|
||||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
public interface QueryIterHandler
Used by QueryIterator to "walk" QueryS.
| Method Summary | |
|---|---|
void |
addLink(QGAddLink qgAddLink)
Called when an addLink is encountered. |
void |
cachedItem(java.lang.String itemName,
java.lang.String containerName)
Called when a cachedElement is encountered |
void |
constraint(QGConstraint qgConstraint)
Called when a constraint is encountered. |
void |
edge(QGEdge qgEdge)
Called when an edge is encountered. |
void |
endAbstractQuery(AbstractQuery abstractQuery)
Called when an AbstractQuery is finished. |
void |
startAbstractQuery(AbstractQuery abstractQuery)
Called when an AbstractQuery is started, before its vertices, edges, and subqueries are done. |
void |
startConstraints()
Called when constraints are started. |
void |
startEdges()
Called when edges are started. |
void |
startVertices()
Called when vertices are started. |
void |
vertex(QGVertex qgVertex)
Called when a vertex is encountered. |
| Method Detail |
|---|
void addLink(QGAddLink qgAddLink)
qgAddLink
- void cachedItem(java.lang.String itemName, java.lang.String containerName)
itemName
- containerName
- the name of the container where it's cachedvoid constraint(QGConstraint qgConstraint)
qgConstraint
- void edge(QGEdge qgEdge)
qgEdge
- void endAbstractQuery(AbstractQuery abstractQuery)
abstractQuery
- void startAbstractQuery(AbstractQuery abstractQuery)
abstractQuery
- void startConstraints()
void startEdges()
void startVertices()
void vertex(QGVertex qgVertex)
qgVertex
-
|
||||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |


BEL Commons is a free, open-source web platform for Biological Expression Language built on top of PyBEL.
If you find BEL Commons useful in your work, please consider citing: Hoyt, C. T., Domingo-Fernández, D., & Hofmann-Apitius, M. (2018). BEL Commons: an environment for exploration and analysis of networks encoded in Biological Expression Language. Database, 2018(3), 1–11.


About
Who writes Code Adventurer?
Hi! I’m Persa, and I’m a full-stack web developer with a curious mind. I like to write about my experiments and experiences as a programmer and share them with the world. If you want to learn more about me or my background, my website is a good source of information, as well as my twitter. If you find any problems within my blog posts or tutorials, don’t hesitate to reach out through the comments, Twitter, or my website to let me know.


History of Morning Practice date_range ${date.getDate()} ${arrival.arrivedTime.slice(0, 5)} local_dining ${arrival.gotchPoint} GP ${h.sumGotchPoint()} av_timer


Become a SRCCON Sponsor
“You all are leading the way on how to have a great conference that is welcoming for everyone, and someday the tech industry will be so much better off when it adopts what you’ve done.”
“This was the first conference I’ve been a part of where I felt I belonged on every level.”
SRCCON is a journalism conference people love. This reaction comes from the approach SRCCON takes: highly participatory and extraordinarily inclusive. We’re grateful for the support of sponsors in helping make this event possible.
Help Make SRCCON Happen
We’re seeking sponsors for SRCCON 2019, which will host 300 participants in Minneapolis on July 11-12.
Available sponsorships include:
- Lead sponsorship and partnership sponsors - core supporters who make it possible to keep ticket prices low, offer facilitation training to session leaders, and support all attendees in having a great experience
- Accessibility sponsors - support for scholarships, transcription, and childcare
- Meal and snacks sponsors - helping keep attendees nourished throughout the event
- Event sponsors - help make the entire event possible
- Special event sponsors for local organizations - a chance for local media and technology companies and foundations to connect with a national audience
Each sponsorship includes at least 1 free ticket and different types of visibility and recognition throughout the event. Contact Erika Owens for a full kit with pricing and further details. We love chatting with folks to find the best way we can collaborate to welcome your team to the event and make it inclusive for all attendees!
What Is SRCCON
OpenNews has been hosting SRCCON annually since 2014, and added a series of smaller, topical conferences starting in 2017 with SRCCON:WORK and continuing in 2018 with SRCCON:POWER. At SRCCON conferences, participants come first so they can focus on collaborating on the work at hand. Over this time SRCCON has:
- welcomed 1,400 participants, with a healthy mix of new and returning attendees each time.
- hosted 293 interactive, collaborative sessions on topics ranging from archiving and algorithms to management and self-care.
- provided scholarship support to help 193 participants and facilitators attend the event.
- operated with inclusion and accessibility as core design features, providing live transcription, childcare, tasty food and drink for all dietary needs, and a schedule with space to refresh and connect.
- created a code of conduct and incident response plan that supports attendees and has influenced the journalism community, including ONA and IRE conferences.
- led to countless job connections, innovative project ideas and collaborations, and new organizational policies on hiring, inclusion, mentorship, workflow, development processes, and more.
Who Attends and Why
People come first at SRCCON. The entire event is set up to allow participants to focus on getting to know each other and learn from the wisdom in the room. A third of participants also facilitate sessions, leading conversations and skillshares that help folks bring new ideas and experience back to their newsrooms.
The SRCCON 2018 audience included:
- 304 attendees from New York and DC, Minneapolis, Chicago, San Francisco, Los Angeles, Louisville, Boston, Philadelphia, Austin, Knoxville, Spokane, Durham, Iowa Falls, and numerous other cities throughout the U.S. and beyond.
- participants from a range of editorial and/or technical roles. About 25% of participants are in a senior, editor, or other leadership role. About 20% are in a developer or engineer role. Other roles represent about 10% of attendees each, including data, design, product, and reporting.
- about half of attendees identify as women and about a quarter identify as people of color.
- companies represented include news organizations, journalism-serving organizations, tech companies in and near journalism, academia, and more. These organizations reflect the range of companies involved in journalism, from giant coastal papers and digital operations to nonprofit outlets, local papers that are part of national chains, privately held orgs, and related tech companies and startups.
SRCCON 2018 participants attended because:
- they wanted to discuss challenges facing their teams every day. The entire SRCCON schedule was built from session pitches from attendees, including topics like: technical communication, collaboration, engagement, algorithms, news nerd career paths, security, accessibility, supporting journalists of color, data viz, management, and more.
- they wanted to (and reported being able to!) build stronger network connections, to find new strategies to take back to their newsroom, and to learn more about new tools and tactics to improve their journalism.
“My job very much straddles the line between technology and the newsroom and in 20 years of being in the newspaper (media) business, this is the first conference I’ve been to that I felt like was specifically for me. I could contribute meaningfully to every session I went to.”
Why Sponsor SRCCON
For journalism-technologists, newsroom leaders (both formal and informal), and others seeking to change journalism for the better, SRCCON is where they can sit down away from the deadlines and the day-to-day and learn from each other. We want you to help make that happen.
About the 2018 program:
- sessions included a kickoff kit for new teams starting off, a discussion of rebuilding ad tech, a product design exercise for membership programs, and a wide range of additional sessions with tons of transcripts, notes, and resources documented.
- designed around our facilitated session format that enables attendees to engage deeply in a purposeful way.
- with a Thursday evening program of hobby talks, games, dinner, and a walking tour that a third of participants went on (including one kiddo in a stroller), after an emotionally intense day.
Sponsors help us make this event unique and accessible by keeping our ticket price well below cost, getting people to the event, and bringing in the special touches that make SRCCON… SRCCON. As one attendee put it, “The structure of the program and the attention to detail and people’s needs is what makes this an exceptional and special event.” Sponsors are what make the detail, intentional design, and accessibility all possible.
“SRCCON is the best conference I go to all year. It’s so thoughtful and well planned. I feel happy, safe, and informed.” (all quotations from SRCCON attendees in post-event surveys)
Interested in having your company or organization become a sponsor of SRCCON? Get in touch with OpenNews Executive Director Erika Owens today.


Girl, Interrupted (1999) Reviewed by Eugene Novikov http://www.ultimate-movie.com/ Member: Online Film Critics Society
Starring Winona Ryder, Angelina Jolie, Clea DuVall, Whoopi Goldberg, Vanessa Redgrave. Directed by James Mangold. Rated R.
I'm usually quite wary of resorting to clichés, but one is quite appropriate in this case: Girl, Interrupted really is a One Flew Over the Cuckoo's Nest for the younger generation. It's almost uncanny. But even as such, it works. Reversing the gender focus and updating the general storyline, it's an entertaining experience, though it doesn't pack the emotional wallop of the Milos Forman/Jack Nicholson collaboration. Sometimes it's trite, sometimes it's preposterously overblown, but the performances of Winona Ryder and major awards contender Angelina Jolie pull you through it.
Ryder plays Susanna, a deeply troubled high school senior who is admitted to Claymoore, an upscale mental institution after she downs a bottle of aspirin followed by a bottle of vodka. Though she claims she wasn't trying to commit suicide ("I had a headache!"), her parents insist that she gets help. So off to Claymoore she goes, predictably finding herself to be the only remotely "sane" one there.
Susanna forms a peculiar friendship with Lisa (Angelina Jolie), a psycho with a soft side. They and some other girls sneak off to a hidden room at night for some female bonding, as well as to the head psychiatrist office to secretly look at their patient profiles. Lisa furiously rebels against the system every chance she gets, from slyly eluding having to swallow her pills to running off from the hospital. Since Susanna took to Lisa quite well, she tags along with Lisa on some of her escapades, getting herself into some trouble along the way.
The movie makes a big deal about its title in the beginning, but by the end it's still unclear how Susanna is a "girl interrupted." But no matter. This isn't a particularly profound meditation on the human spirit confined in a mental institution anyway. The scenes in the hospital generate audience sympathy in precisely the way you'd expect them to. It's manipulative, yes, but it's also well made, turning a potentially shameless sap-fest into enjoyable fluff.
The movie works well because Susanna herself is such an engaging personality. When head nurse Whoopi Goldberg throws her into a bathtub and tells her that she is letting her life waste away in that damn hospital, we believe that she is telling the gospel truth. We see Susanna as an impressionable young woman; putting up the facade of a rebel but a faithful follower on the inside. Her doctors and parents tell her that she is crazy, so she believes she must be. She never makes an attempt to legitimately get herself out of a mental institution. Instead, she blindly follows the clearly disturbed Lisa down a path that could never in a million years lead to any good.
The clincher is the lead actresses. Though Ryder gives a great, subdued performance as (I guess) the title character, she's clearly going to be upstaged by co-star Jolie's much flashier turn as Ryder's spunky friend. I agree that Jolie was spectacular; definitely more noticeable than Winona's. Her performance jumps off the screen while Winona's stays there humbly. It surprises me, however, how the lead actress, without whom there would be no movie, turns in a terrific piece of acting and yet gets ignored. It reminds me of Shakespeare in Love, which was nominated for every award in every category except for lead actor Joseph Fiennes who was the life and soul of the film.
Without being particularly deep or, god forbid, ponderous, Girl, Interrupted engages the mind. Although its ultimate point never really becomes clear, it's an interesting little movie while it lasts.
Grade: B
©2000 Eugene Novikov
Sent via Deja.com http://www.deja.com/ Before you buy.
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rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Please direct comments/criticisms of the review to relevant newsgroups.
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Related links: index of all rec.arts.movies.reviews reviews


Once upon a time, in a far off land, there lived 4 small elves in a giant treehouse at the top of a hill. One day the momma elf was out wandering through the forest near their treehouse when a big bear jumped out from behind a bush. The bear growled and stood on its hind legs and the momma elf scurried to grab here childern. The elves and the bear stood their for a few seconds staring at each other intently. Finally the bear lowered its head and slowly turned around to leave. The momma elf sighed with relief and continued to trek though the dense forest surrounding the bottom of the hill.
 The four elves trembled in terror as a bear twice the size of the previous one broke through the trees. Mama elf's brain raced. She had no idea what to do from here. After a few quick seconds, she got an idea that just might save her and her kids.
She was going to run downhill, everyone knows that bears can't run downhill. With Scooby Doo like speed, they took off down the nearest slope, and before they knew it they had reached a cliff and had to jump. They aimed for the bushes, but sadly they missed. The bear then went off to hunt something else.
Luckily, even though they missed the bushes, they landed inside the river. So they all started swimming trying to reach the shore, which was going to be hard because of all the huge alligators that started surrounding them. After a few seconds, one of them was able to crawl to the nearest rock and grab a stick to try to scare and fight the gators for the rest of the group.
Little did they know that the stick was actually a snake! But instead of bitting them, they threw the snake in the aligator's mouth and it chocked and died. The other aligators got scared and swam away. They swam safetly back to the shore and continued on their journey. Though the danger of the river was behind them, they began to enter deeper into the forest. Little did they know that the noise they made in the river had attracted the attention of ancient forest guardian.
This forest was not your average forest. It was haunted over 100 years ago when a small snake was cursed by the forest guardian. This snake slithered across the forest floor bringing with it the curse of the forest guardian. The snake climbed trees, slithered down holes and crossed rivers. After many years the snake had spread the curse to the entire forest. It was always difficult to cross the forest but today was different, the snake had just given birth and the baby snakes were loose in the forest.
The eggs had just hatched, and the baby snakes were quick to learn how to slither. They emerged from their nest and travelled in a swarm to find something that had yet to be tainted by their mother's curse. It was quick unfortunate when they slithered up to a woodsman who had been living in th forest for a couple of weeks. Though they were dangerous, the snakes were no match fr the woodsman who smote off their heads in one fell swoop of his axe. The woodsman went back to chopping wood.
 That is all he did all day was chop wood for his fire at night. To be honest, he was probably quite lonely, but that is what one gets when one lives in a cursed forest alone. Then he thought about the babies he just killed and was sad because he was not a father. Perhaps that was what he was missing in his life; a little boy woodsman running around and collecting kindling for his pa. Yes, that was quite a dream. But dreams are dreams, thought the woodsman as he chopped even more wood.
Those old days were already gone, back when the woodsman lived a happy life with his wife. He would chop wood during the day, while his wife would take care of the vegetable plantation; and they would enjoy the sunset and the night together after a long day of work. They were hoping to form a family and have little children that would run and play around the cabin all day long. However, things did not turn out too well for them.
One day long ago a strange young man came to their farm. "What do you grow here?" He asked the man. The mans wife replied "vegetables. All different kinds." The man let out a chuckle, reached into his pocket, and pulled out a bright orange sphere. "You ever have an orange, miss?" She shook her head. He tossed her the orange and she took a bite. "This is the best vegetable I've ever had" exclaimed the wife. "There's plenty more where that came from, if you and your kids come work for me at my fruit factory." Tempted by the sweetness of food she agreed and left the man alone with his bitter brussel sprouts and tasteless squash.
The wife and their children then started their adventure looking for the tasteful oranges in this young man's factory. The young man accompained them into his golden horse carriage and they rode together for more than a week. They were given all the luxuries and food they wanted during the slow travel, including some more of those fantastic oranges. It was surprising how fast the wife and the children had forgot about their father, who would spend the rest of his life alone in his farm with the only company of the squash and the brussel sprouts.
And so the man toiled at his farm alone, hoeing, sowing, and caring for the dirt that held the only friends he had now: squash and brussel sprouts. He could no beleive that his wife and children had left him for some oranges, something that his farm could never grow. He felt inadequate and fell into a deep depression. Thats when he came up with his plan to wander into the forest and never come back. He would abandon his livelyhood and farm that he once worked so hard to get. He chopped wood all day until he had enough to burn his farm to the ground. He started the fire and walked away, not once looking back.
After a couple months, the wife and children had almost forgetten his name. The father longed to see his family again, so he came up with a plan to find them. After the harvest, he traded in all of his profits for some magic flowers he got from a local tradesman. The father was going to use the flowers to get back his family. On the eve of the anniversery of the parents' wedding, the father set off on a great quest.
He started off on the road, where he traveled for miles before coming to a stop to rest his tired feet. "At this rate, I'll never make it" he sighed. "Never make it where?" said a voice behind him, which casused the man to jumo in suprise. He turned to see a bear, possibly the same bear from earlier in this story. "The fruit factory." He said. "Fruit? I don't know what that is" said the bear "but I'm starving.   So the two set off with nothing but the desire for oranges the magical flowers to win back the mans family.
All of a sudden there was a loud crash, a flipped carriage, "oh no!" Exclaimed the bear, there was a dragon destroying the factory. The man knew he had to save his family, regardless of if they knew who he was anymore. He took off towards the dragon, looking for a weakness as it reaked havoc on the factory, people running amd screaming all about.


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Hutmap was built by two ragtag mountain enthusiasts as a service to the independent-minded outdoor community. Cabins, yurts, lean-tos, lookouts, and lodges! Platforms on stilts, camperized railroad cars, natural caves! If it provides covered shelter in the backcountry, it belongs on Hutmap. Keeping with the spirit of the map, only superbly-located, community-supported frontcountry accommodations are included. Expensive, guide-only operations are (grudgingly) included.
For the time being, Hutmap covers only the USA and Canada. If you know of huts we overlooked, or would like to help us expand into new territories - say by providing local knowledge or language translation - contact us!
Write us at<EMAIL_ADDRESS>We would love to hear from you!
A late night at the computer mapping backcountry shelters in Ethan's home ranges of Washington and Colorado quickly turned into a much larger journey across the landscapes of North America - combing satellite images, topographic maps, and the web in a quest to satiate his ravenous appetite for huts. He currently lives in Boulder, Colorado where he geeks out on glaciers, photography, and maps for his PhD at the University of Colorado.
Dylan and Ethan met through the Climbing Club at the University of Washington, where Dylan schooled in the art of web development. Once graduated, Dylan jumped on board to help share Ethan's hut database with the world. He currently lives out of his car as a climbing bum somewhere in the wilds of the western US, and generously reports back from coffee shops to work on the website.
Hutmap is our gift to the outdoor community. However, the site does cost us money (and time) to maintain, so we will be forever grateful if you choose to make a contribution.
$ 0.00 Donate via PaypalBackcountry travel is a gift and a responsibility - please be safe, considerate of others (and their property), and cherish the natural environment. Where specified, hut locations are approximate and should not be relied upon for navigation. Images copied from hut agency websites are used without permission on hut profiles besides links to the page of origin, on the assumption that this classifies as Fair Use. We are sensitive to the rights of photographers, so please contact us if you disagree.
Our site makes use of the Google Maps API. By using this site, you are bound by both the Google Terms of Service and the Google Privacy Policy.
Now go out and find some huts!


Name: .ADDSPRITE
Uses Cocos2D to add a sprite to the screen. By default, the sprite usually appears right
at the center of the screen.
Parameters:
#1: Sprite name (string) (example: "girl.png")
Quite simply, the name of a file where the sprite is. Currently, the VN system doesn't
support sprite sheets, so it needs to be a single image in a single file.
#2: (OPTIONAL) Sprite appears at once? (Boolean value) (example: "NO") (default is NO)
If set to YES, the sprite appears immediately (no fade-in). If set to NO, then the
sprite "gradually" fades in (though the fade-in usually takes a second or less).
Example: .addsprite:girl.png:NO
================
Name: .ALIGNSPRITE
Aligns a particular sprite in either the center, l.eft, or right ends of the screen. This is done
by finding the center of the sprite and setting the X coordinate to either 25% of the screen's
width (on the iPhone 4S, this is 480*0.25 or 120), 50% (the middle), or 75% (the right).
There's also the Far Left (the left border of the screen), Far Right (the right border of the screen),
and Extreme Left and Extremem Right, which are so far that the sprite is drawn offscreen.
Parameters:
#1: Name of sprite (string) (example: "girl.png")
This is the name of the sprite to manipulate/align. All sprites currently displayed by the
VN system are kept track of in the scene, so if the sprite exists onscreen, it'll be found.
#2: Alignment name (string) (example: "left") (default is "center")
(Other, more unusual values also include FAR LEFT, FAR RIGHT, EXTREME LEFT, EXTREME RIGHT)
Determines whether to move the sprite to the LEFT, CENTER, or RIGHT of the screen.
It has to be one of those values; partial/percentage values aren't supported.
#2: (OPTIONAL) Alignment duration in SECONDS (double value) (example: "0.5") (Default is 0.5)
Determines how long it takes for the sprite to move from its current position to the
new position. Setting it to zero makes the transition instant. Time is measured in seconds.
Example: .alignsprite:girl.png:center
================
Name: .REMOVESPRITE
Removes a sprite from the screen, assuming that it's part of the VN system's dictionary of
existing sprite objects.
Parameters:
#1: Name of sprite (string) (example: "girl.png")
This is the name of the sprite to manipulate/align. All sprites currently displayed by the
VN system are kept track of in the scene, so if the sprite exists onscreen, it'll be found.
#2: (OPTIONAL) Sprite appears at once (Boolean value) (example: "NO") (Default is NO)
Determines whether the sprite disappears from the screen instantly or fades out gradually.
Example: .removesprite:girl.png:NO
================
Name: .MOVESPRITE
Uses Cocos2D actions to move a sprite by a certain number of points.
Parameters:
(note that all parameters after the first are TECHNICALLY optional, but if you use one,
you had better call the ones that come before it!)
#1: The name of the sprite to move (string) (example: "girl.png")
#2: Amount to move sprite by X points (float) (example: 128) (default is ZERO)
#3: Amount to move the sprite by Y points (float) (example: 256) (default is ZERO)
#4: Duration in seconds (float) (example: 0.5) (default is 0.5 seconds)
This measures how long it takes to move the sprite, in seconds.
Example: .movesprite:girl.png:128:-128:1.0
================
Name: .SETSPRITEPOSITION
NOTE that unlike .MOVESPRITE, this call is instantaneous. I don't remember why I made it that
way (probably since sprites usually don't move instantly in most visual novels), but it's probably
best to keep things simple like that anyways.
Parameters:
#1: The name of the sprite (string) (example: "girl.png")
#2: The sprite's X coordinate, in points (float) (example: 10)
#3: The sprite's Y coordinate, in points (float) (example: 10)
Example: .setspriteposition:girl.png:100:100
================
Name: .SETBACKGROUND
Changes whatever image (if any) is used as the background. You can set this to 'nil' which removes
the background entirely, and shows whatever is behind. This is useful if you're overlaying the VN
scene over an existing Cocos2D layer/scene node.
Unlike some of the other image-switching commands, this one is supposed to do the change instantly.
It might be helpful to fade-out and then fade-in the scene during transistions so that the background
change isn't too jarring for the person playing the game.
Parameters:
#1: The name of the background image (string) (example: "beach.png")
Example: .setbackground:beach.png
================
Name: .MOVEBACKGROUND
Uses Cocos2D actions to move the background by a certain number of points. This is normally used to
pan the background (along the X-axis), but you can move the background up and down as well. Character
sprites can also be moved along with the background, though usually at a slightly different rate;
the rate is referred to as the "parallax factor." A parallax factor of 1.0 means that the character
sprites move just as quickly as the background does, while a factor 0.0 means that the character
sprites do not move at all.
Parameters:
#1: Amount to move sprite by X points (float) (example: 128) (default is ZERO)
#2: Amount to move the sprite by Y points (float) (OPTIONAL) (example: 256) (default is ZERO)
#3: Duration in seconds (float) (OPTIONAL) (example: 0.5) (default is 0.5 seconds)
This measures how long it takes to move the sprite, in seconds.
#4: Parallax factor (float) (OPTIONAL) (example: 0.5) (default is 0.95)
The rate at which sprites move compared to the background. 1.00 means that the
sprites move at exactly the same rate as the background, while 0.00 means that
the sprites do not move at all. You'll probably want to set it something in between.
Example: .MOVEBACKGROUND:100:0:1.0:0.99
================
Name: .SETSPEAKER
The "speaker name" is the title of the person speaking. If you set this to "nil" then it
removes whatever the previous speaker name was.
Parameters:
#1: The name of the character speaking (string) (example: "Harry Potter")
Example: .setspeaker:John Smith
================
Name: .SETCONVERSATION
This jumps to a new conversation. The beginning conversation name is "start" and the other
arrays in the script's Property List represent other conversations.
Parameters:
#1: The name of the conversation/array to switch to (string) (example: "flirt sequence")
Example: .setconversation:flirt sequence
================
Name: .JUMPONCHOICE
This presents the player with multiple choices. Each choice causes the scene to jump to a different
"conversation" (or rather, an array in the script dictionary). The function can have multipe parameters,
but the number should always be even-numbered.
Parameters:
#1: The name of the first action (shows up on button when player decides) (string) (example: "Run away")
#2: The name of the conversation to jump to (string) (example: "fleeing sequence")
...these variables can be repeated multiple times.
Example: .JUMPONCHOICE:"Hug someone":hug sequence:"Glomp someone":glomp sequence
================
Name: .SHOWSPEECH
Determines whether or not to show the speech (and accompanying speech-box or speech-area). You
can set it to NO if you don't want any text to show up.
Parameters:
#1: Whether or not to show the speech box (BOOL value)
Example: .SHOWSPEECH:NO
================
Name: .FADEIN
Uses Cocos2D to fade-out the VN scene's backgrounds and sprites... and nothing else (UI
elements like speech text are unaffected).
Parameters:
#1: Duration of fade-in sequence, in seconds (double)
Example: .FADEIN:0.5
================
Name: .FADEOUT
Uses Cocos2D to fade-out the VN scene's backgrounds and sprites... and nothing else (UI
elements like speech text are unaffected).
Parameters:
#1: Duration of fade-out sequence, in seconds (double)
Example: .FADEOUT:1.0
================
Name: .PLAYSOUND
Plays a sound (any type of sound file supported by Cocos2D/SimpleAudioEngine)
Parameters:
#1: name of sound file (string)
Example: .PLAYSOUND:effect1.caf
================
Name: .PLAYMUSIC
Plays background music. May or may not loop. You can also stop any background music
by calling this with the parameter set to "nil"
Parameters:
#1: name of music filename (string)
(you can write "nil" to stop all the music)
#2: (Optional) Should this loop forever? (BOOL value) (default is YES)
Example: .PLAYMUSIC:LevelUpper.mp3:NO
(To stop music: .PLAYMUSIC:nil)
================
Name: .SETFLAG
Used to manually set a "flag" value in the VN system.
Parameters:
#1: Name of flag (string)
#2: The value to set the flag to (integer)
Example: .SETFLAG:number of friends:12
================
Name: .MODIFYFLAG
Modifies a flag (which stores a numeric, integer value) by another integer. The catch is,
the modifying value has to be a "literal" number value, and not another flag/variable.
Parameters:
#1: Name of the flag/variable to modify (string)
#2: The number to modify the flag by (integer)
Example: .MODIFYFLAG:number of friends:1
================
Name: .ISFLAG
Checks if a flag matches a certain value. If it does, then it immediately runs another command.
In theory, you could probably even nest .ISFLAG commands inside each other, but I've never tried
this before.
Parameters:
#1: Name of flag (string)
#2: Expected value (integer)
#3: Another command
Example: .ISFLAG:number of friends:1:.SETSPEAKER:That One Friend You Have
================
Name: .ISFLAGMORETHAN
Checks if a flag's value is GREATER than a given value. If it is, then a secondary command is run.
Parameters:
#1: Name of flag (string)
#2: Certain number (integer)
#3: Another command
Example: .ISFLAGMORETHAN:power level:9000:.PLAYSOUND:over nine thousand.mp3
================
Name: .ISFLAGLESSTHAN
Checks if a flag's value is LESS than a certain number. If it is, then a secondary command is run.
Parameters:
#1: Name of flag (string)
#2: Certain number (integer)
#3: Another command
Example: .ISFLAGLESSTHAN:time remaining:0:.PLAYMUSIC:time's up.mp3
================
Name: .ISFLAGBETWEEN
Checks if a flag's value is between two numbers, and if it is, this will run another command.
Parameters:
#1: Name of flag (string)
#2: First number (integer)
#3: Second number (integer)
#4: Another command
Example: .ISFLAGBETWEEN:number of cookies:1:3:YOU HAVE EXACTLY TWO COOKIES!
================
Name: .MODIFYFLAGBYCHOICE
This presents a choice menu. Each choice causes a particular flag/variable to be changed
by a particular integer value.
Parameters:
#1: The text that will appear on the choice (string)
#2: The name of the flag/variable to be modified (string)
#3: The amount to modify the flag/variable by (integer)
...these variables can be repeated multiple times.
Example: .MODIFYFLAGBYCHOICE:"Be nice":niceness:1:"Be rude":niceness:-1
================
Name: .JUMPONFLAG
If a particular flag has a particular value, then this command will jump to a different
conversation/dialogue-sequence in the script.
Parameters:
#1: The name of the flag to be checked (string)
#2: The expected value of the flag (integer)
#3: The scene to jump to, if the flag's vaue matches the expected value in parameter #2 (string)
Example: .JUMPONFLAG:should jump to beach scene:1:BeachScene
================
Name: .SYSTEMCALL
Used to do a "system call," which is usually game-specific. This command will try to contact the
VNSystemCall class, and use it to perform some kind of particular task. Some examples of this would
be starting a mini-game or some other activity that's specific to a particular app.
Parameters:
#1: The "call string" or a string that described what the activity/system-call type will be (string)
#2: (OPTIONAL) The first parameter to pass in to the system call (string?)
...more parameters can be passed in as necessary
Example: .SYSTEMCALL:start-bullet-hell-minigame:BulletHellLevel01
================
Name: .SWITCHSCRIPT
Replaces a scene's script with a script loaded from another .PLIST file. This is useful if your script is
split up between multiple .PLIST files.
Parameters:
#1: The name of the .PLIST file to load (string)
#2: (OPTIONAL) The name of the "conversation"/array to start at to (string) (default is "start")
Example: .SWITCHSCRIPT:my other script:Some Random Event
================
Name: .SETSPEAKERFONT
Replaces the current font used by the "speaker name" label with another font.
Parameters:
#1: The name of the font to use (string)
Example: .SETSPEAKERFONT:Helvetica
================
Name: .SETSPEAKERFONTSIZE
Changes the font size used by the "speaker name" label.
Parameters:
#1: Font size (float)
Example: .SETSPEAKERFONTSIZE:17.0
================
Name: .SETSPEECHFONT
Replaces the current font used by the speech/dialogue label with another font.
Parameters:
#1: The name of the font to use (string)
Example: .SETSPEECHFONT:Courier New
================
Name: .SETSPEECHFONTSIZE
Changes the speech/dialogue font size.
Parameters:
#1: Font size (float)
Example: .SETSPEECHFONTSIZE:18.0
================
Name: .SETCINEMATICTEXT
Sets (or disables) "cinematic text," in which text or dialogue proceeds without any input
from the player.
Parameters:
#1: The time it takes (in seconds) to get to the next line of text/dialogue. (double)
(Setting this to zero (or less) DISABLES cinematic text mode.)
#2: Whether the user can still skip ahead by tapping the screen (BOOL) (OPTIONAL)
(default value is NO)
Example: .SETCINEMATICTEXT:5.0:YES
================
Name: .SETTYPEWRITERTEXT
Sets or disables "typewriter text" mode, in which each character of text/dialogue appears
one at a time (though usually still very quickly).
Parameters:
#1: How many characters it should print per second (Integer)
(setting this to zero disables typewriter text mode)
#2: Whether the user can still skip ahead by tapping the screen (BOOL) (default value is NO)
Example: .SETTYPEWRITERTEXT:30:NO
================
Name: .SETSPEECHBOX
Dynamically switches to a different speechbox sprite.
Parameters:
#1: Name of speechbox sprite to use (string)
#2: (OPTIONAL) Duration of transition, in seconds) (double)
(default is 0, which is instant)
Example: .SETSPEECHBOX:alternate_box.png:1.0
================
Name: .FLIPSPRITE
Flips the sprite left/right or upside-down/right-side-up.
Parameters:
#1: Name of sprite (string)
#2: (OPTIONAL) Duration in seconds. Duration of zero is instantaneous. (double)
#3: (OPTIONAL) Whether to flip horizontally or not (BOOL)
(YES means horizontal flip, NO means vertical flip)
Example: .FLIPSPRITE:girl.png:0:YES
================
Name: .ROLLDICE
Rolls dice to get random result, stores value in a flag named DICEROLL. A flag (holding an integer value)
can be added as a "modifier." Whatever the value the flag has is added to the final result of the dice roll.
Parameters:
#1: Maximum value of roll; possible results = from 1 to (max value) (int)
#2: (OPTIONAL) Number of dice, default is 1 (int)
#3: (OPTIONAL) Name of flag, adds integer value in flag to final result (string)
(default is ".nil")
Example: .ROLLDICE:20:1:luck_modifier
================
Name: .MODIFYCHOICEBOXOFFSET
Modifies button offsets during choices, in case you don't want them to show up in the middle of the screen.
Parameters:
#1: X coordinate (in points) (double)
#2: Y coordinate (in points) (double)
Example: .MODIFYCHOICEBOXOFFSET:10:10
================
Name: .SCALEBACKGROUND
Changes background scale (1.0 being the "normal" scale)
Parameters:
#1: Scale (double)
#2: (OPTIONAL) Duration in seconds; 0 results in instantaneous scaling (double)
Example: .SCALEBACKGROUND:2.5:1
================
Name: .SCALESPRITE
Changes sprite scale (1.0 being the "normal" scale)
Parameters:
#1: Name of sprite (string)
#2: Scale (default is 1.0) (double)
#3: (OPTIONAL) Duration in seconds; 0 results in instantaneous scaling (double)
Example: .SCALESPRITE:girl.png:2:1.5
================
Name: .SCALESPRITE
Changes sprite scale (1.0 being the "normal" scale)
Parameters:
#1: Name of sprite (string)
#2: Scale (default is 1.0) (double)
#3: (OPTIONAL) Duration in seconds; 0 results in instantaneous scaling (double)
Example: .SCALESPRITE:girl.png:2:1.5
================
Name: .REMOVEFROMCHOICESET
Removes a single location (and the accompanying choice text) from a choice set
Parameters:
#1: The choice set that a choice will be removed from (String)
#2: The destination to remove (String)
Example: .REMOVEFROMCHOICESET:locations to travel:San Francisco
================
Name: .WIPECHOICESET
Removes an entire choice set from memory (both RAM and from SMRecord / device storage)
Parameters:
#1: The name of the choice set to remove from memory (String)
Example: .WIPECHOICESET:locations to travel
================
Name: .SHOWCHOICESET
Displays the entire choice set on screen so the player can choose
Parameters:
#1: The name of the choice set to display (String)
Example: .SHOWCHOICESET:locations to travel
================


Japan's First Nintendo Store Opened Last Friday, But Lines Are Still Hours Long
by Brian AshcraftNintendo Tokyo opened on Friday. Lots of people came to the first day, and you’d think that by today, the crowds would have subsided. Nope!
Twenty minutes after opening today, the wait reached 4 hours. Within 45 minutes, it was over 6 hours. Even this afternoon, at 3:15 PM, the wait was around 2 hours.
Just look at these line photos. I mean, today is Monday—a workday!
The wait time is 120 minutes.
The sign here reads that the wait is 120 minutes.
Here, it reads 150 minutes.
Hopefully tomorrow, the wait won’t be so long.


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BeeWare has had an exciting start to the new year, with a couple of significant releases
What we've done
We had two big releases in January.
Firstly, we released Briefcase 0.3.12. This is the first Briefcase release in 3 months, so it includes a lot of improvements, but the most notable improvements are the new "Testing mode", a major improvement to the Android build process, and a huge number of bug fixes and improvements - especially on Windows.
Secondly - and more importantly - we released Toga 0.3.0! No more dev releases or --pre flags for pip - the stable release of Toga on PyPI is now closely tracking actual development. It's been over 5 years since we last released an official stable Toga version, even though we've been recommending the dev releases for most of that time. However, as a result of a number of changes that landed this month, we're finally committing to the 0.3.0 branch properly.
These releases incorporate changes going back months (and years); but we made some very specific progress during January:
- Chaquopy had a new release., significantly improving build times on Android, improving the rendering of stdout content in the Android logs, adding some features that make it easier to expose the original project source code in the running app bundle, and enabling PEP517 builds of project dependencies.
- Briefcase is now able to reference local source packages when building Linux AppImage binaries.
- Some errors caused by the way the Windows Store version of Python handles local application data have been corrected.
- Briefcase's help text now shows the list of platforms and output formats, rather than requiring an additional help call to retrieve that information.
- Some issues with thread and asyncio safety in Rubicon ObjC were identified and resolved, along with an issue associated with the way some Objective C classes (such as NSWindow) are renamed at runtime.
- Initial GUI testing backends for macOS, iOS and GTK were added.
- A long standing issue with the replacement of root window content on GTK and iOS has been resolved.
- Coverage testing was added to the Toga Android GUI test backend.
- An API was added to allow scrolling MultilineTextInput widgets to the top and bottom of the widget content.
- The work moving Toga to use Setuptools-SCM was completed. Development versions of Toga will now report a specific version control commit; release versions have their version determined by the git tag used to produce the release.
- We completed a major review of the way we're using Github issue labels, and modified those labels to be consistent across all repositories.
What's next?
Much of the last 3 months have been spent getting a GUI testing framework in place for Toga. That work is now in place, so now we'll be working full time on writing GUI tests for Toga, with the aim of getting Toga to 100% coverage. Along the way, we'll discover all the edge cases, bugs, and partially missing implementations that are lurking in the individual Toga widgets.
Want to get involved?
Want to get involved? Here are some open issues that would be a great place to get started with contributing to a BeeWare project. They're all relatively minor changes, but would provide a big improvement to the lives of BeeWare users:
- Modify the handling of app signing options
- Filter out a message generated after Xcode updates
- Add the ability to refresh the support package in a project
- Provide protection against creating projects with "semi-reserved" names
- Add the ability to configure the ABIs built by an Android project
- Add support for the ANDROID_HOME environment variable
- Purge cache folders when installing app code in Briefcase
- Add a template branch option when creating a new project
- Improve validation of project names in the Briefcase wizard
Pick one of these tickets, drop a comment on the ticket to let others know you're looking at it, and try your hand at a PR! We have a guide on setting up a Briefcase development environment; but if you need any additional assistance or guidance, you can ask on the ticket, or join us on the BeeWare Discord server.
- Next entry
- February 2023 Status Update
- Previous entry
- 2023Q1 Roadmap


// In file next-steps-in-scala/Ex1.scala val big = new java.math.BigInteger("12345")
// In file next-steps-in-scala/Ex1.scala val greetStrings = new Array[String](3) greetStrings(0) = "Hello" greetStrings(1) = ", " greetStrings(2) = "world!\n" for i <- 0 to 2 do print(greetStrings(i))
// In file next-steps-in-scala/Ex2.scala val greetStrings: Array[String] = new Array[String](3)
// In file next-steps-in-scala/Ex2.scala greetStrings(0) = "Hello" greetStrings(1) = ", " greetStrings(2) = "world!\n"
// In file next-steps-in-scala/Ex2.scala for i <- 0 to 2 do print(greetStrings(i))
greetStrings(0) = "Hello"
greetStrings.update(0, "Hello")
// In file next-steps-in-scala/Ex3.scala val greetStrings = new Array[String](3) greetStrings.update(0, "Hello") greetStrings.update(1, ", ") greetStrings.update(2, "world!\n") for i <- 0.to(2) do print(greetStrings.apply(i))
// In file next-steps-in-scala/Ex3.scala val numNames = Array("zero", "one", "two")
// In file next-steps-in-scala/Ex3.scala val numNames2 = Array.apply("zero", "one", "two")
// In file next-steps-in-scala/Ex3.scala val oneTwoThree = List(1, 2, 3)
// In file next-steps-in-scala/Ex3.scala val oneTwo = List(1, 2) val threeFour = List(3, 4) val oneTwoThreeFour = oneTwo ::: threeFour
// In file next-steps-in-scala/Ex3.scala val twoThree = List(2, 3) val oneTwoThree = 1 :: twoThree
// In file next-steps-in-scala/Ex3.scala val oneTwoThree = 1 :: 2 :: 3 :: Nil
// In file next-steps-in-scala/Ex3.scala val pair = (99, "Luftballons") val num = pair(0) // type Int, value 99 val what = pair(1) // type String, value "Luftballons"
// In file next-steps-in-scala/Ex3.scala var jetSet = Set("Boeing", "Airbus") jetSet += "Lear" val query = jetSet.contains("Cessna") // false
// In file next-steps-in-scala/Ex3.scala jetSet = jetSet + "Lear"
// In file next-steps-in-scala/Ex3.scala import scala.collection.mutable val movieSet = mutable.Set("Spotlight", "Moonlight") movieSet += "Parasite" // movieSet now contains: "Spotlight", "Moonlight", "Parasite"
// In file next-steps-in-scala/Ex3.scala import scala.collection.immutable.HashSet val hashSet = HashSet("Tomatoes", "Chilies") val ingredients = hashSet + "Coriander" // ingredients contains "Tomatoes", "Chilies", "Coriander"
// In file next-steps-in-scala/Ex3.scala import scala.collection.mutable val treasureMap = mutable.Map.empty[Int, String] treasureMap += (1 -> "Go to island.") treasureMap += (2 -> "Find big X on ground.") treasureMap += (3 -> "Dig.") val step2 = treasureMap(2) // "Find big X on ground."
// In file next-steps-in-scala/Ex3.scala val romanNumeral = Map( 1 -> "I", 2 -> "II", 3 -> "III", 4 -> "IV", 5 -> "V" ) val four = romanNumeral(4) // "IV"
// In file next-steps-in-scala/Ex3.scala def printArgs(args: List[String]): Unit = var i = 0 while i < args.length do println(args(i)) i += 1
// In file next-steps-in-scala/Ex3.scala def printArgs(args: List[String]): Unit = for arg <- args do println(arg)
// In file next-steps-in-scala/Ex3.scala def printArgs(args: List[String]): Unit = args.foreach(println)
// In file next-steps-in-scala/Ex3.scala def formatArgs(args: List[String]) = args.mkString("\n")
// In file next-steps-in-scala/Ex3.scala println(formatArgs(args))
// In file next-steps-in-scala/Ex3.scala val res = formatArgs(List("zero", "one", "two")) assert(res == "zero\none\ntwo")
val adjectives = List("One", "Two", "Red", "Blue")
val nouns = adjectives.map(adj => adj + " Fish") // List(One Fish, Two Fish, Red Fish, Blue Fish)
val nouns = for adj <- adjectives yield adj + " Fish" // List(One Fish, Two Fish, Red Fish, Blue Fish)
val lengths = nouns.map(noun => noun.length) // List(8, 8, 8, 9)
val lengths = for noun <- nouns yield noun.length // List(8, 8, 8, 9)
val ques = Vector("Who", "What", "When", "Where", "Why") val usingMap = ques.map(q => q.toLowerCase + "?") // Vector(who?, what?, when?, where?, why?) val usingForYield = for q <- ques yield q.toLowerCase + "?" // Vector(who?, what?, when?, where?, why?)
val startsW = ques.find(q => q.startsWith("W")) // Some(Who) val hasLen4 = ques.find(q => q.length == 4) // Some(What) val hasLen5 = ques.find(q => q.length == 5) // Some(Where) val startsH = ques.find(q => q.startsWith("H")) // None
startsW.map(word => word.toUpperCase) // Some(WHO)
for word <- startsW yield word.toUpperCase // Some(WHO)
startsH.map(word => word.toUpperCase) // None
for word <- startsH yield word.toUpperCase // None
|
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Copyright © 2007-2020 Artima, Inc. All rights reserved. Licensed under the Apache License, Version 2.0 (the "License"); you may not use this file except in compliance with the License. You may obtain a copy of the License at http://www.apache.org/licenses/LICENSE-2.0 Unless required by applicable law or agreed to in writing, software distributed under the License is distributed on an "AS IS" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. See the License for the specific language governing permissions and limitations under the License. |


TRIAL AND ERROR A film review by Steve Rhodes Copyright 1997 Steve Rhodes
RATING (0 TO ****): *
Sitting through the pathetically bad TRIAL AND ERROR, one's mind naturally fantasizes about the movie that could have been. In a film where little is salvageable, two of the actors, Jeff Daniels and Charlize Theron, develop characters that have potential, albeit almost all of it unrealized. Their romantic fling is the only glimmer of hope in an otherwise dismal movie. But their affair is so brief and inconsequential to the heart of this slapstick comedy that it does not come close to saving the picture.
Charlize Theron, who gave an excellent but small performance as Helga in 2 DAYS IN THE VALLEY, plays a waitress named Billie. Billie was an astronomer on her way to grad school at Berkeley when a tire blew out on her trailer in Nevada.  When she invites Charlie Tuttle (Daniels) to ditch his rich lifestyle and live with her in bliss in the middle of nowhere, it is easy to dream about the show that could have been because the chemistry between them is promising.
You may remember Daniels from GETTYSBURG, which should have gotten him an Oscar nomination for best supporting actor, or from many other films. Hopefully, his fans will soon forget his part in this disaster.
In TRIAL AND ERROR, new law partner, and soon to be newlywed, Charlie goes to a courtroom in a tiny Nevada town to represent lifelong con artist Benny Gibbs (Rip Torn). Benny sells copper engravings of Lincoln through the mail. For $17.95, Benny mails his customers a shiny new penny.
Charlie gets drunk the night before the trial. Through a misadventure, his actor buddy Richard Rietti (Michael Richards) ends up impersonating him in court. Since they are never able to straighten this out, Michael Richards becomes lawyer Charlie and Jeff Daniels his assistant Richard. It is not as funny as it sounds.
Jessica Steen plays prosecutor Elizabeth Gardner, at whom Richard makes a crude pass at the bar the night before the trial. Typical of the unbelievable humor of the show, his come-on line to her at the bar has him talking about intercourse in the second sentence after saying hello.
Although director Jonathan Lynn has two good comedies to his name, MY COUSIN VINNY and SGT. BILKO, most of his films, such as CLUE and THE DISTINGUISHED GENTLEMEN, have not been very successful. To be honest, the blame for TRIAL AND ERROR should be shared with first-time writers Gregory and Sara Bernstein. They rely on unoriginal sight gags for much of the (non-existent) laughter. Characters fall through ceilings, people get food stuck on their mouths, lovers walk in accidentally on other lovers, actors fall over each other, guys sitting on the lawn get soaked by the sprinklers, and the canonical list of cheap movie humor goes on ad infinitum.
As I left the theater I reflected on the film, ULEE'S GOLD, that I had seen at a press screening earlier in the week. It has marvelous acting and a beautiful story, but with its low budget it will open at a few art house around the country and be seen by almost no one. TRIAL AND ERROR, on the other hand, will play at thousands of screens. It is sad that so many people will accept TRIAL AND ERROR's poor quality when films that deserve to be seen are ignored.
TRIAL AND ERROR runs 1:38. It is rated PG-13 for language. The film would be acceptable for kids say 10 and up. I recommend you avoid this unfunny comedy. I give it * for the valiant attempts by Daniels and Theron to rescue a sunken movie.
**** = A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show. Don't waste your money. 0 = Totally and painfully unbearable picture.
REVIEW WRITTEN ON: May 28, 1997
Opinions expressed are mine and not meant to reflect my employer's.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


System Architect Picture "Incident Involvement Type"
Parent Diagram:
Associative Category
(UML Class)


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I've been taking 5-htp for 2 months now. So, I am familiar with its effects. I took it for a mood lift, and to see if it would help me sleep. I took 50mg once every other day usually, but it varied. Here are some observations of more immediate effects:
Mood lift- yes, it seems to reverse depressed feelings, and lower anxiety
Sleep- seems to induce a light sleepiness that lasts about 2 hours (50mg), increased dreaming is recalled.
Anxiety- lowers anxiety short term
Decreased Appetite- this is what a lot of 5-htp is sold for. Yes, an undesired effect of low appetite and slight upset stomach were noticed up to 6 hours after taking it.
Drug interactions- weed: increases high significantly. 2C-I taken 8 hours after: increased euphoria. 100mg taken 4 hours after mdma helped make a smoother comedown. GBL, alcohol: not a good combo. Increased sedation, less euphoria.
After being on it for 3 weeks (50mg once a day), I noticed if I hadn't taken it for 2 days, I would feel depressed, anxious, and lousy, definately more so than normal. I still notice this, even if I just missed 1 day now. The body relies on the external source, and that doesn't sound good.
I will keep taking it, right now it is 75mg once a day. This morning I woke up feeling terrible and anxious. But, I took a 5-htp to experiment, and 2 hours later I felt fine.
Be careful taking it long term. I will probably quit soon, I feel almost dependent on it. It works 100x better than SSRI's like paxil and celexa in my opinion. Those drugs only caused me problems.
I was looking up info on 5-htp, and found a vitamin store selling it. Theyre recommended dosage was 100mg 3X a day.  Doing that for a while would definately mess with my brain. The recommended dosage on the bottle I have is 50mg once a day, or 75mg once a day. This even may be too much after a while.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


JSX
JSX Fiddler
Rendering
wolfenstein3D-react
react page
clock
Components
auto-grow-input
todo-list.html
todo mvc
Performance
react-vs-angular : Angular
react-vs-angular : React


Trump's weird notes: I WANT NOTHING
by Xeni JardinWhat is even going on anymore? I thought this was a viral photoshop, but it is not.
Here's what it says:
I WANT NOTHING
I WANT NOTHING
I WANT NO QUID PRO QUO
TELL ZELLINSKY TO DO THE RIGHT THING
THIS IS THE FINAL WORD FROM THE PRES. OF THE UNITED STATES
This important photograph was captured by photographer Mark Wilson of Getty Images.
Reuters has another image, slightly sharper.
How did we get here.
Will it ever end.


Add some fate to your fic! Use these generators for scenes about drinking and party games.
Need an idea to get you started?


Methods
autoadvance(delay)
Sets up auto-advance on the playlist.
Parameters:
| Name | Type | Description |
|---|---|---|
delay |
number | The number of seconds to wait before each auto-advance. |
- Source:
clearTracks(player)
Removes all remote text tracks from a player.
Parameters:
| Name | Type | Description |
|---|---|---|
player |
Player | The player to clear tracks on |
- Source:
contains(value) → {boolean}
Checks if the playlist contains a value.
Parameters:
| Name | Type | Description |
|---|---|---|
value |
string | Object | Array | The value to check |
- Source:
Returns:
The result
- Type
- boolean
currentItem(indexopt) → {number}
Get or set the current item in the playlist.
Parameters:
| Name | Type | Attributes | Description |
|---|---|---|---|
index |
number |
<optional> |
If given as a valid value, plays the playlist item at that index. |
- Source:
Returns:
The current item index.
- Type
- number
factory(player, initialListopt, initialIndexopt) → {function}
Factory function for creating new playlist implementation on the given player.
API summary:
playlist(['a', 'b', 'c']) // setter playlist() // getter playlist.currentItem() // getter, 0 playlist.currentItem(1) // setter, 1 playlist.next() // 'c' playlist.previous() // 'b' playlist.first() // 'a' playlist.last() // 'c' playlist.autoadvance(5) // 5 second delay playlist.autoadvance() // cancel autoadvance
Parameters:
| Name | Type | Attributes | Description |
|---|---|---|---|
player |
Player | The current player |
|
initialList |
Array |
<optional> |
If given, an initial list of sources with which to populate the playlist. |
initialIndex |
number |
<optional> |
If given, the index of the item in the list that should be loaded first. If -1, no video is loaded. If omitted, The the first video is loaded. |
- Source:
Returns:
Returns the playlist function specific to the given player.
- Type
- function
first() → {Object|undefined}
Plays the first item in the playlist.
- Source:
Returns:
Returns undefined and has no side effects if the list is empty.
- Type
- Object | undefined
indexOf(value) → {number}
Gets the index of a value in the playlist or -1 if not found.
Parameters:
| Name | Type | Description |
|---|---|---|
value |
string | Object | Array | The value to find the index of |
- Source:
Returns:
The index or -1
- Type
- number
last() → {Object|undefined}
Plays the last item in the playlist.
- Source:
Returns:
Returns undefined and has no side effects if the list is empty.
- Type
- Object | undefined
next() → {Object|undefined}
Plays the next item in the playlist.
- Source:
Returns:
Returns undefined and has no side effects if on last item.
- Type
- Object | undefined
playItem(player, delay, item) → {Player}
Plays an item on a player's playlist.
Parameters:
| Name | Type | Description |
|---|---|---|
player |
Player | The player to play the item on |
delay |
number | The number of seconds to wait before each auto-advance. |
item |
Object | A source from the playlist. |
- Source:
Returns:
The player that is now playing the item
- Type
- Player
plugin(list, item)
The video.js playlist plugin. Invokes the playlist-maker to create a playlist function on the specific player.
Parameters:
| Name | Type | Description |
|---|---|---|
list |
Array | a list of sources |
item |
number | The index to start at |
previous() → {Object|undefined}
Plays the previous item in the playlist.
- Source:
Returns:
Returns undefined and has no side effects if on first item.
- Type
- Object | undefined
repeat(valopt) → {boolean}
Sets repeat
option, which makes the "next" video of the last video in the
playlist be the first video in the playlist.
Parameters:
| Name | Type | Attributes | Description |
|---|---|---|---|
val |
boolean |
<optional> |
The value to set repeat to |
- Source:
Returns:
The current value of repeat
- Type
- boolean
reset(player)
Resets the auto-advance behavior of a player.
Parameters:
| Name | Type | Description |
|---|---|---|
player |
Player | The player to reset the behavior on |
- Source:
setReset_(fn)
Used to change the reset function in this module at runtime This should only be used in tests.
Parameters:
| Name | Type | Description |
|---|---|---|
fn |
function | The function to se the reset to |
- Source:
setup(player, delay) → {undefined}
Sets up auto-advance behavior on a player.
Parameters:
| Name | Type | Description |
|---|---|---|
player |
Player | the current player |
delay |
number | The number of seconds to wait before each auto-advance. |
- Source:
Returns:
Used to short circuit function logic
- Type
- undefined


Visa-on-arrival facility sought for UAE citizens
by Special CorrespondentM.K. Raghavan, MP, has urged Minister for External Affairs S. Jaishankar to extend the facility of visa-on-arrival to the citizens of UAE at the Calicut airport.
The Embassy of India, UAE, introduced the facility to all citizens of UAE from November 16 aimed at boosting trade, commerce and tourism. As of now the facility is available at six designated international airports at Bengaluru, Chennai, Delhi, Hyderabad, Kolkata and Mumbai.
Mr. Raghavan said a large number of UAE citizens frequent Kozhikode. More than a million Indians in the UAE are from Kerala. Of them, 35% are from central and south Malabar, he said.


|
alphaTorrent
|
alphaTorrent is a CLI program that allow to download files by passing a .torrent file. For a detailed explaination of the application workflow see Application Workflow.
This command will install the openssl, boost and glog libraries
This command will install the openssl
Boost
Glog
Go to the main folder and execute


Contrary to popular
Lorem Ipsum is not simply random text.
It has roots in a piece
Contrary to popular
Lorem Ipsum is not simply random text.
It has roots in a piece
Contrary to popular
Lorem Ipsum is not simply random text.
It has roots in a piece
The Shopping cart
Some Bullet text here
Lorem Ipsum is simply dummy text of the printing and typesetting
Lorem Ipsum has been the industry's standard dummy text ever
When an unknown printer took a galley of type and scrambled
It to make a type specimen book. It has survived not only five centuries
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Dead Man on Campus (1998) Tom Everett Scott, Mark-Paul Gosselaar, Lochlyn Munro, Poppy Montgomery, Randy Pearlstein, Corey Page, Allyson Hannigan, Mari Morrow, Dave Ruby, Mark Carapezza, Jeff T., Jason Segel, Linda Cardellini, Aeryk Egan. Screenplay by Michael Traeger and Mike White. Directed by Alan Cohn. 92 minutes Rated R, 2.5 stars (out of five stars)
Review by Ed Johnson-Ott, NUVO Newsweekly www.nuvo-online.com/film/ Archive reviews at http://us.imdb.com/M/reviews_by?Edward+Johnson-ott To receive reviews by e-mail at no charge, send subscription requests to<EMAIL_ADDRESS>Every since "Animal House," almost every comedy set in a college features some John Belushi wannabe doing his best Bluto impression and failing miserably. They fail because it's impossible to capture the magic of the late comedian simply by mimicking his character's behavior. There was a special glint in Belushi's eyes, a distinctive quality in the timbre of his voice and a sense of danger in his every movement that enabled him to take the stock character of a frat-house wild man and elevate it into something classic.
While Bluto's spot in the College Comedy Hall of Fame remains secure, it's time to make room for the new maniac in town. As Cliff, a hyper- enthusiastic, frenzied psychopath just waiting to be diagnosed, Lochlyn Munro is scary, mesmerizing and flat-out hilarious. His performance alone is worth the price of admission to "Dead Man on Campus."
Please don't mistake the raves for Munro's tour de force as an unqualified endorsement of the movie. While "Dead Man on Campus" has a number of funny scenes, it really only hits the bull's eye when Cliff is on screen. In between his relatively brief appearances, you'll spend a fair amount of time waiting for the film to stop spinning its wheels and to get moving.
The premise for "Dead Man on Campus" springs from the urban legend that if a student kills himself during a semester, his surviving roommates will automatically receive straight-A's as compensation for their grief and trauma. When a pair of mismatched roomies realize their grades are beyond redemption, they hatch a desperate scheme to cash in on the "dead man's clause" by finding a suicidal roommate and doing what they can to push him over the edge.
Thomas Everett Scott ("That Thing You Do") plays Josh, a wholesome Indiana boy attending prestigious Daleman College on an academic scholarship. His devotion to scholastic excellence falters under the influence of new roommate Cooper (Mark-Paul Gosselaar from "Saved By the Bell"), a wealthy kid majoring in sex, drugs and rock and roll.
The two work well together. Scott is an engaging actor and his introduction to the party life provides some smiles, particularly when he blissfully recounts his first sexual experience ("We just...did it! It was like 'Time for sex!'").
Still, the first half of the comedy is relatively slow going, until the boys finally reach a crisis point and begin their search for a suicidal roomie. They come up with three candidates. Buckley (Randy Pearlstein) is a frail, skittish paranoid who often threatens suicide while ranting about an elaborate conspiracy involving Kurt Cobain and Vince Foster (they're still alive, sequestered near Mount St. Helens) and Bill Gates, who is after Buckley's brain.
Basket-case number two is Matt (Corey Page), a glowering goth-rocker with a thick British accent who handily incorporates his suicide threats into his song lyrics.
And then there's Cliff, a psycho for all seasons. Leaping about the room, periodically humping the couch like some crazed dog in heat, Lochlyn Munro totally throws himself into character. He was so convincing in his audition that director Alan Cohn initially resisted hiring him, fearful that maybe it wasn't just an act.
Munro manages to make the insanely over-the-top character endearing rather than grating. When he accidentally sets a coed's hair on fire during a party, he has to be stopped from unzipping to put out the flames using his personal fire hose. Watching the young woman panic, he innocently states "I don't get it. Whenever I'm on fire, I remember to drop and roll." Cliff's coarse antics are completely tasteless and howlingly funny. Incidentally, stay through the closing credits or you'll miss a bonus Cliff moment.
If only the rest of the film could maintain the energy and crudeness of the Cliff scenes. The biggest problem with the bulk of "Dead Man on Campus" is that it's too damn tasteful. First-time feature director Cohn pulls his punches, tempering potentially riotous scenes with a peculiar restraint. Just weeks after the remarkably successful release of the gross-a-thon "There's Something About Mary," this is certainly the wrong time for timidity. And after all, this is a comedy about students trying to drive a person to his death, for Pete's Sake.
Thank goodness Lochlyn Munro's Cliff was there to drag this movie back to the gutter where it belongs. It's easy to imagine John Belushi looking down from the heavens, nodding his approval. A successor to the throne has at long last arrived and the spirit of Bluto lives on.
© 1998 Ed Johnson-Ott
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Try out our Premium Member services: Virtual Legal Assistant, Query Alert Service and an ad-free experience. Free for one month and pay only if you like it.
IN THE INCOME TAX APPELLATE TRIBUNAL (DELHI BENCH "B" DELHI) BEFORE SHRI A.D. JAIN AND SHRI K.D. RANJAN ITA NO. 1552(Del)2010 Assessment year: 2005-06 Dy.Commissioner of Income Tax, M/s. Climate Systems Pvt. Ltd., Circle 3(1), New Delhi. V. Jeevan Prakash Bldg. KG Marg, New Delhi. (Appellant) (Respondent) Appellant by: Ms. Y. Kakkar, Sr. DR Respondent by: Shri Neeraj Jain/Ms.Pinky Kapur,CA ORDER
PER A.D. JAIN, J.M.
This is Department's appeal for the assessment year 2005-06, taking the following grounds:-
"1. In the facts and circumstances of the case, the ld. CIT(A) has erred in law and on facts by allowing the depreciation @ 60% on computer peripherals and accessories amounting to ` 1,52,896/- though the I.T. Rules allows 60% depreciation only on computer and computer software and not on computer peripherals and accessories.
2. In the facts and circumstances of the case, the ld. CIT(A) has erred in law and on facts in deleting addition of ` 41,27,464/- made by the AO on account of disallowance of royalty expenses which was capitalized b the AO, ignoring the fact that the same was paid by the assessee under Technical Know-how Agreement for right to use technical know-how which undoubtedly is of capital nature.
2 ITA 1552(Del)2010
3. In the facts and circumstances of the case, the ld. CIT(A) has erred in law and on facts by deleting addition of ` 6,41,250/- made by the AO on account of capitalization of 'Repair & Maintenance Expenses' which included expenditure incurred on erection of 'Secure Land Fill Systems (SLFS), ignoring the fact that the expenditure allowed enduring benefit over a period of years to the assessee."
2. Apropos ground No.1, during the year, the assessee claimed depreciation @ 60% on computer accessories and peripherals, namely, UPS, Scanner. Printers, etc. The AO held that only computer and software are eligible for depreciation @ 60% and that computer accessories and printers are not eligible for depreciation at this rate. The AO thus restricted the claim of the assessee for depreciation on computer peripherals @ 25% and made a disallowance of ` 1,52,896/-.
3. The learned CIT(A), by virtue of the impugned order, directed the AO to allow depreciation @ 60% on computer accessories and peripherals. It was observed that in the assessee's case for assessment years 2003-04 and 2004-05, such claim of the assessee had been allowed, following Delhi Bench of the Tribunal in the case of M/s. Expeditors International India Pvt. Ltd. v. ACIT, 118 TTJ 652(Cal) and Calcutta ITAT decision in the case of "ITO v. Samiran Majumdar" 98 ITD 119.
4. The Tribunal, vide order dated 17.12.2009, passed in the case of the assessee for assessment years 2003-04 and 2004-05, in ITA Nos. 1698, 1684 & 2161(Del)09 (copy placed at pages 144 to 145 of the APB), remitted the 3 ITA 1552(Del)2010 matter to the file of the AO for examining the nature and character of the computer peripherals, whether they could be used independently on the computer. The relevant para 19 of the said order is reproduced, for ready reference, as under:-
"19. We have heard both the parties and gone through the material available on record. From the order passed by the Assessing Officer, it is clear that he has not examined the nature and character of computer peripherals whether they could be used independently. We, therefore, set aside the matter to the file of the AO with the direction to examine the nature of each and every item. If they are independent of functioning, the depreciation will be allowable as in the case of any other plant and machinery. However, if they are integral part of the computer, the depreciation will be allowable @ 60%. The AO will keep in mind the decision of the ITAT in the case of 'Simaran Majumdar'(supra) and 'Expeditors International'(supra). Needless to say that the AO will provide the assessee of being heard before deciding the issue."
5. Before us, the ld. DR has contended that the ld. CIT(A) has erred in allowing depreciation on computer peripherals and accessories @ 60%, though the I.T. Rules allowing 60% depreciation only on computer and computer software and not on computer peripherals and accessories.
6. As opposed to this, the learned counsel for the assessee has contended that all equipments/parts run with the help of the computer system have to be treated as computers eligible for depreciation at the higher rate of 60%. Reliance has been placed on the following case laws:-
4 ITA 1552(Del)2010
1. CIT v. BSES Rajdhani Powers Ltd. ITA 1266/2010(Del);
2. DCIT v. Datacraft India Ltd. [2010] 6 Taxman.com 85(Mum);
3. Inspecting Assistant Commissioner v. Commission and General Agency reported in [17 ITD 6] (Bangalore).
4. Escorts Tractors Ltd. v. Asstt. CIT [101 Taxmann 171(Delhi)]
5. ITO v. Samiran Majumdar [280 ITR 74, 2001, ITAT (Calcutta)] ;
6. CIT v. Karnataka Power Corporation reported in 247 ITR 268;
7. ITO v. Samiran Majumdar, 98 ITD 119 (Kolkata);
8. DCIT v. Surface Finishing Equipment (2004) 2 SOT 233(Jodh);
9. Expeditors International (India)(P)Ltd. v. Addl.CIT: 118 TTJ 652.
7. The facts remaining the same herein also, in keeping with the aforesaid Tribunal order in the assessee's case for assessment years 2003-04 and 2004-05, this issue for the present year is also similarly remitted to the file of the AO, to examine as to whether the computer peripherals could be used independently or not and to decide the issue of depreciation, keeping in mind the directions issued by the Tribunal, as aforesaid.
8. Coming to ground No.2, the assessee company had debited ` 55,03,285/- as royalty in its profit and loss account. Observing that it was in the nature of technology transfer, the AO queried the assessee as to why this royalty paid be not treated as capital in nature.
9. The assessee contended that it had entered into a Technical Collaboration Agreement (TCA) dated 25.5.98 with Visteon Global Technology Inc. (VGTI), USA; that as per the Agreement VGTI would grant the assessee a non-extensive right and licenses to manufacture, sell, repair and service, licensed product using the technical information and 5 ITA 1552(Del)2010 intellectual property rights furnished by VGTI. The assessee was to manufacture them control atmosphere brazed (CAB) Aluminium Heat Exchangers, viz. Radiators for Automobiles. The assessee thereto had a running royalty @ 3% on domestic sales and 5% on export sales of VGTI.
10. The AO disallowed 75% of the royalty expenditure amounting to ` 41,27,464/-, out of the royalty expenses of ` 55,03,385/-, holding it as capital expenditure. That being so, the AO relied on the assessment orders of the earlier years.
11. The ld. CIT(A) directed the AO to allow the claim of the assessee, following the decision of the Hon'ble High Court in the assessee's own case for assessment year 2002-03, in "Climate Systems India Limited v. CIT" 319 ITR 113(Del), copy placed at pages 237 to 238 of the APB, wherein it was held that the said payment of royalty which was a continuous process, should have been treated as revenue expenditure.
12. In this regard, the ld. DR has argued that the ld. CIT(A) has erred in deleting the addition of ` 41,27,464/-, made by the AO on account of disallowance in the royalty expenses which amount was rightly capitalized by the AO; that the ld. CIT(A) erred in ignoring that the entry was under Technical Know-how Agreement for right to use Technical Know-how which, undoubtedly, is of capital nature. The ld. DR has placed reliance on 6 ITA 1552(Del)2010 'Jonas Woodhead And Sons (India) Ltd. v. CIT' 224 ITR 342(SC) and 'CIT v. Shriram Bearings Ltd.' 251 ITR 155(Cal).
13. The learned counsel for the assessee, on the other hand, has contended that under the TC Agreement, the assessee only acquired right to use the technology and other technical information for the purpose of production of Radiators, using the CAB technology in India; that the TC Agreement was valid for 7 years and was terminable at will by either parties; that on termination of the agreement, the assessee was required to stop using the technical know-how and was to return the technical information to VGTI; that as per the agreement, the assessee was required to maintain secrecy of the technical information, etc., and was not permitted to sub-licence the rights under the agreement; that the agreement did not confer any proprietory rights on the assessee concern with regard to technology to VGTI; and that since under the agreement, the assessee merely acquired the limited right to use the technical know-how/information and no title thereto, the payment of technical know-how fee is allowable as a deduction. In this regard, the learned counsel has placed reliance on the following case laws:-
1. CIT v. Ciba India Ltd., 69 ITR 692(SC);
2. Alembic Chemical Works Co. Ltd. v. CIT, 177 ITR 377(SC);
3. CIT v. Indian Oxygen Ltd., 218 ITR 337(SC);
4. CIT v. Wavin (India) Ltd., 236 ITR 314(SC);
5. Shriram Refrigeration Industries Ltd. v. CIT, 127 ITR 746(Del);
7 ITA 1552(Del)2010
6. Triveni Engineering Works Ltd. v. CIT, 136 ITR 340(Del);
7. Addl. CIT v. Shama Engine Valves Ltd., 138 ITR 216(Del);
8. CIT v. Bhai Sunder Dass & Sons P. Ltd., 158 ITR 195(Del);
9. CIT v. Tata Engineering & Locomotive Co. Pvt. Ltd. 123 ITR 538(Bom);
10.CIT v. Avery India Ltd., 207 ITR 813(Cal);
11.Bajaj Tempo Ltd. v. CIT, 207 ITR 1017(Bom);
12.CIT v. Madras Rubber Factory Ltd., 212 ITR 443(Mad);
13.Eicher Motors Ltd., 293 ITR 464(MP);
14.CIT v. Lumax Industries Ltd., 173 Taxman 390(Del);
15.Shriram Pistons & Rings Ltd. v. CIT: 171 Taxman 81(Del);
16.CIT v. Shri Ram Pistons & Rings Ltd., 220 CTR 404(Del);
17. CIT v. Sharda Motor Industries Ltd., 319 ITR 109(Del-HC);
18.CIT v. Essel Propack, 325 ITR 185 (Bom-HC);
19.CIT v. Munjal Showa Ltd. (ITA No. 85/2009)(Del);
20.Goodyear India Ltd. v. ITO, 73 ITD 189(Del) TM
21.ITO v. Shivani Locks, 118 TTJ 467(Del);
22.Hero Honda Motors Ltd. v. DCIT (ITA Nos. 716, 717 & 718(Del)2008.
It has been submitted that the issue has also been decided in favour of the assessee by the Delhi Bench of the Tribunal in the assessee's own case for assessment year 2002-03, vide order dated 21.11.08, in ITA No. 1547(Del)07 (copy at APB 56 to 67) and in the assessee's case for assessment years 2003-04 and 2004-05 (supra). It has been contended that further, the said Tribunal order for assessment year 2002-03 has also been upheld by the Hon'ble Delhi High Court, in the assessee's case, reported at 319 ITR 113(Del)(supra).
14. Apropos this issue, at the outset, it is seen that the Hon'ble jurisdictional High Court has decided this issue in favour of the assessee, 8 ITA 1552(Del)2010 holding that under the Agreement, payments were to be made by the assessee in two parts, i.e., a lumpsum fee for transfer of technology, which the assessee had admitted as being of capital nature and royalty payment in consideration of providing technology services; that the payment of royalty depended on the quantum of domestic as well as export sales which would decrease or increase every year, depending on the decrease or increase in the sales; that this payment was not because of 'transfer' of technology, but for providing 'technical services'; and that so, the payment of royalty, which was a continuous process, should have been treated as a revenue expenditure.
15. The Department has not been able to bring anything on record opposed to the above observations of the Hon'ble Delhi High Court in the case of the assessee.
16. Apropos 'Jonas Woodhead And Sons (India) Ltd. v. CIT' (supra), the facts therein were entirely different from those of the assessee's case. Therein, there was a composite payment for supply of technical know-how and services for setting up plant and manufacturing of products. These are not the facts herein. Therefore, 'Jonas Woodhead And Sons (India) Ltd. v. CIT' (supra), is not applicable.
9 ITA 1552(Del)2010
17. Regarding 'CIT v. Shriram Bearings Ltd.' 251 ITR 155(Cal), firstly, in view of the Delhi High Court decision (supra) in the case of the assessee itself, 'Shriram Bearings Ltd.' is of no help to the Department. Secondly, therein also, the facts were different. There was a Collaboration Agreement between the assessee and a foreign company . Payment was made for supply of technical know-how. The assessee was allowed to use technical know-how even after the period of agreement. It was in these facts that it was held by the Hon'ble Calcutta High Court that there arose a benefit of enduring nature to the assessee. Evidently, these are not the facts before us.
18. In view of the above, respectfully following the decision of the Hon'ble Delhi High Court in the case of the assessee (supra), ground No.2 raised by the Department is rejected.
19. So far as regards ground No.3, the assessee debited an amount of ` 36,79,722/- in its profit and loss account, on account of repairs and maintenance (building). This included 'Secure Land Fill Systems (SLFS), supplied by M/s. Techno Economic Services and erected by M/s. Sunrise Erectors. The fencing had been provided by Ram Fabricators. Ploughing, filling and levelling of the land was done by M/s. National Associates. SLFS was constructed for storage of hazardous waste, which was effluent of 10 ITA 1552(Del)2010 the assessee in its manufacturing process, for 10 years. The expenses were as under:-
Date Party Nature Amount-` 14.06.2004 Techno Economic Secure Land Fill 6,10,500/- Services System Including CST 13.07.2004 Sunrise Erectors Labour charges for 40,000/- erection of SLFS 12.06.2004 Ram Fabricator Fencing 32,500/- 31.08.2004 National Associates Ploughing, filling & 30,000/- levelling Total: 7,12,500/-
20. The AO was of the opinion that the above expenditure of ` 7,12,500/ was capital in nature. He, therefore, disallowed the same after allowing depreciation @ 10%. The net addition worked out was of ` 6,41,250/-.
21. The ld. CIT(A) deleted the addition, holding the expenditure to be an allowable business expenditure. The ld. CIT(A) followed 'CIT v. Sakhi Textiles Ltd.' 250 ITR 449(Mad) and 'CIT v. Steel Complex Ltd.' 238 ITR 1054(Ker).
22. The ld. DR has contended that the expenditure provided an enduring benefit over a period of years to the assessee which fact has wrongly been over-looked by the ld. CIT(A) while wrongly deleting the addition correctly made.
11 ITA 1552(Del)2010
23. The learned counsel for the assessee, on the other hand, has supported the action of the ld. CIT(A). It has been contended that the expenditure on SLFS was incurred for storage of hazardous waste and to prevent pollution of air, water and ground; that SLFS was a statutory requirement under the Water (Prevention and Control of Pollution) Act, 1974 and under the Air (Prevention and Control of Pollution) Act, 1981, so as to make necessary provision for disposal of hazardous waste (Management and Handling)Rules, 1989; that therefore, the expenditure was an incumbent incurrence by the assessee to abide by the said laws; and that similar expenditure incurred on Water Treatment Plant and Fume Extraction Plant to ward off health hazardous, in compliance of statutory requirement, has been held to be an allowable revenue expenditure. Reliance in this regard has been placed on 'CIT v. Sakhi Textiles Ltd.' 250 ITR 449(Mad), 'CIT v. Steel Complex Limited', 238 ITR 1054(Kerala), 'Hindustan Electro Graphites Ltd. v. CIT' 218 ITR 688(MP-HC) and 'Zenith Steel Pipes Limited v. CIT' 185 ITR 126 (Bom-HC).
24. The factum of the expenditure having been incurred by the assessee in compliance of Water (Prevention and Control of Pollution) Act, 1974, the Air (Prevention and Control of Pollution) Act, 1981 and the Hazardous Waste (Management and Handling ) Rules, 1989, has nowhere been 12 ITA 1552(Del)2010 disputed by the Department. Once the Hazardous Waste was an effluent/bye product of the management process of the assessee, provision therefor was of necessity to be made by the assessee . Else, it would have been well nigh impossible for the assessee to carry on its business.
25. In 'Sakhi Textiles Ltd.'(supra), relied on by the ld. CIT(A), it has been held that protection of health of the workmen was the basis for installation of carding machines, the expenditure incurred on installation of the carding machine was to be treated as revenue expenditure for promoting the health and welfare of the workmen.
26. In 'Steel Complex Limited' (supra), relied on the CIT(A), it was held that expenditure incurred for Water Treatment Plant and Fume Extraction Plant was a revenue expenditure.
27. In 'Hindustan Electro Graphites Ltd.' (supra), it was held that the expenditure incurred in raising a plantation in factory premises, is an expenditure intended to make the atmosphere pollution free and it is a revenue expenditure.
28. Though it has been contended that the expenditure brought an enduring benefit to the assessee, this contention remains unsubstantiated.
29. As such, in view of the nature of the expenditure, which remains, undisputedly, a statutory requirement enabling the assessee to carry on its 13 ITA 1552(Del)2010 business, keeping in view the case laws discussed, we find no error in the order of the ld. CIT(A) in this regard also and the same is confirmed. Ground No.3 stands rejected.
30. In the result, the appeal filed by the Department is partly allowed, as indicated.
Order pronounced in the open court on 8.12.2010.
Sd/- sd/- (K.D. Ranjan) (A.D. Jain) Accountant Member Judicial Member Dated: 8.12.2010 *RM copy forwarded to: 1. Appellant 2. Respondent 3. CIT 4. CIT(A) 5. DR True copy By order Deputy Registrar