a new file format for faster interactive query using advanced columnar storage, index, compression and encoding techniques to improve computing efficiency,in turn it will help speedup queries an order of magnitude faster over PetaBytes of data.
We use a review-then-commit workflow in CarbonData for all contributions.
We discuss design and implementation issues on<EMAIL_ADDRESS>Join by emailing<EMAIL_ADDRESS>We use Apache JIRA as an issue tracking and project management tool, as well as a way to communicate among a very diverse and distributed set of contributors. To be able to gather feedback, avoid frustration, and avoid duplicated efforts all CarbonData-related work should be tracked there.
If you do not already have an Apache JIRA account, sign up here.
If a quick search doesn?t turn up an existing JIRA issue for the work you want to contribute, create it. Please discuss your proposal with a committer or the component lead in JIRA or, alternatively, on the developer mailing list(dev@carbondata.apache.org).
If there?s an existing JIRA issue for your intended contribution, please comment about your intended work. Once the work is understood, a committer will assign the issue to you. (If you don?t have a JIRA role yet, you?ll be added to the "contributor" role.) If an issue is currently assigned, please check with the current assignee before reassigning.
For moderate or large contributions, you should not start coding or writing a design doc unless there is a corresponding JIRA issue assigned to you for that work. Simple changes, like fixing typos, do not require an associated issue.
To clearly express your thoughts and get early feedback from other community members, we encourage you to clearly scope, document the design of non-trivial contributions and discuss with the CarbonData community before you start coding.
Generally, the JIRA issue is the best place to gather relevant design docs, comments, or references. It?s great to explicitly include relevant stakeholders early in the conversation. For designs that may be generally interesting, we also encourage conversations on the developer?s mailing list.
We use GitHub?s pull request functionality to review proposed code changes. If you do not already have a personal GitHub account, sign up here.
Ensure to finish the below config(user.email, user.name) before starting PR works.
$ git config --global user.email<EMAIL_ADDRESS>$ git config --global user.name "Your Name"
Go to the Apache CarbonData GitHub mirror and fork the repository to your account. This will be your private workspace for staging changes.
 Clone CarbonData?s read-only GitHub mirror.
$ git clone https://github.com/apache/carbondata.git
$ cd carbondata
Add your forked repository as an additional Git remote, where you?ll push your changes.
$ git remote add <GitHub_user> https://github.com/<GitHub_user>/carbondata.git
You are now ready to start developing!
You?ll work on your contribution in a branch in your own (forked) repository. Create a local branch, initialized with the state of the branch you expect your changes to be merged into. Keep in mind that we use several branches, including master, feature-specific, and release-specific branches. If you are unsure, initialize with the state of the master branch.
$ git fetch --all
$ git checkout -b <my-branch> origin/master
At this point, you can start making and committing changes to this branch in a standard way.
Periodically while you work, and certainly before submitting a pull request, you should update your branch with the most recent changes to the target branch.
$ git pull --rebase
Remember to always use --rebase parameter to avoid extraneous merge commits.
To push your local, committed changes to your (forked) repository on GitHub, run:
$ git push <GitHub_user> <my-branch>
All code should have appropriate unit testing coverage. New code should have new tests in the same contribution. Bug fixes should include a regression test to prevent the issue from reoccurring.
For contributions to the Java code, run unit tests locally via Maven.
$ mvn clean verify
Once the initial code is complete and the tests pass, it?s time to start the code review process. We review and discuss all code, no matter who authors it. It?s a great way to build community, since you can learn from other developers, and they become familiar with your contribution. It also builds a strong project by encouraging a high quality bar and keeping code consistent throughout the project.
Organize your commits to make your reviewer?s job easier. Use the following command to re-order, squash, edit, or change description of individual commits.
$ git rebase -i origin/master
Navigate to the CarbonData GitHub mirror to create a pull request. The title of the pull request should be strictly in the following format:
[CARBONDATA-JiraTicketNumer][FeatureName] Description of pull request
Please include a descriptive pull request message to help make the reviewer?s job easier:
- The root cause/problem statement
- What is the implemented solution
If you know a good committer to review your pull request, please make a comment like the following. If not, don?t worry, a committer will pick it up.
Hi @<committer/reviewer name>, can you please take a look?
During the code review process, don?t rebase your branch or otherwise modify published commits, since this can remove existing comment history and be confusing to the reviewer, When you make a revision, always push it in a new commit.
Our GitHub mirror automatically provides pre-commit testing coverage using Jenkins. Please make sure those tests pass,the contribution cannot be merged otherwise.
Once the reviewer is happy with the change, they?ll respond with an LGTM ("looks good to me!"). At this point, the committer will take over, possibly make some additional touch ups, and merge your changes into the codebase.
In the case both the author and the reviewer are committers, either can merge the pull request. Just be sure to communicate clearly whose responsibility it is in this particular case.
Thank you for your contribution to Apache CarbonData!
Once the pull request is merged into the Apache CarbonData repository, you can safely delete the branch locally and purge it from your forked repository.
From another local branch, run:
$ git fetch --all
$ git branch -d <my-branch>
$ git push <GitHub_user> --delete <my-branch>


ATTENTION:
Rotten Tomatoes recently changed their API's terms of service. Unfortunately, Better Than Freddy will no longer function until I get around to switching to a new API.
Is
better than
Freddy Got Fingered?
Hmmm...
It's
--
--
avg
vs
avg


You have the ability to share all of the content within this tool to friends, family, loved ones, well really anyone you want to know about this particular clinical trial. It’s important for others to know what is going on and encourage you to share it. Simply enter their name and email. They will recieve access to the same educational resources you have.
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GPXMetadata
public final class GPXMetadata : GPXElement, Codable
A value type that represents the metadata header of a GPX file.
Information about the GPX file should be stored here.
- Supported Info types:
- Name
- Description
Copyright
CopyrightDate
Date and TimeKeyword
Keyword- Bounds
- Also supports extensions
-
Name intended for the GPX file.
Declaration
Swift
public var name: String?
-
Description about what the GPX file is about.
Declaration
Swift
public var desc: String?
-
Copyright of the file, if required.
Declaration
Swift
public var copyright: GPXCopyright?
-
A web link, usually one with information regarding the GPX file.
Declaration
Swift
@available(*, deprecated, renamed: "links.first", message: "CoreGPX now support multiple links.") public var link: GPXLink? { get }
-
Web links, usually containing information regarding the current GPX file which houses this metadata.
Declaration
Swift
public var links: [GPXLink]
-
Date and time of when the GPX file is created.
Declaration
Swift
public var time: Date?
-
Keyword of the GPX file.
Declaration
Swift
public var keywords: String?
-
Boundaries of coordinates of the GPX file.
Declaration
Swift
public var bounds: GPXBounds?
-
Extensions to standard GPX, if any.
Declaration
Swift
public var extensions: GPXExtensions?
-
Default initializer.
Declaration
Swift
required public init()


|
V8 API Reference Guide for node.js v0.12.18
|
#include <v8.h>
Public Member Functions | |
| bool | Set (Handle< Value > key, Handle< Value > value) |
| bool | Set (uint32_t index, Handle< Value > value) |
| bool | ForceSet (Handle< Value > key, Handle< Value > value, PropertyAttribute attribs=None) |
| Local< Value > | Get (Handle< Value > key) |
| Local< Value > | Get (uint32_t index) |
| PropertyAttribute | GetPropertyAttributes (Handle< Value > key) |
| Local< Value > | GetOwnPropertyDescriptor (Local< String > key) |
| bool | Has (Handle< Value > key) |
| bool | Delete (Handle< Value > key) |
| bool | ForceDelete (Handle< Value > key) |
| bool | Has (uint32_t index) |
| bool | Delete (uint32_t index) |
| bool | SetAccessor (Handle< String > name, AccessorGetterCallback getter, AccessorSetterCallback setter=0, Handle< Value > data=Handle< Value >(), AccessControl settings=DEFAULT, PropertyAttribute attribute=None) |
| bool | SetDeclaredAccessor (Local< String > name, Local< DeclaredAccessorDescriptor > descriptor, PropertyAttribute attribute=None, AccessControl settings=DEFAULT) |
| void | SetAccessorProperty (Local< String > name, Local< Function > getter, Handle< Function > setter=Handle< Function >(), PropertyAttribute attribute=None, AccessControl settings=DEFAULT) |
| bool | HasPrivate (Handle< Private > key) |
| bool | SetPrivate (Handle< Private > key, Handle< Value > value) |
| bool | DeletePrivate (Handle< Private > key) |
| Local< Value > | GetPrivate (Handle< Private > key) |
| Local< Array > | GetPropertyNames () |
| Local< Array > | GetOwnPropertyNames () |
| Local< Value > | GetPrototype () |
| bool | SetPrototype (Handle< Value > prototype) |
| Local< Object > | FindInstanceInPrototypeChain (Handle< FunctionTemplate > tmpl) |
| Local< String > | ObjectProtoToString () |
| Local< String > | GetConstructorName () |
| int | InternalFieldCount () |
| V8_INLINE Local< Value > | GetInternalField (int index) |
| void | SetInternalField (int index, Handle< Value > value) |
| V8_INLINE void * | GetAlignedPointerFromInternalField (int index) |
| void | SetAlignedPointerInInternalField (int index, void *value) |
| bool | HasOwnProperty (Handle< String > key) |
| bool | HasRealNamedProperty (Handle< String > key) |
| bool | HasRealIndexedProperty (uint32_t index) |
| bool | HasRealNamedCallbackProperty (Handle< String > key) |
| Local< Value > | GetRealNamedPropertyInPrototypeChain (Handle< String > key) |
| Local< Value > | GetRealNamedProperty (Handle< String > key) |
| bool | HasNamedLookupInterceptor () |
| bool | HasIndexedLookupInterceptor () |
| void | TurnOnAccessCheck () |
| int | GetIdentityHash () |
| bool | SetHiddenValue (Handle< String > key, Handle< Value > value) |
| Local< Value > | GetHiddenValue (Handle< String > key) |
| bool | DeleteHiddenValue (Handle< String > key) |
| bool | IsDirty () |
| Local< Object > | Clone () |
| Local< Context > | CreationContext () |
| void | SetIndexedPropertiesToPixelData (uint8_t *data, int length) |
| bool | HasIndexedPropertiesInPixelData () |
| uint8_t * | GetIndexedPropertiesPixelData () |
| int | GetIndexedPropertiesPixelDataLength () |
| void | SetIndexedPropertiesToExternalArrayData (void *data, ExternalArrayType array_type, int number_of_elements) |
| bool | HasIndexedPropertiesInExternalArrayData () |
| void * | GetIndexedPropertiesExternalArrayData () |
| ExternalArrayType | GetIndexedPropertiesExternalArrayDataType () |
| int | GetIndexedPropertiesExternalArrayDataLength () |
| bool | IsCallable () |
| Local< Value > | CallAsFunction (Handle< Value > recv, int argc, Handle< Value > argv[]) |
| Local< Value > | CallAsConstructor (int argc, Handle< Value > argv[]) |
| 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 | IsPromise () 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_INLINE int | InternalFieldCount (const PersistentBase< Object > &object) |
| static V8_INLINE void * | GetAlignedPointerFromInternalField (const PersistentBase< Object > &object, int index) |
| static Local< Object > | New (Isolate *isolate) |
| static V8_INLINE Object * | Cast (Value *obj) |
| Static Public Member Functions inherited from v8::Value | |
| template<class T > | |
| static V8_INLINE Value * | Cast (T *value) |
A JavaScript object (ECMA-262, 4.3.3)
Call an Object as a constructor if a callback is set by the ObjectTemplate::SetCallAsFunctionHandler method. Note: This method behaves like the Function::NewInstance method.
Call an Object as a function if a callback is set by the ObjectTemplate::SetCallAsFunctionHandler method.
Clone this object with a fast but shallow copy. Values will point to the same values as the original object.
| Local<Object> v8::Object::FindInstanceInPrototypeChain | ( | Handle< FunctionTemplate > | tmpl | ) |
Finds an instance of the given function template in the prototype chain.
| void * v8::Object::GetAlignedPointerFromInternalField | ( | int | index | ) |
Gets a 2-byte-aligned native pointer from an internal field. This field must have been set by SetAlignedPointerInInternalField, everything else leads to undefined behavior.
|
inlinestatic |
Same as above, but works for Persistents
Returns the name of the function invoked as a constructor for this object.
| int v8::Object::GetIdentityHash | ( | ) |
Returns the identity hash for this object. The current implementation uses a hidden property on the object to store the identity hash.
The return value will never be 0. Also, it is not guaranteed to be unique.
Returns Object.getOwnPropertyDescriptor as per ES5 section <IP_ADDRESS>.
This function has the same functionality as GetPropertyNames but the returned array doesn't contain the names of properties from prototype objects.
Gets the property attributes of a property which can be None or any combination of ReadOnly, DontEnum and DontDelete. Returns None when the property doesn't exist.
Returns an array containing the names of the enumerable properties of this object, including properties from prototype objects. The array returned by this method contains the same values as would be enumerated by a for-in statement over this object.
Get the prototype object. This does not skip objects marked to be skipped by proto and it does not consult the security handler.
If result.IsEmpty() no real property was located on the object or in the prototype chain. This means interceptors in the prototype chain are not called.
If result.IsEmpty() no real property was located in the prototype chain. This means interceptors in the prototype chain are not called.
| bool v8::Object::HasIndexedLookupInterceptor | ( | ) |
Tests for an index lookup interceptor.
| bool v8::Object::HasNamedLookupInterceptor | ( | ) |
Tests for a named lookup interceptor.
Functionality for private properties. This is an experimental feature, use at your own risk. Note: Private properties are inherited. Do not rely on this, since it may change.
| int v8::Object::InternalFieldCount | ( | ) |
Gets the number of internal fields for this Object.
|
inlinestatic |
Same as above, but works for Persistents
| bool v8::Object::IsCallable | ( | ) |
Checks whether a callback is set by the ObjectTemplate::SetCallAsFunctionHandler method. When an Object is callable this method returns true.
| bool v8::Object::IsDirty | ( | ) |
Returns true if this is an instance of an api function (one created from a function created from a function template) and has been modified since it was created. Note that this method is conservative and may return true for objects that haven't actually been modified.
Call builtin Object.prototype.toString on this object. This is different from Value::ToString() that may call user-defined toString function. This one does not.
| void v8::Object::SetAlignedPointerInInternalField | ( | int | index, |
| void * | value | ||
| ) |
Sets a 2-byte-aligned native pointer in an internal field. To retrieve such a field, GetAlignedPointerFromInternalField must be used, everything else leads to undefined behavior.
| void v8::Object::SetIndexedPropertiesToExternalArrayData | ( | void * | data, |
| ExternalArrayType | array_type, | ||
| int | number_of_elements | ||
| ) |
Set the backing store of the indexed properties to be managed by the embedding layer. Access to the indexed properties will follow the rules spelled out for the CanvasArray subtypes in the WebGL specification. Note: The embedding program still owns the data and needs to ensure that the backing store is preserved while V8 has a reference.
| void v8::Object::SetIndexedPropertiesToPixelData | ( | uint8_t * | data, |
| int | length | ||
| ) |
Set the backing store of the indexed properties to be managed by the embedding layer. Access to the indexed properties will follow the rules spelled out in CanvasPixelArray. Note: The embedding program still owns the data and needs to ensure that the backing store is preserved while V8 has a reference.
Sets the value in an internal field.
Set the prototype object. This does not skip objects marked to be skipped by proto and it does not consult the security handler.
| void v8::Object::TurnOnAccessCheck | ( | ) |
Turns on access check on the object if the object is an instance of a template that has access check callbacks. If an object has no access check info, the object cannot be accessed by anyone.


Overview¶
About¶
hTools2
is a collection of tools and objects for type-design & font-production work. It is written in Python and specially tailored for use with RoboFont.
The core Python modules and objects can also be used with FontLab Studio, ‘NoneLab’ (pure Python) and DrawBot.
hTools2
is built with RoboFab and vanilla. It uses the UFO font format to store font sources, and plist files to store different kinds of font data.
Structure¶
hTools2
is organized in three main packages: modules
, objects
and dialogs
.
The additional package extras
is used to keep custom modules which are not part of the public distribution of hTools2
.
Modules¶
Modules are the base layer of hTools2
, and are used to collect and organize low-level, generic, reusable functions.
Each module is dedicated to one aspect of font data – for example interpol
contains functions to work with interpolation, anchors
deals with anchors, and so on.
hTools2
modules rely heavily on underlying functionality provided by RoboFab and RoboFont to manipulate fonts.
hTools2
also integrates a few third-party external modules in a special extras
package, for example colorsys
for dealing with color conversions and nudge
for special manipulation of bezier points.
Objects¶
hTools2
objects are built on top of the functionality contained in the modules, and provide a simple API for manipulating font files and related data in projects.
Libs¶
Metadata in font projects is stored in standardized plist
and plain text files.
Dialogs¶
Scripts and dialogs make hTools2
objects and modules easily accessible in applications. Current scripts in hTools2
are built specially for use with RoboFont.
In RoboFont, scripts can be accessed with the ‘Extensions’ section of the main application menu, or via keyboard shortcuts (if properly configured).


--- layout: single title: "music i like" subtitle: "Jarvis, turn on the music" permalink: /music/ author_profile: true header: overlay_image: "https://khanhsaker97.github.io/assets/img/music/bg.png" ---


Sars Guns For Former Prasa CEO Lucky Montana Over R1.8M In Unpaid Taxes
by NT EditorThe South African Revenue Service (Sars) has obtained warrants of execution to seize the moveable assets of former Passenger Rail Agency of South Africa (Prasa) CEO Lucky Montana.
Montana confirmed this on Wednesday saying it was in connection with unpaid taxes of about R1.8 million. The debt related to the capital gains taxes he failed to pay when he bought two properties worth millions of rand.
The former Prasa boss was dismissed from the parastatal in 2015 following allegations of maladministration and corruption, which he denied.
Montana said the sheriff of the court ambushed him at his Saxonwold home on Wednesday with a warrant of execution. The taxman arrived to seize his moveable assets such as his cars and furniture, but nothing was taken away.
He admitted he owed Sars but claimed he was in negotiations to pay the tax agency by selling one of his properties.
He accused Sars of being vindictive and unethical, and its leadership of abusing their power at the institution.
Montana said he had also withdrawn from testifying at the Zondo commission of inquiry. He claimed this was because he was being pressured to drop some aspects of his statement, which allegedly exposed corrupt activities at Sars.


Rehearsals begin for Macy's Thanksgiving Day Parade in Manhattan
by Eyewitness NewsNEW YORK (WABC) -- Rehearsals begin Monday for the Macy's Thanksgiving Day Parade.
Broadway stars, celebrities and various performance groups will begin to prepare for the annual event.
This year there are worries over the weather's impact on the parade.
Under New York City law, balloons cannot fly if sustained winds exceed 23 miles per hour, or if gusts are stronger than 34 miles per hour.
If it is too windy, the balloons will be grounded and walked through the streets.
Back in 1997, on a very blustery Thanksgiving Day morning in New York City, the iconic Cat and the Hat balloon got caught up in some strong wind gusts. The balloon handlers couldn't control it and it blew into a lamppost, injuring four spectators.
In 1993, an off-duty police officer was struck after Sonic the Hedgehog hit a light post. The officer's shoulder was broken.
Injuries from an incident in 2005 -- in which a huge M&M balloon bounced off a building and hit a light pole, tearing part of the pole down -- weren't severe. An 11-year-old girl and her 26-year-old sister suffered a chipped tooth, a cut that needed stitches and bruises.
After the 1997 and 2005 accidents, the new safety strategies were adopted.


{% extends "index/base.html" %} {% load static %} {% load bootstrap %} {% block title_name %} {% endblock title_name %} {% block body_block %}
hint: HOLD shift to select more than two object
hint: any change you made will save to the group


stin v0.2.1¶
About¶
Steady influx modeling package (stin) allows for simulation of steady influx of gas into a vertical steady flow of liquid for a limited range of flow parameters. It is built on drift-flux model. This is a python package, so one should have python (with the standard library) installed on the computer. Required python version is 3.7 or newer. The package has a documentation website. It is worth mentioning, that the documentation website is still under construction and currently has bad readability. Therefore, it is recommended to use this documentation file along with the report for the purpose of the package exploration. As soon as the documentation website is updated, this paragraph will notify users about that. To date, one can find mathematical description of the package along with the software description in the report.
Installation¶
Installation from source¶
Download the package from GitHub. Then there are 2 options.
1st option:
On your computer, from the command line of your choice, go to the package root repository.
In the command line, type in:py setup.py install(this command will install the package with all necessary dependencies).
In this case, the package can only be uninstalled manually. For Windows go to *C:\Users\your_user_name\AppData\Local\Continuum\anaconda3\Lib\site-packages*There you may find a folder called stin-0.2.0-py3.7.egg (the folder name may vary dependently on the package version and version of python you use). Delete this folder and the package will be deleted.Note that AppData is a hidden folder.For OSX and Linux the process of uninstallation was not tested.
2nd option:
On your computer, from the command line of your choice, being in any directory (it doesn’t matter), type in:pip install <path to the package’s root directory>E.g. for windows:pip install C:\Users\your_user_name\Documents\stinIn this example, stin is the root directory of the package: the one which contains setup.py file.
In order to uninstall the package, from command line of your choice, being in any directory (it doesn’t matter), type in:pip uninstall stin
Installation from TestPyPI¶
In the command line of your choice (in any directory - it doesn’t matter), type in:pip install -i https://test.pypi.org/simple/ stin
To uninstall the package use:pip uninstall stin
Getting started¶
Let’s consider usage of the package on the example.
In command line (being in any directory - it doesn’t matter) type in: py -m stin -alpha 0.01:
alternatively, it can be run as: py -m stin –initial_gas_fraction 0.01,
-m runs the package as a module,
-alpha (or –initial_gas_fraction) is a variable that the package takes to run the code - it is influx’s initial volume fraction,
0.01 is the value of the variable: can be anything from 0 to 1 not including the extremes:
for the zeroth version of the package it is not recommended to specify initial gas fraction values more than 0.4.
The output is a set of graphs for each flow variable with relation to the length of the vertical pipe,
the flow variables are velocities of gas and liquid phases, volume fractions of gas and liquid phases, gas phase density, flow pressure - their distributions along the flow is the output of the software,
one may find plots for the current example with explanation in the section 4 of the report.
Testing¶
Using installation from source:
In command line, being in the root directory of the package, type in: pytest or pytest -vv –cov=./
In both cases the result is the same: a user will see two tables
the first one will contain names of the unit and integration tests and passing marks to the right of them,
the second one will contain test coverage,
test coverage for the package is 82%:
test coverage doesn’t work in TravisCI, that is why continuous integration status badge at the top of this file shows failing - fixing this issue entails rewriting a chunk of code and is considered to be a part of future work,
integration tests are not written for the plotting function, that is why test coverage is 82% only; writing tests for the plotting function is above the author’s knowledge, hence, is considered to be time consuming and left for the future work.
Using installation from TestPyPI:
the author is not aware of any way to apply either pytest or pytest-cov on an installed package,
testing can be done only from within package’s root directory - for that purpose the package should be downloaded from GitHub and the above described procedure can be implemented.


BIBTEX2HTML(1) BIBTEX2HTML(1) NAME BibTeX2HTML - A translator of bibliography databases into HTML SYNOPSIS bibtex2html [options] <filename> DESCRIPTION bibtex2html is a translator which reads a bibliography file and outputs two HTML documents that contain respectively the cited bibliography in a nice presentation, and the original BibTeX file augmented with several transparent HTML links to allow easy navigation. OPTIONS General aspect of the HTML document -t string, --title string specify the title of the HTML file (default is the file name). --header string give an additional header for the HTML document. --footer string give an additional footer for the HTML document. -s string, --style string use BibTeX style string (plain, alpha, etc.). Default style is plain. -noabstract, --no-abstract do not print the abstracts (if any). -nokeywords, --no-keywords do not print the keywords (if any). -both, --both produce both pages with and without abstracts. If the BibTeX file is foo.bib then the two pages will be respectively foo.html and foo_abstracts.html (The suffix may be different, see option --suf‐ fix). Links are inserted from the page without abstracts to the page with abstracts. -nokeys, --no-keys do not print the cite keys. -use-keys, --use-keys use the cite keys from the BibTeX input file (and not the ones generated by the BibTeX style file). -rawurl, --raw-url print URLs instead of files' types. -heveaurl, --hevea-url interpret the macro rl as HeVeA's one, i.e. with two arguments, the first one being the url and the second one the text to print. The default behavior is to interpret the macro \url as the one from the package url, which has only one argument (the url itself). -f field, --field field add a web link for that BibTeX field. -nf field string, --named-field field string similar to -f but specifies the way to display the link (e.g. -nf springer "At Springer's"). -note field, --note field declare that a field must be treated like the abstract field, i.e. is an annotation to be displayed as a text paragraph below the entry. -multiple, --multiple make a separate web page for each entry. Beware: this option pro‐ duces as many HTML files as BibTeX entries! -single, --single produce a single document, inserting each BibTeX entry (the input) right after its BibTeX output. -bg color, --background color set the background color of the HTML file (default is none). -css file, --style-sheet file set a style sheet file for the HTML document (default is none). -charset c, --charset c specify the charset to use in the META tag of generated html files. The default is the output of the command locale charmap, or if this doesn't work, ISO-8859-1. -dl, --dl use HTML DL lists instead of HTML tables to format entries. -unicode, --unicode use Unicode entities for some macros, such as ⊨ for \mod‐ els, etc. -html-entities, --html-entities use HTML entities for some macros, such as ≈ for \approx, etc. Controlling the translation -m file, --macros-from file read the LATEX macros in the given file. Note: bibtex2html does not handle macros arguments; arguments are simply discarded. -noexpand, --no-expand do not expand the abbreviation strings, leave them in the output file. Selecting the entries -citefile filename, --citefile filename Select only keys appearing in filename. To be used manually or in conjonction with bib2bib. -e key, --exclude key exclude an particular entry. Sorting the entries -d, --sort-by-date sort by date. -a, --sort-as-bibtex sort as BibTeX (usually by author). -u, --unsorted unsorted i.e. same order as in .bib file (default). -r, --reverse-sort reverse the sort. --revkeys number entries in reverse order (i.e. from n to 1 in plain style). Miscellaneous options --print-keys do not produce any HTML documents but write to stdout the sorted list of BibTeX keys (one key per line). -nodoc, --nodoc do not produce a full HTML document but only its body (useful to merge the HTML bibliography in a bigger HTML document). -nobibsource, --nobibsource do not produce the _bib.html file. In that case, no BibTeX entry links are inserted in the HTML file. -suffix string, --suffix string give an alternate suffix string for both HTML files and links (default is .html). -fsuffix string, --file-suffix string give an alternate suffix string for HTML files (default is .html). -lsuffix string, --link-suffix string give an alternate suffix string for HTML links (default is .html). -o file, --output file specifies the output file. If file is -, then the standard output is selected. -c command, --command command specify the BibTeX command (default is bibtex -min-cross‐ refs=1000). May be useful for example if you need to specify the full path of the bibtex command. -i, --ignore-errors ignore BibTeX errors. -q, --quiet be quiet. -w, --warn-error stop at the first warning. -h, --help print a short usage and exit. -v, --version print the version and exit. -noheader, --no-header do not insert the bibtex2html command in the HTML document (default is to insert it as a comment at the beginning). AUTHOR Bibtex2html has been written by Jean-Christophe FilliÃ¢tre and Claude MarchÃ©. This manpage has been compiled by Ralf Treinen from the origi‐ nal bibtex2html documentation. SEE ALSO bib2bib(1),bibtex(1),hevea(1) http://www.lri.fr/~filliatr/bibtex2html/ For complete documentation, please check the bibtex2html manual. On a Debian system the manual can be found at /usr/share/doc/bibtex2html both in the formats postscript and HTML, or via the Debian help system. BIBTEX2HTML(1)


Publishing a Form Globally
If you are a system administrator, you may publish a form globally (that is, for all sites in a CLE instance). To do so, log in and follow these steps:
- Click the Administration folder at the top of the screen.
- Select the PortfolioAdmin site.
- Access the Forms tool. Sakai displays the Forms home page.
- Find the form you want to publish and click the approve global publish link beneath its name. Sakai displays this confirmation screen:
- Click Yes. Sakai makes the form available to all sites.


Ploror688.github.io
Vocabulary/homework booklets Studio 1 French. St John's CofE Primary School and Nursery. Year 7 French Homework - TES Resources. Dovelands Primary School Learning Effort Creativity and colour Including Everybody Well-being Community. Information on France ( for Kids) - Primary Homework. Home Gade Valley Junior Mixed Infant and Nursery School. Free Interactive Primary or Elementary Key Stage 2 ages 6-11 years, Literacy and English Teacher Resources and fun Kids Games. English learning as a second language. Interesting facts, images and videos about World War II for primary school children to use in topic-work. KS3 French Homework Tasks by katchivers - Teaching.
Plants produce flowers to make seeds. To make a seed a flower must be pollinated. Pollen from the male part of one flower travels to the female World War II for children World War II homework. Collins Easy LearningKS2 French Resources Download audio files Download Track 1 Download Track 2 Download Track 3 Download Track 4 Download Track 5 Download Track.
Free Interactive Primary or Elementary Key Stage 1 and Key Stage 2 Numeracy, Maths, Literacy, English, Science, Religious Education, Geography, Design Technology. These booklets (print A5) have been created to go with Studio 1 the new textbook from Heinemann. These booklets go with the first 3 modules and include levels. Key Stage 2 is a phase of primary education for pupils aged 7 to 11 in England and Wales, or 8 to 11 in Northern Ireland. Emmaus Church of England and Catholic Primary School. Linguafun is an interactive online language learning resource for primary schools. It is designed to help children learn English, French, Spanish, Italian, German.
A set of project style homework tasks based on the topics found in Expo 1-3. Tasks are sub-divided into visual, audio and kinaesthetic activities.
Linguascope The World's Number 1 Interactive Language.
KS2 French overview (new 2014 Curriculum) by geoffuk2003. Fortnightly sheet to support homework for French. Reading Writing Learning and Extension activities Saves writing in planner and supports where students cannot.
Printable Activities and Education Resources for - iChild.
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