JACOB'S LADDER A film review by Mark R. Leeper Copyright 1990 Mark R. Leeper
Capsule review: Eerie Gordian knot of a horror film requires a lot of thought, but finally pays off in the car on the way home from the theater. Give it a chance to sink in. Murky photography used to even better advantage than in FLATLINERS. (Do not read the spoiler note at the end of this review if you have not seen the film.) Rating: +2 (-4 to +4).
Within the space of a few short months Bruce Joel Rubin has had two films he has written released. Each deals with death. GHOST had a few heavy horror moments but they were counter-acted by a lot of lighter and more pleasant moments. "Pleasant," however, is not a term applicable to any single sequence in JACOB'S LADDER. While it probably has the more intelligent and demanding story, JACOB'S LADDER is a Gordian knot of unpleasant concepts. It is a story of disturbing horror requiring some effort and detective work to come to any consistent interpretation and then open to multiple interpretations. This is one weird movie.
It is October 6, 1971, and a company of American soldiers in Vietnam is getting ready to move into battle. Suddenly something is going very wrong. Some of the men are convulsing; others are running around fighting as if an enemy, whom we do not see, is right there on top of them. One of the soldiers, Jacob (played by Tim Robbins), is bayonetted in the stomach and left for dead. Flash forward several years and Jacob is a postman living in a surrealistically squalid New York City.  But things are happening that are not commonplace for Jacob. Something is stalking Jacob, or perhaps someone who can call up faceless demons. And, as if that were not enough, the world seems to be deteriorating and people are mutating in some mysterious ways that only Jacob sees. Jacob is even a little unstuck in time as images from the past flood on him as if they are the present.
This is an unpleasant and uncomfortable horror film to sit through, be warned. It improves a great deal on thinking about it afterward. Just as is true with many of the individual scenes of this film, so too when the entire film is over we are tantalizingly unsure of exactly what we have seen and how it is to be interpreted. Adrian Lyne, who directed FLASHDANCE, FATAL ATTRACTION, and 9-1/2 WEEKS, photographed this film in murky, muted colors, much as FLATLINERS was photographer, but his visual style picks out the squalid and the disturbing. Murky colors are an intelligent ploy to get around audience insistence on color photography but still have mood effects that one usually can get only with monochrome. I rated this film a low +1 leaving the theater, but it improves greatly on reflection and at this point I would rate it a +2 on the -4 to +4 scale.
*****HEAVY SPOILER WARNING**** *****ONLY FOR THOSE WHO HAVE SEEN THE FILM****
As early as when Jacob is dropped off at the locked subway station, I started thinking this was a re-working of Ambrose Bierce's "Occurence at Owl Creek Bridge." I left the theater assuming that was correct. However, that would imply that the entire future is fictional. But Jacob's entire knowledge of The Ladder is from the future. Yet Jacob has already seen the convulsions that are explained only by The Ladder. If the convulsions are real, we must interpret The Ladder as real. If The Ladder is real then some of the future is really happening also. Suddenly the story is less like the Bierce and much more like CARNVAL OF SOULS, where the soul survives and assumes it is still alive and the living take it for a living soul. The faceless demons could even be a direct borrowing of the carnival dead in CARNIVAL OF SOULS. Well, if you're going to borrow, borrow from the best.
Mark R. Leeper att!mtgzy!leeper<EMAIL_ADDRESS>.
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Trump says something stupid: 'They shouldn’t be having public hearings'
by Xeni Jardin“They shouldn’t be having public hearings,” said acting president of the united states Donald J. Trump today, about a week after he demanded public hearings.
Trump today said Democrats should NOT be holding public hearings, which contradicts what he and his Republican toadies were pushing for last week -- they were complaining that the hearings should NOT be done behind closed doors.
Okay, Boomer.
Whatever.
In the same mouth-diarrhea spew today, Trump also said he's thinking of visiting Russia soon for state ceremonies honoring Soviet heroes at May Day. More on that below, from the poor journalists covering this spectacle live in Washington.


{% extends 'base.html' %} {% block title %}Snowboarding{% endblock %} {% block content %}
This page is not ready for public viewing yet! Come back later. The Pipeline works nicely though


S5P_L2_SO2
Variables
The table below lists the variables that are present in the HARP product that results from an ingestion of S5P_L2_SO2
data.
field name |
type |
dimensions |
unit |
description |
|---|---|---|---|---|
scan_subindex |
int16 |
{time} |
pixel index (0-based) within the scanline |
|
datetime_start |
double |
{time} |
[seconds since 2010-01-01] |
start time of the measurement |
datetime_length |
double |
[s] |
duration of the measurement |
|
orbit_index |
int32 |
absolute orbit number |
||
validity |
int32 |
{time} |
processing quality flag |
|
latitude |
float |
{time} |
[degree_north] |
latitude of the ground pixel center (WGS84) |
longitude |
float |
{time} |
[degree_east] |
longitude of the ground pixel center (WGS84) |
latitude_bounds |
float |
{time, 4} |
[degree_north] |
latitudes of the ground pixel corners (WGS84) |
longitude_bounds |
float |
{time, 4} |
[degree_east] |
longitudes of the ground pixel corners (WGS84) |
sensor_latitude |
float |
{time} |
[degree_north] |
latitude of the geodetic sub-satellite point (WGS84) |
sensor_longitude |
float |
{time} |
[degree_east] |
longitude of the goedetic sub-satellite point (WGS84) |
sensor_altitude |
float |
{time} |
[m] |
altitude of the satellite with respect to the geodetic sub-satellite point (WGS84) |
solar_zenith_angle |
float |
{time} |
[degree] |
zenith angle of the Sun at the ground pixel location (WGS84); angle measured away from the vertical |
solar_azimuth_angle |
float |
{time} |
[degree] |
azimuth angle of the Sun at the ground pixel location (WGS84); angle measured East-of-North |
sensor_zenith_angle |
float |
{time} |
[degree] |
zenith angle of the satellite at the ground pixel location (WGS84); angle measured away from the vertical |
sensor_azimuth_angle |
float |
{time} |
[degree] |
azimuth angle of the satellite at the ground pixel location (WGS84); angle measured East-of-North |
pressure |
double |
{time, vertical} |
[Pa] |
pressure |
SO2_column_number_density |
float |
{time} |
[mol/m^2] |
SO2 vertical column density |
SO2_column_number_density_uncertainty_random |
float |
{time} |
[mol/m^2] |
random component of the uncertainty of the SO2 vertical column density |
SO2_column_number_density_uncertainty_systematic |
float |
{time} |
[mol/m^2] |
systematic component of the uncertainty of the SO2 vertical column density |
SO2_column_number_density_validity |
int8 |
{time} |
continuous quality descriptor, varying between 0 (no data) and 100 (full quality data) |
|
SO2_column_number_density_amf |
float |
{time} |
[] |
total air mass factor |
SO2_column_number_density_amf_uncertainty_random |
float |
{time} |
[] |
random component of the uncertainty of the total air mass factor |
SO2_column_number_density_amf_uncertainty_systematic |
float |
{time} |
[] |
systematic component of the uncertainty of the total air mass factor |
SO2_column_number_density_avk |
float |
{time, vertical} |
[] |
averaging kernel for the SO2 vertical column density |
SO2_volume_mixing_ratio_dry_air_apriori |
float |
{time, vertical} |
[ppv] |
SO2 apriori profile in volume mixing ratios |
SO2_slant_column_number_density |
float |
{time} |
[mol/m^2] |
SO2 slant column density |
SO2_type |
int8 |
{time} |
type of SO2 detected; enumeration values: no_detection (0), so2_detected (1), volcanic_detection (2), detection_near_anthropogenic_source (3), detection_at_high_sza (4) |
|
SO2_layer_height |
float |
{time} |
[m] |
SO2 layer height |
SO2_layer_height_uncertainty |
float |
{time} |
[m] |
SO2 layer height uncertainty |
SO2_layer_height_validity |
int8 |
{time} |
continuous quality descriptor, varying between 0 (no data) and 100 (full quality data) |
|
SO2_layer_pressure |
float |
{time} |
[Pa] |
SO2 layer pressure |
O3_column_number_density |
float |
{time} |
[mol/m^2] |
O3 vertical column density |
O3_column_number_density_uncertainty |
float |
{time} |
[mol/m^2] |
random component of the uncertainty of the O3 vertical column density |
absorbing_aerosol_index |
float |
{time} |
[] |
aerosol index |
cloud_albedo |
float |
{time} |
[] |
cloud albedo |
cloud_albedo_uncertainty |
float |
{time} |
[] |
uncertainty of the cloud albedo |
cloud_fraction |
float |
{time} |
[] |
cloud fraction |
cloud_fraction_uncertainty |
float |
{time} |
[] |
uncertainty of the cloud fraction |
cloud_height |
float |
{time} |
[km] |
cloud height |
cloud_height_uncertainty |
float |
{time} |
[km] |
uncertainty of the cloud height |
cloud_pressure |
float |
{time} |
[Pa] |
cloud pressure |
cloud_pressure_uncertainty |
float |
{time} |
[Pa] |
uncertainty of the cloud pressure |
surface_albedo |
float |
{time} |
[] |
surface albedo |
surface_altitude |
float |
{time} |
[m] |
surface altitude |
surface_altitude_uncertainty |
float |
{time} |
[m] |
surface altitude precision |
surface_pressure |
float |
{time} |
[Pa] |
surface pressure |
surface_meridional_wind_velocity |
float |
{time} |
[m/s] |
northward wind |
surface_zonal_wind_velocity |
float |
{time} |
[m/s] |
eastward wind |
tropopause_pressure |
double |
{time} |
[Pa] |
tropopause pressure |
index |
int32 |
{time} |
zero-based index of the sample within the source product |
Ingestion options
The table below lists the available ingestion options for S5P_L2_SO2
products.
option name |
legal values |
description |
|---|---|---|
so2_column |
1km, 7km, 15km, lh |
whether to ingest the anothropogenic SO2 column at the PBL (default), the SO2 column from the 1km box profile (so2_column=1km), from the 7km box profile (so2_column=7km), from the 15km box profile (so2_column=15km), or the SO2 column consistent with the SO2 layer height (so2_column=lh); providing this option will only work for NRTI data or for OFFL data with processor version >= 01.01.01 (otherwise an empty product is returned); layer height data is only available for processor version >= 02.05.00 |
cloud_fraction |
radiance |
whether to ingest the cloud fraction (default) or the radiance cloud fraction (cloud_fraction=radiance) |
Mapping description
The table below details where and how each variable was retrieved from the input product.
field name |
mapping description |
|
|---|---|---|
scan_subindex |
description |
the scanline and pixel dimensions are collapsed into a temporal dimension; the index of the pixel within the scanline is computed as the index on the temporal dimension modulo the number of scanlines |
datetime_start |
path |
/PRODUCT/time, /PRODUCT/delta_time[] |
description |
time converted from milliseconds since a reference time (given as seconds since 2010-01-01) to seconds since 2010-01-01 (using 86400 seconds per day) |
|
datetime_length |
path |
/@time_coverage_resolution |
description |
the measurement length is parsed assuming the ISO 8601 ‘PT%(interval_seconds)fS’ format |
|
orbit_index |
path |
/@orbit |
validity |
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/processing_quality_flags[] |
description |
the uint32 data is cast to int32 |
|
latitude |
path |
/PRODUCT/latitude[] |
longitude |
path |
/PRODUCT/longitude[] |
latitude_bounds |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/latitude_bounds[] |
longitude_bounds |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/longitude_bounds[] |
sensor_latitude |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/satellite_latitude[] |
description |
the satellite latitude associated with a scanline is repeated for each pixel in the scanline |
|
sensor_longitude |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/satellite_longitude[] |
description |
the satellite longitude associated with a scanline is repeated for each pixel in the scanline |
|
sensor_altitude |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/satellite_altitude[] |
description |
the satellite altitude associated with a scanline is repeated for each pixel in the scanline |
|
solar_zenith_angle |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/solar_zenith_angle[] |
solar_azimuth_angle |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/solar_azimuth_angle[] |
sensor_zenith_angle |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/viewing_zenith_angle[] |
sensor_azimuth_angle |
path |
/PRODUCT/SUPPORT_DATA/GEOLOCATIONS/viewing_azimuth_angle[] |
pressure |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/tm5_constant_a[], /PRODUCT/SUPPORT_DATA/INPUT_DATA/tm5_constant_b[], /PRODUCT/SUPPORT_DATA/INPUT_DATA/surface_pressure[] |
description |
pressure in Pa at layer k is derived from surface pressure in Pa as: tm5_constant_a[k] + tm5_constant_b[k] * surface_pressure[] |
|
SO2_column_number_density |
condition |
so2_column unset |
path |
/PRODUCT/sulfurdioxide_total_vertical_column[] |
|
condition |
so2_column=1km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_1km[] |
|
condition |
so2_column=7km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_7km[] |
|
condition |
so2_column=15km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_15km[] |
|
condition |
so2_column=lh and processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_total_vertical_column_layer_height[] |
|
SO2_column_number_density_uncertainty_random |
condition |
so2_column unset |
path |
/PRODUCT/sulfurdioxide_total_vertical_column_precision[] |
|
condition |
so2_column=1km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_1km_precision[] |
|
condition |
so2_column=7km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_7km_precision[] |
|
condition |
so2_column=15km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_15km_precision[] |
|
condition |
so2_column=lh and processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_total_vertical_column_layer_height_precision[] |
|
SO2_column_number_density_uncertainty_systematic |
available |
optional |
condition |
so2_column unset and (NRTI or processor version >= 01.00.00) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_trueness[] |
|
condition |
so2_column=1km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_1km_trueness[] |
|
condition |
so2_column=7km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_7km_trueness[] |
|
condition |
so2_column=15km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_vertical_column_15km_trueness[] |
|
condition |
so2_column=lh and processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_total_vertical_column_layer_height_trueness[] |
|
SO2_column_number_density_validity |
available |
optional |
condition |
so2_column!=lh |
|
path |
/PRODUCT/qa_value |
|
SO2_column_number_density_amf |
condition |
so2_column unset |
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_polluted[] |
|
condition |
so2_column=1km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_1km[] |
|
condition |
so2_column=7km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_7km[] |
|
condition |
so2_column=15km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_15km[] |
|
condition |
so2_column=lh and processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_total_air_mass_factor_layer_height[] |
|
SO2_column_number_density_amf_uncertainty_random |
available |
optional |
condition |
so2_column unset and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_polluted_precision[] |
|
condition |
so2_column=1km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_1km_precision[] |
|
condition |
so2_column=7km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_7km_precision[] |
|
condition |
so2_column=15km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_15km_precision[] |
|
condition |
so2_column=lh and processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_total_air_mass_factor_layer_height_precision[] |
|
SO2_column_number_density_amf_uncertainty_systematic |
available |
optional |
condition |
so2_column unset and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_polluted_trueness[] |
|
condition |
so2_column=1km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_1km_trueness[] |
|
condition |
so2_column=7km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_7km_trueness[] |
|
condition |
so2_column=15km and (NRTI or processor version >= 01.01.01) |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_total_air_mass_factor_15km_trueness[] |
|
condition |
so2_column=lh and processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_total_air_mass_factor_layer_height_trueness[] |
|
SO2_column_number_density_avk |
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/averaging_kernel[] |
condition |
so2_column=1km |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/averaging_kernel[], /PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_averaging_kernel_scaling_box_1km[] |
|
description |
the averaging kernel is multiplied by the scaling factor |
|
condition |
so2_column=7km |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/averaging_kernel[], /PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_averaging_kernel_scaling_box_7km[] |
|
description |
the averaging kernel is multiplied by the scaling factor |
|
condition |
so2_column=15km |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/averaging_kernel[], /PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_averaging_kernel_scaling_box_15km[] |
|
description |
the averaging kernel is multiplied by the scaling factor |
|
condition |
so2_column=lh and processor version >= 02.05.00 |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/averaging_kernel[], /PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_averaging_kernel_scaling_box_layer_height[] |
|
description |
the averaging kernel is multiplied by the scaling factor |
|
SO2_volume_mixing_ratio_dry_air_apriori |
available |
optional |
condition |
so2_column unset |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_profile_apriori[] |
|
SO2_slant_column_number_density |
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_slant_column_corrected[] |
SO2_type |
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/sulfurdioxide_detection_flag[] |
SO2_layer_height |
available |
optional |
condition |
processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_layer_height[] |
|
SO2_layer_height_uncertainty |
available |
optional |
condition |
processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_layer_height_precision[] |
|
SO2_layer_height_validity |
available |
optional |
condition |
processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/qa_value_layer_height |
|
SO2_layer_pressure |
available |
optional |
condition |
processor version >= 02.05.00 |
|
path |
/PRODUCT/SO2_LAYER_HEIGHT/sulfurdioxide_layer_pressure[] |
|
O3_column_number_density |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/ozone_total_vertical_column[] |
O3_column_number_density_uncertainty |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/ozone_total_vertical_column_precision[] |
absorbing_aerosol_index |
available |
optional |
condition |
OFFL |
|
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/aerosol_index_340_380 |
|
cloud_albedo |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_albedo_crb |
cloud_albedo_uncertainty |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_albedo_crb_precision |
cloud_fraction |
condition |
cloud_fraction unset |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_fraction_crb[] |
|
condition |
cloud_fraction=radiance |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/cloud_fraction_intensity_weighted[] |
|
cloud_fraction_uncertainty |
condition |
cloud_fraction unset |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_fraction_crb_precision[] |
|
condition |
cloud_fraction=radiance |
|
path |
/PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/cloud_fraction_intensity_weighted_precision[] |
|
cloud_height |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_height_crb |
cloud_height_uncertainty |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_height_crb_precision |
cloud_pressure |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_pressure_crb |
cloud_pressure_uncertainty |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/cloud_pressure_crb_precision |
surface_albedo |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/surface_albedo_328nm, /PRODUCT/SUPPORT_DATA/INPUT_DATA/surface_albedo_376nm, /PRODUCT/SUPPORT_DATA/DETAILED_RESULTS/selected_fitting_window_flag |
description |
if selected_fitting_window_flag is 1 or 2 then use surface_albedo_328, if selected_fitting_window_flag is 3 then use surface_albedo_376, else set to NaN |
|
surface_altitude |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/surface_altitude[] |
surface_altitude_uncertainty |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/surface_altitude_precision[] |
surface_pressure |
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/surface_pressure[] |
surface_meridional_wind_velocity |
available |
optional |
condition |
processor version >= 02.00.00 |
|
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/northward_wind[] |
|
surface_zonal_wind_velocity |
available |
optional |
condition |
processor version >= 02.00.00 |
|
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/eastward_wind[] |
|
tropopause_pressure |
available |
optional |
condition |
processor version >= 02.00.00 |
|
path |
/PRODUCT/SUPPORT_DATA/INPUT_DATA/tm5_constant_a[], /PRODUCT/SUPPORT_DATA/INPUT_DATA/tm5_constant_b[], /PRODUCT/SUPPORT_DATA/INPUT_DATA/tm5_tropopause_layer_index[], /PRODUCT/SUPPORT_DATA/INPUT_DATA/surface_pressure[] |
|
description |
pressure in Pa at tropause is derived from the upper bound of the layer with tropopause layer index k: exp((log(tm5_constant_a[k] + tm5_constant_b[k] * surface_pressure[]) + log(tm5_constant_a[k + 1] + tm5_constant_b[k + 1] * surface_pressure[]))/2.0) |


|
|
CIFXTimeManager Class ReferenceInheritance diagram for CIFXTimeManager:
List of all members.
|
Public Member Functions |
| virtual U32 IFXAPI | AddRef (void) |
| virtual U32 IFXAPI | Release (void) |
| virtual IFXRESULT IFXAPI | QueryInterface (IFXREFIID riid, void **ppv) |
| virtual IFXRESULT IFXAPI | Execute (IFXTaskData *pTaskData) |
| virtual IFXRESULT IFXAPI | Initialize (IFXCoreServices *pCoreServices) |
| virtual IFXRESULT IFXAPI | Reset () |
| virtual IFXRESULT IFXAPI | Cleanup () |
| virtual IFXRESULT IFXAPI | GetTaskManager (IFXTaskManager **ppTaskManager) |
| virtual IFXRESULT IFXAPI | SetTimer (IFXNotificationId id, U32 start, U32 period, U32 duration, U32 *pTimerId) |
| virtual IFXRESULT IFXAPI | SetAutoTimer (IFXNotificationId id, U32 start, U32 period, U32 duration, U32 *pTimerId, BOOL bAuto, IFXTaskHandle taskHandle) |
| virtual IFXRESULT IFXAPI | KillTimer (U32 timerId) |
| virtual IFXRESULT IFXAPI | InsertTimer (CIFXTimer *pTimer) |
| virtual CIFXTimer * | PopTimer () |
| virtual IFXRESULT IFXAPI | DeleteTimer (CIFXTimer *pTimer) |
| virtual CIFXTimer * | NewTimer () |
| virtual IFXRESULT IFXAPI | RegisterTask (IFXTask *pTask, U32 start, U32 period, U32 duration, IFXTaskHandle *pTaskHandle) |
| virtual IFXRESULT IFXAPI | UnregisterTask (IFXTaskHandle taskHandle) |
Protected Member Functions |
| IFXRESULT | QueryInterval (U32 start, U32 end, U32 *pMax) |
| IFXRESULT | AdvanceInterval (U32 start, U32 end) |
Private Member Functions |
| | CIFXTimeManager () |
| virtual | ~CIFXTimeManager () |
Private Attributes |
| U32 | m_refcount |
| BOOL | m_initialized |
| IFXCoreServices * | m_pCoreServices |
| IFXTaskManager * | m_pTaskManager |
| CIFXTimer * | m_pTimerList |
| CIFXTimer * | m_pTimerFreeList |
| U32 | m_sizeFreeList |
| U32 | m_nextTimerId |
| BOOL | m_busy |
Friends |
| class | CIFXScheduler |
| IFXRESULT IFXAPI_CALLTYPE | CIFXTimeManager_Factory (IFXREFIID riid, void **ppv) |
Constructor & Destructor Documentation
| CIFXTimeManager::CIFXTimeManager |
( |
|
) |
[private] |
|
| CIFXTimeManager::~CIFXTimeManager |
( |
|
) |
[private, virtual] |
|
Member Function Documentation
| U32 CIFXTimeManager::AddRef |
( |
void |
|
) |
[virtual] |
|
|
|
This method increments the reference count for an interface on a component.
- Note:
- It should be called for every new copy of a pointer to an interface on a given component.
- Returns:
- It returns a U32 that contains a value from 1 to 2^32 - 1 that defines the new reference count. The return value should only be used for debugging purposes.
Implements IFXUnknown. |
| IFXRESULT CIFXTimeManager::AdvanceInterval |
( |
U32 |
start, |
|
|
U32 |
end |
|
) |
[protected] |
|
| IFXRESULT CIFXTimeManager::Cleanup |
( |
|
) |
[virtual] |
|
|
|
This method removes all registered jobs from the Time Manager.
- Returns:
- Returns an IFXRESULT code..
- IFX_OK upon success.
- IFX_E_NOT_INITIALIZED if the Time Manager has not been initialized.
Implements IFXTimeManager. |
| IFXRESULT CIFXTimeManager::DeleteTimer |
( |
CIFXTimer * |
pTimer |
) |
[virtual] |
|
| IFXRESULT CIFXTimeManager::Execute |
( |
IFXTaskData * |
pTaskData |
) |
[virtual] |
|
|
|
This method is executed by the object with which the task is registered.
The IFXTaskData interface may be extended to include additional data if needed.
- Parameters:
-
| pTaskData | A pointer to an implementation of the IFXTaskData interface. It contains all required invocation data for the Execute method. |
- Returns:
- Returns an IFXRESULT code. Besides the following standard return codes, the Execute method may return an implementation specific error code. Errors returned by an Execute method are ignored unless an error listener has been registered with the Notification Manager.
- IFX_E_INVALID_POINTER is returned if pTaskData is invalid.
Implements IFXTask. |
| IFXRESULT CIFXTimeManager::GetTaskManager |
( |
IFXTaskManager ** |
ppTaskManager |
) |
[virtual] |
|
|
|
This method retrieves the TaskManager for this component.
- Parameters:
-
| ppTaskManager | pointer to recieve a pointer to the TaskManager for this component.
|
- Returns:
- Returns an IFXRESULT code..
- IFX_OK upon success.
- IFX_E_NOT_INITIALIZED if the Time Manager has not been initialized.
- IFX_E_INVALID_POINTER is returned if ppTaskManager is invalid.
Implements IFXTimeManager. |
| IFXRESULT CIFXTimeManager::Initialize |
( |
IFXCoreServices * |
pCoreServices |
) |
[virtual] |
|
|
|
This method initializes the Time Manager.
- Parameters:
-
| pCoreServices | A pointer to the CoreServices object.
|
- Returns:
- Returns an IFXRESULT code..
- IFX_OK upon success.
- IFX_E_ALREADY_INITIALIZED if the Time Manager has already been initialized.
- IFX_E_INVALID_POINTER is returned if pCoreServices is invalid.
Implements IFXTimeManager. |
| IFXRESULT CIFXTimeManager::InsertTimer |
( |
CIFXTimer * |
pTimer |
) |
[virtual] |
|
| IFXRESULT CIFXTimeManager::KillTimer |
( |
U32 |
timerId |
) |
[virtual] |
|
|
|
This method deletes an existing timer.
- Parameters:
-
| timerId | The id of the timer to be deleted.
|
- Returns:
- Returns an IFXRESULT code..
- IFX_OK upon success.
- IFX_E_NOT_INITIALIZED if the Time Manager has not been initialized.
- IFX_E_INVALID_HANDLE is returned if timerId is invalid.
- IFX_E_INVALID_POINTER indicates an internal error has occurred.
Implements IFXTimeManager. |
| CIFXTimer * CIFXTimeManager::NewTimer |
( |
|
) |
[virtual] |
|
| CIFXTimer * CIFXTimeManager::PopTimer |
( |
|
) |
[virtual] |
|
| IFXRESULT CIFXTimeManager::QueryInterface |
( |
IFXREFIID |
riid, |
|
|
void ** |
ppv |
|
) |
[virtual] |
|
|
|
This method provides access to the various interfaces supported by a component.
Upon success, it increments the component's reference count and hands back a pointer to the specified interface.
- Note:
- A number of rules must be adhered to by all implementations of IFXAPI QueryInterface . For a list of such rules, refer to the IFXCOM usage guidelines.
- Returns:
- Upon success, IFX_OK is returned. Otherwise, either IFX_E_INVALID_POINTER or IFX_E_UNSUPPORTED are returned.
Implements IFXUnknown. |
| IFXRESULT CIFXTimeManager::QueryInterval |
( |
U32 |
start, |
|
|
U32 |
end, |
|
|
U32 * |
pMax |
|
) |
[protected] |
|
|
|
Creates a new notification that is controlled by a timer.
This is similar to the SetTimer method, except that the notification is auto-generated rather than being specified by the client. Instead of returning the TimerId, this method returns the taskhandle of the notification handler.
- Parameters:
-
| pTask | The IFXTask which is to be handle events generated by this timer.
|
| start | starting time for this timer in milliseconds, relative to the present.
|
| period | period for this timer in milliseconds.
|
| duration | duration for this timer in milliseconds. A duration of zero means infinity.
|
| pTaskHandle | Receives the task handle that uniquely identifies this timer/notification pair.
|
- Returns:
- Returns an IFXRESULT code..
- IFX_OK upon success.
- IFX_E_NOT_INITIALIZED if the Time Manager has not been initialized.
- IFX_E_INVALID_POINTER is returned if pTask or pTaskHandle is invalid.
- IFX_E_OUT_OF_MEMORY is returned if the new timer cannot be allocated.
- Note:
- Timers created by this method should be deleted using the UnregisterTask method. Unregister task properly kills the timer and deletes the associated notification.
Implements IFXTimeManager. |
| U32 CIFXTimeManager::Release |
( |
void |
|
) |
[virtual] |
|
|
|
This method decrements the reference count for the calling interface on a component.
- Note:
- If the reference count on a component falls to zero, the component is destroyed.
- Returns:
- It returns a U32 that contains a value from 1 to 2^32 - 1 that defines the new reference count. The return value should only be used for debugging purposes.
Implements IFXUnknown. |
| IFXRESULT CIFXTimeManager::Reset |
( |
|
) |
[virtual] |
|
|
|
This method creates a new timer.
This does not create an associated Notification for the timer; the notification to be generated must be specified by the id parameter.
- Parameters:
-
| id | The IFXNotificationId for this timer. This id will be supplied to the NotificationManager when this timer is triggered, and may be caught by notification handlers.
|
| start | starting time for this timer in milliseconds, relative to the present.
|
| period | period for this timer in milliseconds.
|
| duration | duration for this timer in milliseconds. A duration of zero means infinity.
|
| pTimerId | Receives a unique id for this timer. This id can be used to kill the timer prematurely.
|
- Returns:
- Returns an IFXRESULT code..
- IFX_OK upon success.
- IFX_E_NOT_INITIALIZED if the Time Manager has not been initialized.
- IFX_E_INVALID_POINTER is returned if pTimerId is invalid.
- IFX_E_OUT_OF_MEMORY is returned if the new timer cannot be allocated.
- IFX_E_OUT_OF_RANGE indicates that id is an invalid IFXNotificationId.
Implements IFXTimeManager. |
| IFXRESULT CIFXTimeManager::UnregisterTask |
( |
IFXTaskHandle |
taskHandle |
) |
[virtual] |
|
|
|
Removes a timer and notification created by RegisterTask.
This should only be used on notifications created by IFXTimeManager->RegisterTask, since it interprets the UserData field of registered NotificationInfo as a valid timer and attempts to kill it.
- Parameters:
-
| taskHandle | The handle generated by RegisterTask.
|
- Returns:
- Returns an IFXRESULT code.
- IFX_OK upon success.
- IFX_E_NOT_INITIALIZED if the Time Manager has not been initialized.
- IFX_E_INVALID_HANDLE is returned if the taskHandle is invalid.
Implements IFXTimeManager. |
Friends And Related Function Documentation
| IFXRESULT IFXAPI_CALLTYPE CIFXTimeManager_Factory |
( |
IFXREFIID |
riid, |
|
|
void ** |
ppv |
|
) |
[friend] |
|
Member Data Documentation
© 1999 - 2006 Intel Corporation. All rights reserved.
* Other names and brands may be claimed as the property of others.
|
|


Andy Ruiz Jr claims Anthony Joshua threw "lucky punch" which knocked him down
Joshua dropped Ruiz Jr in the fourth round but was then knocked down four times and stopped in New York
by Martin Domin, https://www.facebook.com/mirrorfightingAndy Ruiz Jr has claimed it was Anthony Joshua who threw a lucky punch in their first meeting.
The chubby heavyweight stunned the boxing world by knocking Joshua down four times before stopping him in the seventh round.
Ruiz relieved the Brit of his three world titles with Joshua claiming he did so with a "lucky punch sent from the Gods".
But as the rivals prepare to clash again next month, the champion has hit back, claiming he wasn't hurt when he was dropped in the third round.
"That was a lucky shot for him, too," Ruiz Jr told Sky Sports. “I got lazy. It was a punch in the blink of an eye. I thought: 'What just happened?'
After The Bell: Watch Mirror Fighting's new boxing show
Mirror Fighting has launched a new weekly boxing show in association with Betfair in which we analyse the latest big fights, play matchmaker, and preview forthcoming bouts.
Former super-middleweight world champion George Groves provides expert analysis.
To watch the latest show in full, click here.
"I wasn't that hurt because I wasn't wobbling. I still had the will and the fire inside of me. I wanted to keep fighting and win the fight.
“Once he dropped me, then got me with a really good right hand, I could eat his punches. Mentally he thought, 'This guy isn't going down, what is happening?.
"I had to do everything possible to change the fight, and that’s what I did with the left hook.
"The left hook was a really great shot in the temple. The other times I hit him in the head, he loosened up and got wobbly. I was the better fighter that day because I pressured him, threw more punches and the body shots put him down."
Ruiz stepped in at six weeks' notice to face Joshua after Jarrell Miller failed three drug tests.
And the new champion believes the Brit would have beaten anyone else on that famous night in New York.
"If it was another fighter in there, Joshua would have beat him," he said. "If it was Jarrell Miller, he would have beaten him.
"I was hungry, that's the difference between me and other fighters. I've been doing it since I was six years old, it's all I know."


Hi there! I am currently a 3B Systems Design Engineering student at the University of Waterloo.
Through my course work I have accumulated an understanding and appreciation for what good design is and how to leverage it to create simple and intuitive software solutions. Through my internships as a developer, I have applied that knowledge in tandem with my passion to solve complex problems to delight users and developers alike.
Similar to my program, I love to try different things. If you can help me find my next adventure, send me a message!
Researched and defined an AI feature to identify buyer intent for B2B marketing automation tool, Eloqua
Conducted a series of user interviews to validate and iterate on design and prototypes
Assessed feature opportunity by creating a POA document that included market analysis, KPIs and revenue strategy
Presented feature to leadership team and earned a ‘go’
Collaborated with developers, designers and PMs to release redesigned UI for integration application to accelerate user’s ability to master feature after complaints of steep learning curve
Led the development of an identification system that used Machine and Natural Language Processing
Increased the accuracy of the system by 50% using word embeddings, image processing and k-means clustering
Enhanced data warehousing capability for user-interactions data using Python
Implemented Anomaly detection using Kibana to detect data gaps
Collaborated with Product and Sales teams to identify business use case
Developed and released new iOS employee directory app in 12 weeks as lead iOS developer
Implemented 10+ features using AVFoundation and Contacts frameworks
Collaborated with designers to design UI and perform user testing
Individually performed demos every sprint to management team
Responsible for overall performance of Vault, a cloud-based Document Management System
Managed production and development Elasticsearch, Logstash and Kibana pipeline
Designed and created Kibana dashboards for various PMs based on their individual business needs
Developed Python, Java and Ruby scripts to automate performance tests
Developed Python automation scripts to streamline tasks
Reduced script execution time by roughly 700% using multiprocessing and regex
SYDE 313 - Applied Linear Algebra
SYDE 352 - Control Systems
SYDE 362 - Systems Design Workshop
SYDE 372 - Pattern Recognition
SYDE 384 - Biological and Human Systems
MSCI 442 - Impact of Information Systems on Society
SYDE 311 - Calculus 4
SYDE 351 - Systems Models
SYDE 361 - Engineering Design
SYDE 381 - Thermodynamics
SYDE 383 - Fluid Mechanics
SYDE 212 - Probability and Statistics
SYDE 252 - Linear Systems and Signals
SYDE 262 - Engineering Economics of Design
SYDE 286 - Mechanics of Deformable Solids
SYDE 292 - Circuits, Instrumentation, and Measurement
MSCI 211 - Organizational Behaviour
SYDE 223 - Data Structures and Algorithms (Python)
SYDE 261 - Design, Systems, and Society
SYDE 211 - Calculus 3
SYDE 283 - Electricity and Magnetism
SYDE 285 - Materials Chemistry
SYDE 192 - Digital Systems (Arduino and MIPS)
SYDE 162 - Human Factors in Design
SYDE 114 - Numerical and Applied Calculus
SYDE 182 - Dynamic Physics
SYDE 112 - Calculus 2
ECON 102 - Macroeconomics
SYDE 121 - Digital Computation (C++)
SYDE 161 - Introuction to Design
SYDE 111 - Calculus 1
SYDE 113 - Linear Algebra 1
SYDE 181 - Static Physics
SYDE 101L - Graphics Laboratory (SolidWorks)
Topics include:
1) Supervised learning (parametric/non-parametric algorithms, support vector machines, kernels, neural networks)
2) Unsupervised learning (clustering, dimensionality reduction, recommender systems, deep learning)
3) Best practices in machine learning (bias/variance theory; innovation process in machine learning and AI)


How well do you know Justin Whitaker?
Top 10 Favorite Places I've Been
- 10,000 feet above sea level in an alpine meadow in the Colorado rockies (exact location unknown)
- Navarre Beach, Pensacola, Florida
- Orcas Island, Washington State
- Long Beach, Los Angeles, California
- Buffalo River near Hardy, Arkansas
- Outer Banks, North Carolina
- Schlitterbahn water park, New Braunfels, Texas
- South Padre Island, Texas
- Bacchanal Wine, New Orleans, Louisiana
- South Beach, Miami, Florida
Questions
- Was I born south of the Mason-Dixon line?
- Have I ever been out of the United States?
- Am I over 6 feet tall?
- Am I interested in skydiving again?
- Have I ever been married before?
Answers
- Yes
- Yes
- No
- No
- Yes
Institutions at which I've taken one or more classes
- U.S. Air Force Academy
- The Ohio State University
- Columbus State Community College
- University of Arkansas
- Renton Technical College
- Bellevue College
- Code Fellows (first class in progress)


You are accessing a U.S. Government (USG) Information System (IS) that is provided for USG-authorized use only. By using
this IS (which includes any device attached to this IS), you consent to the following conditions:
-
-The USG routinely intercepts and monitors communications on this IS for purposes including, but not limited to, penetration
testing, COMSEC monitoring, network operations and defense, personnel misconduct (PM), law enforcement (LE),
and counterintelligence (CI) investigations.
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-At any time, the USG may inspect and seize data stored on this IS.
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-Communications using, or data stored on, this IS are not private, are subject to routine monitoring, interception, and search,
and may be disclosed or used for any USG authorized purpose.
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-Notwithstanding the above, using this IS does not constitute consent to PM, LE or CI investigative searching or monitoring
of the content of privileged communications, or work product, related to personal representation or services
by attorneys, psychotherapists, or clergy, and their assistants. Such communications and work product are private
and confidential.


An enthusiastic coder, I love the problem solving and logic in coding, along with pairing and the thrill of testing. My core knowledge base is in Javascript, Ruby, and Rails (with the required HTML/CSS and SASS to go with it). I'm also curious about Go and DevOps.
I came to coding through online classes and then Girl Develop It (GDI). This led to meeting some awesome people, going to more meetups, taking a series of JavaScript classes, a scholarship to Dev Bootcamp, then helping out with a few GDI classes and speaking at Windy City Rails 2015. I finished Dev Bootcamp in November 2015.
Chicago is my home and I don't watch scary movies, they scare me (even the previews).


Faction Ranking: Tables Page
This tab page of the Faction Ranking dialog ranks all surviving factions in the game by their current possessions.
This list allows you to select a possession as the basis for comparison.
- Units ranks factions by the number of units they own.
- Unit Strength ranks factions by the total strength of all their units.
- Unit Values ranks factions by the combined value of the units they own.
- Sites ranks factions by the number of map sites they own.
- Site Values ranks factions by the combined value of the map sites they own.
- The remaining entries, if any, represent all Resources that are owned by at least one faction. Each entry ranks factions by their stockpiles of a specific resource.
- Left-click on an entry to select it. The Faction List reflects the selected entry.
- Double-click on a resource name to show its Variables dialog.
This text box shows the defeat threshold for a selected possession.
- A dash indicates that there is no defeat condition associated with the selected possession.
- A number indicates that any faction will lose the game when it owns the specified amount or less of the selected possession.
- An asterisk indicates that different factions associate conflicting defeat conditions with the selected possession. Please refer to the Faction Status dialog for the defeat conditions of each individual faction.
This text box shows the victory threshold for a selected possession.
- A dash indicates that there is no victory condition associated with the selected possession.
- A number indicates that any faction will win the game when it owns the specified amount or more of the selected possession.
- An asterisk indicates that different factions associate conflicting victory conditions with the selected possession. Please refer to the Faction Status dialog for the victory conditions of each individual faction.
This list shows the names of all surviving factions, underlaid with their Color Codes and ranked by the selected possession in the Compare List.
- Column Rank shows the rank of each faction according to the selected possession. Two factions with equal possessions are ranked in the order in which they become active during a turn.
- Column Value shows the amount of the selected possession that each faction owns. The more a faction owns, the higher it ranks.
- Double-click on an entry to show its Faction Status dialog.
Remarks
When Unit Values or Site Values is selected in the Compare List, the values shown in the Faction List are scenario-specific and not necessarily useful to gauge a faction’s chance of victory.


My DataScience Mashup
This project is designed to determine whether the picture contains a dog or a cat.
The project is designed to generate text in Shakespearean Style.
This project is designed to provide affordable and efficient diagnosis for Breast Cancer.
This project is designed to determine whether data is positive, negative or neutral.
This project is designed to predict whether the patient has risk of Coronary Heart Disease.
This project is designed to predict House Sales Prices on the basis of area.
This project is designed to determine and recognise handwritten digits.
This project is used to determine whether an adult earns over INR 50000 a year.
The model is designed to predict closing day Stock Prices and Profit/Loss.
This project is designed to address appropriate labels to the text.
This project is used to visualise the data by plotting graphs in Seaborn.
This project is used to analyse and classify various restaurant reviews.
This project is used to detect face and determmine age and gender.
This project is used to determine compressive strength of Deep Neural Networks.
This project is used to clean the dataset before feeding into a model.


Aquage has a shampoo and conditioner for all different types of hair. Shampoo and conditioner are the first step to building the foundation for your amazing new style.
Aquage has an amazing line of products to help build volume, or to smooth and straighten your hair. Hairsprays range from a light combable hold to an extreme hold.
Aquage's gluten and sulfate free alternatives. Products for all hair types from flat to curly. Hairspray finishes from brushable to mega hold and add a little shine with Glow to finish your style.
Take home Goldwell color protection to keep your new Goldwell color looking amazing. Keratin protein infused shampoo, conditioner, and oil treatment to smooth those curls and keep your color strong.


€345
€424.35 ex VAT
- 2 days / 40+ talks
- UX / Dev / Product workshops
- Network with online attendees
- Online demo rooms for new tools
- Advice rooms with consultants
- Online after party
- Chat support
{% if now < '1590793200000' %}
{% endif %}
{% if now > '1590793200000' %}
{% if now < '1590966000000' %}
Book Now
{% else %}
{% endif %}
{% endif %}
- 2 days / 40+ talks
- UX / Dev / Product workshops
- Network with 2,000 attendees
- After party
- Lunch each day
- Dublin walking tour
- Phone and chat support
{% if now < '1590793200000' %}
{% endif %}
{% if now > '1590793200000' %}
{% if now < '1590966000000' %}
Book Now
{% else %}
{% endif %}
{% endif %}
- 2 days / 40+ talks
- UX / Dev / Product workshops
- Network with 2,000 attendees
- After party
- Lunch each day
- Dublin walking tour
- Phone and chat support
- Executive dinner
- VIP activities
{% if now < '1590793200000' %}
{% endif %}
{% if now > '1590793200000' %}
{% if now < '1590966000000' %}
Book Now
{% else %}
{% endif %}
{% endif %}


Palakkad Travel Guide
Zone: Central
Headquarters: Palakkad
Well, not all the tourist destinations in Kerala is all about scenic coastlines; Palakkad is just one of them! Though this city is deprived of any coastal line, it has something distinctive that makes it a must visit place! Palakkad is the ‘Gateway to Kerala’; it connects the India’s Spice Captial with other parts of the country.
while you can find most of Kerala being dotted with coconut groves, Palakkad offers an overall contrasting view! While in this city, you will find yourself amidst never-ending Palmyra groves. Abundance of this giant trees with a crown at the top, got this city the name ‘Land of Palmyra Trees’.
Be it Kerala’s history, education, literature, and cultural values, Palakkad has a remarkable contribution in each of them. Even if looked through agricultural aspects, this pictorial city plays a noteworthy role, and thus, it is also esteemed as a major granary to the state!
Best Places to Visit in Palakkad
1.Nelliampathy
If you see the mist floating in the air and a pleasant aroma of coffee teasing your nostrils, a chain of majestic mountains peaking from all around and a wonderful weather relaxing your nerves, then you are not dreaming, you are in a small beautiful hill station of Kerala known as Nelliyampathy.
2. Silent Valley National Park
The Silent Valley National Park, with its lush green forests and beautiful views of the rich flora and fauna, is a popular destination for nature as well as wildlife lovers all across the globe.The Silent Valley National Park is located in the Kundali Hills of the Western Ghats in Kerala in southern India.
3. Malampuzha Dam
One of the largest reservoirs of Kerala, Malampuzha Dam is located near Palakkad in South India. It is surrounded by the Western Ghats on all side.The dam is 355 feet high and crosses the Malampuzha River, which is a tributary of Bharathappuzha, which is Kerala's second largest river. The dam has many attractions nearby like the rock garden, ropeway, amusement park and visitors often enjoy boating here as well.


Streaming video transformed the internet in the past decade. So, for VR, what’s the equivalent of video and, in particular, streaming video?
So I watched this video on composition in storytelling, which discussed how directors arrange visual elements for shots. And this sparked my curiosity on several tangents related to the subject, including architecture and VR. Specifically, I want to know how film composition will change for virtual reality.
I enjoy digging into the process of creating something, whether it’s film, art, shoes, business, technology, whatever. I can’t really help it. I have to think about the process used to create that product or piece of art. Whenever I see an ad, I have to think about the marketing strategy, branding and business model, even if the business is boring or obscure. For many businesses, it’s easy to imagine and describe the processes and kinds of roles necessary.
Since film is an industry with a myriad of industries as dependencies, thinking about film production usually kicks off more introspection than is usual for me. For example, I was watching “Clockwork Orange” recently. There was a showing at the Grandin Theater and it was amazing to see this film for the first time in theaters. This movie sparks and drives an internal dialogue in the audience about censorship, obscenity, the role of constraint and morality in society. But also it has a particular style of cinematography, including a perculiar approach to mise en scene. This got me thinking a lot about how the director sourced locations for these shots, since there seems to be subtle iconography in some of these shots, which add to the depth of the film’s overall message.
So, what is the process used to source these shots? And why does it seem that this style of mise en film is absent from most movies today? It seems like it would be difficult and time-intensive to arrange these shots. And i posit that it’s because, unless used properly, it would usually detract from the film. Most films that have the mass-appeal to rake in revenue aren’t artistic and they just don’t need this technique. Focus on this technique pays off for some films and some audiences, but not others. It really depends on your market.
A Mathematic Basis for Mise en Scene
So, what is mise en scene? It’s a term in composition that refers to how the set, actors and cameras coordinate in order to compose the the visual arrangement of elements on screen. It also applies to theater, in which case multiple perspectives of the audience need to be taken into account. This is why mise en scene in VR will be closer to that of theater, rather than that of film. In film, you end up with having basically composed one moving 2D representation. Through this, the audience experiences your vision and derives your message.
However, people are different and, given the same static 2D image, they will observe different things. Not only will they make different observations, they will look at entirely different parts of the image. That’s just for a static 2D image.
So what are director’s trying to acheive with mise en scene? What are they trying to optimize? Having studied a bit of neuromarketing - it’s neuroscience! - here’s the thought that should blow your mind, as I’m taking something typically considered right-brain and bringing full-circle to the more analytic left-brain. I propose that:
By carefully controlling the arrangement of visual elements, the director is trying control the probability distribution, over time, of categorized sets of viewers. This is in an effort to orchestrate the experience of diverse categories of audience members.
Sometimes, a picture is worth a thousand words. So here you go. This is a probability distribution representing where people look in an image.
See? Probability Distribution:
Made You Look!
This is one of the most fundamental elements of composition in film. If you understand what drives people to look at something, you can set them up to be more likely to pay attention to the right things. And in such a controversial film as A Clockwork Orange, with a diverse set of viewers, many of whom are disgusted at what is happening on screen, then utilizing mise en scene is critical in coordinating their experience. Many of these viewers would otherwise be reviling in disgust and looking away, completely missing some critical aspect of your message. Imagine if someone watched the first 30 minutes of this film and left. Being able to anticipate the visual reaction of homogenous set of viewers is hard. Being able to control the experiences of a diverse audience is masterful.
As stated in the video at the top of the article, Alfred Hitchcock once famously stated that the size of an object on screen should reflect its importance to the film. And why is that? Circling back to my statement that a director is trying to control the likelyhood of a viewer paying attention to the right things, then by increasing the size of someone on screen, then it makes a few things more likely. First, it becomes more likely that someone would begin to look at that object and continue to look at it. Second, it emphasizes details in that object. Third, in some viewers with a critical mind, this may cause them to reflect on the object’s size in relation to other on screen objects. But, like i said, your audience is diverse and you can’t count on all people to understand such critical facets of film.
Other factors you can use to influence a viewers attention include such visual hacks as contrast, focus, blur, color and especially motion. To understand how to apply these visual hacks, you really need to understand what drives attention in the human mind, as well as how we process visual information. These visual hacks can also detract. This is why mugging is so annoying. Mugging is when an actor purposely diverts attention, typically utilizing motion. People can only pay attention to one thing. For an actor with a small part, mugging can be tempting because they can try to get a bit more attention on screen or whatever. Fortunately, everyone knows this trick. Actually, your goal is to play the viewers attention to where it is intended. Do this and you’ll be far better off.
Great, I’ve digressed into offering my amateur take.
Composition and Architecture
I will get to VR, but first, I’ll take a detour. Logistics. That’s the dimension that I find so fascinating about so many subjects that others seem to miss. I like to deconstruct the topic I’m assessing by expounding on the logistic processes required. So, in this case, I’m thinking about how Stanley Kubrick sourced the locations for his shots. Obviously, the guy read the book A Clockwork Orange and obviously, he studied the work to understand what it meant and what it could mean.

Not actually going to attempt to answer this question. What’s the process used to enumerate and evaluate locations for a movie like this? I’m sure there’s a storyboard involved early on, but the location will significantly change what can be planned in a storyboard. The location itself creates constraints on camera shots that can be used.
In the video that sparked this blog post, there was a particularly good example of a shot at 12:30 that contrasts the sizes of two characters, disrupting the visual balance of the image. With the imbalanced shot in this example, the point is to convey a lack of control for one character and a sense of conflict between them.
However, in order to set up this shot in particular, the layout and floor plan of the house itself was important. A similar shot might be constructed in any house, but the layout enabled the cameras to be positioned so that the size of the characters on screen would be in line with the tone of the events onscreen.
Sourcing Locations and Cyclical Iteration
So, sourcing locations for film seems to be critical for mise en scene. There are certain aspects of the story, the plot and dynamics of the characters that you want to convey through image composition. The director needs to decide what to express via image composition and mise en scene, when first storyboarding.
This planning in storyboarding likely happens at the same time locations are being identified. However, knowing what kind of shots you want to frame for individual scenes is crucial in deciding locations for these scenes.
And so there’s a bit of a circular dependency there, which is similar to one that happens when producing a song that features lyrics. Do you construct the beat first? And overlay the lyrics? Or do you write the lyrics first and then write the beat to emphasize the lyrical delivery? The answer is that you do both, though a few cyclical iterations. You develop a bit on the beat, maybe that inspires some lyrics, that flow to that beat in particular. The lyrics you’re developing fit the beat your working on and that’s crucial. Then once you’ve finished the lyrics, you rearrange sections of the beat to match the lyrical delivery, which takes a lot of studio time. If you’re just working with a track that bought rights for via some producer you don’t know, you probably can’t really rearrange parts of the beat.
But cyclically iterating on location and image composition in film can be incredibly expensive, especially if you need to travel to distant locations to evaluate them and plan shots. And this is a very complicated optimization problem, which is why it’s interesting to me. It is more convoluted if you’re evaluating a location that is used for multiple scenes or for a majority of film content. That location needs to be capable of providing a variety of scenarios that provide possibilities for applying compositional techniques, while remaining visually compelling.
And so, when storyboarding, I’m guessing that many shots can be planned in a generic manner. The “Composition in Storytelling” video mentions composition templates. They are invaluable in reducing the complexity of this problem. These can be extrapolated from existing works. Compositional templates can be employed in a storyboard and are then easily be modified to fit a location’s constraints. For example, the order and angle of camera shots could be generically planned out for a scene, then slightly adapted once the location has be set. However, being able to think about this before choosing the location is invaluable, logistically.
And I haven’t even touched on negotiating the legal rights to use a particular location. I can only imagine the work that went into locking down Times Square for Vanilla Sky. I’ve had that dream before. Swear to God. Scouts honor.
Idea: an algorithm for analyzing building layouts to determine composition possibilities would be useful in narrowing down a list of locations.
Buildings with unique architecture are great locations for creating visually striking imagery. Yet when such iconic locations have been used in such a way that contributes to mise en scene, this reduces the likelihood that such a building would be chosen again. This mostly only applies when the film is very popular or critically acclaimed and the imagery created is unmistakable.
However, on the other hand, there are some locations that I’ve seen crop up on screen time after time. In particular, there’s a skating rink in LA that’s used for most shots of roller skating that appear in movies and TV for the past few decades. So besides its location in LA, what makes this rink a good location for film?
Are there some buildings like this which were design, at least in some part, with film composition in mind? If so, this is likely a phenomenon confined to LA, but to what extent would architects design floor plans with this in mind? Have people studied floor plans and schematics used for critically acclaimed films? Or at least studied floor plans to methodically determine what offers the best shots?
It seems that film does affect architecture in LA, at least at a macro level. Based on how spread out LA is, it seems like the development of LA was controlled and restricted in the early and mid-20th century through the implementation of building codes. Otherwise, IMO there would be more urban centers.
Composition in Computer Generated Works
Because limitations seem to enhance creativity, Pixar would have a much more complex problem in designing the composition for shots. While you’re not restricted by the constraints of a location, designing a scene for computer generated movies involves adding in tons of details.
Changes to these scenes would be expensive in terms of time. So when these computer generated scenes are designed, these general image composition rules are likely taken into account and composition templates are employed. The storyboards are constructed around rough sketches of scenes and minor details are added later on. If high detail is added early on, this significantly increases render times and unnecessarily lengthens the feedback loop.
How Does Image Composition Change for 3D Movies?
3D cameras and 3D movies offer a plethora of interesting methods that obliterate subtle constraints of film. For example, mirrors are a serious problem in scene design and restrict camera placement. It’s not a problem with 3D movies though. This is just one example of constraints of 3D film that are just non-existent in 3D. However, these new techniques require equipment, planning and time, which complicate the logistic process of producing scenes.
3D also transends some location-based limitations. You can overwrite any sections of the scene by modeling the scene in 3D. So if the location for a scene has a visual element that detracts from the composition, you can remove it. Or extend it. Or modify it.
There are also tools with 3D film that enable you to alter visual expression of objects in frame. For example, if you’ve read in a 3D mesh that represents the structure of a 3D object, you can easily manipulate those objects in 3D. A great example of this is lighting. With 3D film, you can alter the lighting of objects. You can add lighting for specific objects that isn’t cast on others, like you’re Michelangelo. This creates unique effects on mise en scene, focusing your viewers attention on elements that confuse their subconscious mind with impossible lighting, attracting their attention.
Additionally, you can control the perspective and viewing frustum at render time, applying different perspective parameters to various objects. Again, creating slight distortion that a viewer’s mind knows to be impossible, causing their attention to be directed in an unconscious manner. It’s about breaking the mind’s model of reality, forcing the subconscious to reevaluate something that seems so real in all but one or two dimensions. And yet the experience clearly violates some constraint of the mind’s model of reality. This drives a phenomenon known as a schema violation, which has been extensively studied in relation to intelligence.
Idea: there is no reason why 3D film must be digital first. Creating an analog 3D camera should be possible. Although in most cases, the recording would be converted into digital and combined with digital elements at some point. But there’s no reason a 3D movie could not be produced analog all the way through. Doing so would require specialized cameras.
VR x Streaming Video
Ahhh finally, we’ve arrived. Virtual Reality. How do the rules of composition change for VR? This is a difficult question because we still don’t know how VR will develop as a medium of expression. Obviously 3D movies will take off on VR, but IMO that detached experience might be a bit jarring to a viewer. And there’s the problem of sharing the experience of watching a 3D movie in VR. This is a software problem that’s going to present the consumer with lots of unwanted complexity.
I want to repeat the question I stated at the beginning of the article:
Streaming video transformed the internet in the past decade. So, for VR, what’s the equivalent of video and, in particular, streaming video?
This question allows me to think about VR in such a different way because I feel like there is something we are missing about it. We’re defining VR based on our notions of film and video games today. But IMO, the general public’s perception of VR today is wildly distorted. So much is just not feasible because of constraints imposed by UI/UX, cost, hardware and software. But the business, hardware and software challenges faced by VR/AR is addressed in a pending article.
I personally think that the lack of constraint in VR will prevent the development of one universal medium. That is, there may be no development of an equivalent like film, which is a 2D medium that has clearly stated and universally adopted standards describing it’s ratio and framerate. Because of the divergent nature of the types of experience offered by VR, it doesn’t seem like one of these experience types will establish itself as the universal.
This will certainly be true until 2020. Given time, if there is some universal medium for the expression of art and experiences that emerges, it should become obvious by 2020. We would certainly be well-rewarded by studying the evolution of cinema and video and the beginning of the 20th century. In particular, looking at unsuccessful offshoots in this time: what experimental techniques did people attempt that failed and why?
How Does Image Composition Change for VR?
If the point of mise en scene in 2D is to control the probability distribution of your audience, how do you achieve the same objective in VR, especially if you can’t control the perspective and orientation of the audience. This overwhelming complexity of the VR medium, does this lack of limitation actually limit the capacity of film in the VR medium to convey a consistent message to viewers? And how does the convoluted nature of a medium of the future affect it’s consumer adoption and rate of adoption?
Or does the complexity only seem overwhelming because I’m tightly coupling 360 VR video to film? Perhaps this complexity will be reduced by the exploration of pioneering artists that discover new forms of expression and new composition templating techniques.
This is what excites me about VR. It’s new. It’s unexplored. There are no rules and it’s up to someone to discover those rules and write them. This is a huge opportunity for someone to make their mark. Realizing that this kind of opportunity exists and that basically no one else can see it excites me in a very primal, almost sexual way.
So, for 360 3D VR video, as a director, how do you control the experience of your audience, especially if you can’t count on their orientation and perspective? As a viewer, how does this added freedom to look around affect your understanding and feedback from viewing a static experience. It seems like it’d be strange to view a static 360 video experience while being able to move around.
An analogy can really help to ground the exploration of an unfamiliar subject. The cinematography for 360 VR Video is to that of video as cinematography of video is to photography. Whereas photography is fixed in time and lacks motion, cinematography needs to take these into account, although photography technically does subtly deal with motion. Going from 2D video to 360 VR Video similarly requires adding the ‘dimension’ of the viewer’s orientation. The viewer’s capacity to move adds another dimension to the medium.
A Statistical Model for Directing Focus
So in order to understand how controlling the probability distribution of the focus of our many viewers aids in crafting an experience, it may be of benefit to return to the mathematics-inspired analogies. It may seem Daedalian, I know. I hope you’ll excuse my tendency to reach for math and other abstract, hard to understand concepts, but doing so really does help me reason about this stuff.
So. In general, how does added dimensionality affect a problem? Personally, I need more understanding to answer this question, especially if I were to apply it to the problem at hand. However, I can say that increased dimensionality can complicate a problem space, but also simplify it as well. Here, dimensionality doesn’t refer to typical Euclidean dimensions of space, but to the range of options available to the artists. It’s instead a widely increased feature-space.
The reason I’m mentioning math here is because it’s a means of methodically developing knowledge of VR as a medium. If you understand how to combinate through the various permutations of VR as a medium and comprehend how each one functionally differs, then you can foresee how each would be useful as a medium of expression. Math really isn’t the only way to come to understand this and it’s too esoteric for most, but it works for me.
But think about it: there’s lots of opportunities here and not just for the artist. If you understand how these variations of VR expression will develop and how consumers will approach the industry, the you can anticipate demand for products. Step 3: Profit
Differentiation in VR Media
All content in VR will be stereoscopic 3D. The forms of media available in VR can be differentiated by the degree of freedom available to the viewer, player or user. There will be uniform, serial experiences, like a film, where the viewer streams the exact same content as someone else. But the degree of freedom determines how the audience members could perceive it differently.
Another degree of freedom can be added to a serial experience and that’s position. The viewer can move around and experience the work from various positions. IMO, I just don’t think the benefits outweigh the increased complexity and diluted ‘bandwidth’ of either 360 3D video and video where the viewer controls the position.
And a final degree of freedom can be added, by removing the temporal requirement of serial media. By serial, I mean like a type of medium where the content is streamed, but each viewer receives exactly the same content. Another form of medium can be created, which is like a cross between a video game and a movie. It’s like an event-driven experience, where you are allowed to proceed through the story at your own pace. The characters on screen react to events you trigger, though you may or may not be part of the story or acknowledged by characters on screen.
This seems to resolve some of the problems described above, but introduces a major problem: how would you experience this with a friend. Though, I suppose you could configure the experience to be streamed to a group, but it still raises a lot of questions. Among them: why wouldn’t you just play a video game?
Yet, I still don’t think I’ve described a medium which would become the streaming media of VR. And that’s because I believe that will be moreso part of AR and that our preconceived notion of VR is more of a red herring.
Guiding the Experience of Your Audience
So, what tools are available to reduce the complexity of VR? Most of the techniques used to guide the audience’s experience here will be based on anticipating their reaction to events onscreen, then guiding it towards the next intended point of focus, using strong sensory signals.
3D audio is a good example of a technique that can help direct the focus of your audience. 3D microphones have recently been developed, specifically to capture audio for Oculus Rift and 360 3D movies. This kind of audio is going to require complicated new software tools as well as new techniques. Using binaural audio cues, one can direct the viewer towards an anticipated focal point.
A 3D Binaural Microphone
Another interesting technique would be to use lots of POV shots in 360 3D video. So, you would switch from character to character, at times, I guess. Actually, the more I write about this, the more limiting it all seems. AR is going to be way more interesting, but much harder to achieve technologically.
The most useful tools for understanding the process for creating the best VR experiences? Data & analytics. Any VR video platform should incorporate data collection to assist in analyzing user response. This will be invaluable in understanding how to create art in VR.
Problems with Composition in VR
It’s difficult to create a consistent experience when your audience is free to move their head around in VR. How do you arrange the scene, to get the perfect shot, if a viewer might not even be looking? More importantly, why would you bother with aspects of mise en scene, if they’re just going to be overlooked? Does that mean that many typical techniques will no longer be utilized?
Some techniques could be proposed to fix aspects of 360 video. You could force the viewpoint to move/snap to a point for important scenes. But IMO, that’s going to feel jarring to the viewer. If you’re going to allow the freedom to look around, then you’re going to have to be more creative than that.
The order of and transition between camera shots will be another problem. With 360 video, how do you resolve where the user is looking when transitioning to the next camera shot? Do you transition to the next scene, but oriented towards where they were looking. Or towards where they should be looking in the next scene, albeit with their head oriented in the previous direction? The latter won’t work at all after multiple scene transitions. The former’s not exactly a solution either, as the director can’t really anticipate where someone would be looking before the transition.
A subtle technique in film is to attract the viewer’s attention to a point, then transition to the next shot, so that their point of focus still remains in the point where they are most likely to look.  You can use motion to ensure that, in the next shot, the viewer is looking right at the brand name. You can’t really do this with 360 video.
VR x Theater
Congratulations. You made it. I don’t know how, but here you are.
This is a cross of VR and Theater, as in live theater. This starts out pretty cool, but gets way cooler with the advent of AR, around 2018. Think of a virtual hangout, where you can watch people perform.
Uhh… not Twitch, it’s not Twitch, although they’re perfectly positioned to capitalize on this.
 As a viewer, you could render yourself among a huge audience or just with your friends.
Integration of AR techniques is where this starts to get really awesome. Imagine being in a live Pixar production. The actors could be interacting with motion sensing equipment and perhaps experiencing the VR themselves.
In Summary
What is the universal medium of expression for VR that will be the equivalent of film? Again, what’s the equivalent of streaming video in VR? Both of these are difficult to pin down.
3D video will certainly take off. 360 video might just be more of a feature than a format, assuming your 3D video is rendered for variable perspective. There will undoubtedly be a variety of novel forms of expression through VR, but most will derive their value from novelty.
VR is infinitely more valuable to games and simulations than video. For video, VR complicates way too much. It requires more investment and more process in a film production. There’s already enough of that. IMO, plot, background and characters are the most important aspects of a story. Far more crucial than the video, sound or graphical medium, although they certainly important.


Size of each block in bytes
Number of lines pr. set
Size of cache in bytes
Number of bits in address
Base result is printed in
Base address is written in
Addresses (Written in base specified above, no prefix, seperated by comma)


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Rapid API
This goal of this project is to come up with an approach for rapid prototyping of APIs that support both REST and GraphQL.
The What
A containerized starting point that can be used to quickly implement a prototype of an API, customize it as needed, and easily add initial content.
My main requirements:
- Support for RESTful APIs
- Support for GraphQL APIs
- Easily modify the API and add initial content
- Free of costs (no licence fees)
Additional nice to haves:
- Support for Webhooks
- Support for Authentication
- Support for Open API documentation
The Why
Every now and then I find myself in a situation where I need to quickly create a prototype of an API. This often happens when exploring a design for a new Microservice, especially when that Microservice depends on other services.
In order to properly allocate responsibilities and design the interactions between these Microservice, I often find it useful to create some working prototypes of the Microservices I depend on.
Being able to do so quickly, while having a rich feature set at the same time, enables me to follow the show me approach to software architecture, which I find far more interesting and effective, and therefore more valuable, than the more common diagrams-based tell me approach.
The How
The strapi project was initially created to bootstrap APIs. Even though it is now advertised as a Headless CMS, from what I have seen, it could be a very good fit for what I need.
Based on strapi, I will create a docker image that is pre-configured and ready to use. In the process, I will tailor the image to my needs and in addition, set up an automated build that pushes new versions of that image to docker hub. This is something that I did not do before, so a good opportunity to learn.
The Results
See this post for a detailed description of the process and how to use it.
The resulting container to get you going with rapid API prototyping is available on docker hub here and can be started as follows:
docker run -p 8080:8080 akleinloog/rapid-api
The code is available in this GitHub repository.
Use it freely, learn from it, and ideally, provide some feedback!


Time-synced metadata is provided in a WebVTT file with kind="metadata". A data-meta-type attribute has value "text", which is one of two types of supported metadata tracks (the other is "selector"). With "text" as the metadata type, the text contained in the WebVTT file is displayed in an external container at the designated times during playback. The ID of the external container is provided in a data-meta-div attribute.
For additional demos see the Index of Able Player Examples.


ProCon 2k19
Meet Our core team
kapil arora
harshit raj
himanshu jha
prabhat sharma
pradhi kumar
prakhar mishra
prerna naik
ratnesh bhardwaj
shadab alam
shubham arya
sumit sharma
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Cincinnati Prehospital Stroke Scale
Facial Droop
Have patient show teeth or smile
Normal: both sides of face move equally
Abnormal: one side of face does not move as well as the other side
Arm Drift
Have patient closes eyes and extends both arms straight out, with palms up, for 10 seconds
Normal: both arms move the same or both arms do not move at all (other ndings, such as pronator drift, may be helpful)
Abnormal: one arm does not move or one arm drifts down compared with the other
Abnormal Speech
Have patient say "you can't teach an old dog new tricks"
Normal: patient uses correct words with no slurring
Abnormal: patient slurs words, uses the wrong words, or is unable to speak
If any 1 of these 3 signs is abnormal, the probability of a stroke is 72%.
Modied from Kothari RU, Pancioli A, Liu T, Brott T, Broderick J. Cincinnati Prehospital Stroke Scale: reproducibility and validity. Ann Emerg Med. 1999;33:373-378.


Learn more about burgers, salads and cocktails.
A hamburger (also burger for short) is a food consisting of one or more cooked patties of ground meat, usually beef, placed inside a sliced bread roll or bun. The patty may be pan fried, grilled, smoked or flame broiled. Hamburgers are often served with cheese, lettuce, tomato, onion, pickles, bacon, or chiles; condiments such as ketchup, mustard, mayonnaise, relish, or "special sauce"; and are frequently placed on sesame seed buns. A hamburger topped with cheese is called a cheeseburger.
 However, different varieties of salad may contain virtually any type of ready-to-eat food. Salads are typically served at room temperature or chilled, with notable exceptions such as south German potato salad which can be served warm.
A cocktail is an alcoholic mixed drink, which is either a combination of spirits, or one or more spirits mixed with other ingredients such as fruit juice, flavored syrup, or cream. There are various types of cocktails, based on the number and kind of ingredients added. The origins of the cocktail are debated.


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Review: MESSAGE IN A BOTTLE
Starring: Kevin Costner, Robin Wright Penn, Paul Newman Robbie Coltrane, John Savage, Illeana Douglas
Directed by: Luis Mandoki
Review by: Joy Wyse, the SILVER Screen Critic
As Message in a Bottle opens, we see an expanse of deep, ocean water and the name, Kevin Costner, is emblazoned across it. Your first thoughts are, Is this a sequel to Water World? But rest assured, it is not. It is a marvelous, weepy type of love story that's set in today's world.
Robin Wright Penn, who is always sensational, is perfectly cast as Theresa Osborne, the divorcee who lives and works in Chicago with her nine-year old son. She has brought him to the East Coast to spend some time with his father, who has remarried and has a new baby. In an attempt to relax, she spends a couple of days vacationing on the seacoast where she finds a bottle with a message inside. The message is written to Catherine, and it is filled with love, the kind of love that Theresa wants and needs. She takes the bottle and message back to Chicago, to the newspaper where she works, and her boss [Robbie Coltrane] writes a column about it. The column prompts many letters including two that tell of finding similar messages.
With the help of her computer and friends like Lina Paul [Illeana Douglas], Theresa tracks down the sender of the messages. He is a ship-builder living in the Outer Banks of North Carolina. She convinces her boss to let her visit the area for a follow-up story. Once there, she meets and falls in love with Garret Blake [Kevin Costner].
The real treasure of the film is the portrayal of Garret's father, Dodge Blake by Paul Newman. This man has certainly aged well. He's still nice looking, but it is his believability as the loving, caring parent who is coping with his own demons that impresses you most. It is a long time until next year's Oscar race, but I hope that the Academy remembers him for a Best Supporting Actor nomination. He deserves it.
Although most people will say that this is a `chick' flick, it truly appeals to anyone, male or female, who has feelings. There were many men in the audience who couldn't hold back the tears. If you didn't even care about the love story, you'll be impressed with the cinematography. There are some of the prettiest shots that I have ever seen, not only of the ocean, and the other beautiful locations, but all the shots are special, especially the lighting and the shadows of the love scene. It shows how a love scene should be filmed. There is nothing salacious about it. The lighting is love itself. Hollywood should take note that a good movie can be made without explosions, nudity, or swearing.
It's early in the year to give a high rating, but this has to be at least a B+. I do want to see it again, and I'll keep recommending it.
SEE YOU AT THE MOVIES.
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4. Input files¶
FusionVet needs two types of input files.
4.2. gene fusion file¶
The gene fusion file is a plain text file with 8 columns separated by space or tab (The first 4 columns describe the “chrom”, “transcription_start”, “transcription_end” and “symbol” of gene-1, the other 4 columns describe the same information for gene-2. Below example file defines two fusions:
chr21 39739182 40033704 ERG chr21 42836477 42880085 TMPRSS2
chr14 38033152 38033701 EST14 chr7 13930855 14031050 ETV1


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Mythic+ rating is an indicator of a player's mythic+ experience.
Your rating increases as a result of the following:
In order to maximize your rating, you must complete every dungeon on both Fortified and Tyrannical weeks, as they are rated separately. Whichever of the two versions yields your higher rating for each dungeon will provide full points.
Your overall Mythic+ rating is simply the sum of your ratings for all dungeons.
Dragonflight Keystone Explorer: Season 2 unlocks when you hit 750 Mythic+ rating and has no other reward.
Dragonflight Keystone Conqueror: Season 2 unlocks when you hit 1500 Mythic+ rating and awards the title the Smoldering.
Dragonflight Keystone Master: Season 2 unlocks when you hit 2000 Mythic+ rating and awards the Inferno Armoredon mount.
Dragonflight Keystone Hero: Season 2 unlocks when you hit 2500 Mythic+ rating and awards the Obsidian Aspectral Earthstone, which unlocks the mythic armor appearance for your Aberrus set appearances.
Additionally, timing a dungeon on +20 unlocks a portal to that dungeon in your spellbook. All dungeon portals have a shared 8 hour cooldown, but the cooldown resets when you complete any keystone.


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德里克 迪恩（Derek Deane）
德里克·迪恩，前英国国家芭蕾舞团和英国国家芭蕾舞学校艺术总监。
1972年加入皇家芭蕾舞团，1980年成为主要的演员。在该团的剧目中，他表演过几乎所有的主要角色，包括许多世界著名编导特别创作的角色。为皇家芭蕾舞团和伯明翰皇家芭蕾舞团创作了众多的芭蕾舞剧后，迪恩于1989年离开了皇家芭蕾舞团以便能创造一个广阔的舞蹈艺术工作的天地。
1990年9月到1992年10月，他成为罗马歌剧院的副艺术总监和常驻编。自从1992年10月，他在意大利、澳大利亚、美国、法国、日本、和南非创作舞剧。
1993年春，德里克·迪恩被任命为英国国家芭蕾舞团和英国国家芭蕾舞学校的艺术总监。他为舞蹈团创作的舞蹈除了彼季帕的《巴基塔》中大双人舞，还有英国国家芭蕾舞团保留剧目中的其它作品，包括他原来为皇家芭蕾舞团创作的《即兴之作》。1994年他重新排演了《吉赛尔》，1995年首演新作《艾丽斯梦旅游仙境》。在1995年9月英国广播公司为他拍摄了一部日记形式的电视专题片。迪恩的作品《天鹅湖》1997年在皇家阿尔伯特剧院首次上演，在1998年2月获得劳伦斯·奥里佛奖的两项提名。
1997年，他编导、上演了一个独特的舞剧《胡桃夹子》，并出演了德罗赛尔梅亚这个角色。他的新作品《罗密欧与朱丽叶》在1998年在皇家阿尔伯特剧院上演，1999年赴香港、悉尼、墨尔本、阿得雷德、布里斯班，在当地的大型体育馆巡回演出，观众达二十五万。2000年夏季，他创作了《睡美人》，在皇家阿尔伯特剧院演出。2000年6月被授予英国帝国勋章。
2001年8月，德里克·迪恩威与上海芭蕾舞团合作排练《天鹅湖》，首演于第二届上海国际芭蕾舞比赛。2005年，上海芭蕾舞团再次与德里克·迪恩合作，引进芭蕾舞剧《罗密欧与朱丽叶》。
Derek Deane
Derek Deane joined The Royal Ballet in 1972 and rapidly rose through the ranks to become Senior Principal in 1980. He danced all the major roles in the repertoire including specially created roles by many of the world’s leading choreographers. Having created numerous ballets for both The Royal Ballet and Birmingham Royal Ballet, Deane left The Royal Ballet in 1989 in order to create a wider body of choreographic works. From September 1990 until October 1992 he was Deputy Artistic Director and Resident Choreographer at the Teatro dell’ Opera in Rome. Since October 1992, he has staged and choreographed productions throughout Italy and created ballets in the USA, France, Japan and South Africa.
Derek Deane was appointed Artistic Director of English National Ballet and English National Ballet School in the Spring of 1993. His choreography for the Company includes a re-staging of Marius Petipa’s Grand Pas from Paquita, a new production of Giselle,Which premiered in 1994 and a new production of Alice in Wonderland, Which premiered in 1995. Other works in English National Ballet’s repertoire include Impromptu, Which he originally choreographed for The Royal Ballet. In September 1995 he was the subject of a BBC television documentary which took the form of a year long video diary.
Deane also choreographed a unique staging of The Nutcracker, which premiered in 1997 and performed the role of Drosselmeyer when it returned to the London Coliseum in December 1998 and 1999. His new production of Romeo and Juliet in the round was premiered in 1998 at the Royal Albert Hall and was later re-staged by Deane for a spring tour in 1999. Deane’s production of Swan lake, which premiered at the Royal Albert Hall in 1997 received two nominations for the Laurence Olivier Awards in February 1998. In 1999 this production was seen by a record 250,000 people worldwide in a tour that performed at arena venues in Hong Kong, Sydney, Melbourne, Adelaide and Brisbane before returning to the UK for a 5-venue tour. In Summer 2000, Deane choreographed The Sleeping Beauty, his third in-the-round production, which was performed at the Royal Albert Hall.
Derek Deane was awarded an OBE in Her Majesty the Queen’s Birthday Honours List in June 2000.
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PSALMS 74
A psalm written by Asaph
1 God, why have you abandoned us?
Will you keep rejecting us forever?

Do not forget Jerusalem, which is your home on this earth.
3 Walk along and see where everything has been totally ruined;
our enemies have destroyed everything in the sacred temple.
4 Your enemies shouted triumphantly in this sacred place;
they erected their banners to show they had defeated us.
5 They cut down all the engraved objects in the temple as woodsmen cut down trees.
6 Then they smashed all the carved wood with their axes and hammers.
7 Then they burned your temple to the ground;
they caused that place where you were worshiped to be unfit for people to worship in.
8 They said to themselves, "We will destroy the Israelites completely,"
and they also burned down all the other places where we gathered to worship you.
9 All our sacred symbols are gone;
there are no prophets now,
and no one knows how long this situation will continue.
10 God, how long will our enemies make fun of you?
Will they insult you?
11 Why do you refuse to help us?


Essex lorry: Armagh man, 23, charged with human trafficking offences
The 31 men and eight women were found dead in a lorry trailer found in Grays, Essex on Wednesday, October 23
by Jilly BeattieA Co Armagh man has been charged with human trafficking offences.
Christopher Kennedy, 23, was arrested last Friday, November 22, by detectives in Essex in connection to the deaths of 39 Vietnamese nationals.
The 31 men and eight women were found dead in a lorry trailer found in Grays, Essex on Wednesday, October 23.
Kennedy, of Corkley Road in Darkley, Co Armagh, is due to appear at Chelmsford Magistrates’ Court tomorrow, Monday, November 25, Belfast Live reports.
He was arrested by officers from Thames Valley Police on behalf of Essex Police on the M40 in Beaconsfield, Buckinghamshire on Friday past.
A spokesperson for Essex Police said: "The Crown Prosecution Service has authorised charges of conspiracy to arrange or facilitate the travel of people with a view to exploitation and conspiracy to facilitate the commission of a breach of UK immigration law.
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]
Leetcode 0279. Perfect Squares
https://leetcode.com/problems/perfect-squares
First of all, there is a statement that any number can be represented as sum of 4 squares:
https://en.wikipedia.org/wiki/Lagrange%27s_four-square_theorem. So, answer always will be 4? No, when we talk about 4
squares, it means that some of them can be equal to zero. So, we have 4
options: either 1
, 2
, 3
or 4
squares and we need to choose one of these numbers.
- How to check if number is full square? Just compare square of integer part of root and this number. Complexity of this part is
O(1)
. - How to check if number is sum of
2
squares:n = i*i + j*j
? iterate ovell alli < sqrt(n)
and check thatn - i*i
is full square. Complexity of this part isO(sqrt(n))
. - How to check that number is sum of
4
squares? In the same link for wikipedia: ` by proving that a positive integer can be expressed as the sum of three squares if and only if it is not of the form 4^k(8m+7) for integers k and m. So, what we need to do is to check this condition and return true if it fulfilled. Complexity is
O(log n)` - Do we need to check anything else? No, because we have only one options left:
3
squares.
Complexity: time complexity is O(sqrt(n))
and space complexity is O(1)
.
class Solution:
def numSquares(self, n):
if int(sqrt(n))**2 == n: return 1
for j in range(int(sqrt(n)) + 1):
if int(sqrt(n - j*j))**2 == n - j*j: return 2
while n % 4 == 0:
n >>= 2
if n % 8 == 7: return 4
return 3
Further discussion. What if you do not know this 4^k(8m+7)
formula on real interview? Then you need to check if number is sum of 3
squares by hands: n = i*i + j*j + k*k
with complexity O(n)
: we check all pairs i,j < sqrt(n)
. What if we do not know, that each number is sum of 4
squares? Then we need to check also possible sums of 4
squares with complexity O(n sqrt(n))
.
We can handle our problem as dynamic programming one, where dp[i]
is minumum numer of squares to get i
. Then to evaluate dp[i]
we need to look at all j
, such that j*j <= i
. Complexity of this approach is O(n sqrt(n))
.
Note, that there is also a way to check if n
is sum of two squares, https://en.wikipedia.org/wiki/Sum_of_two_squares_theorem, each odd prive divisor should have a form 4k + 1
, but this is a bit more difficult to check and complexity will be also O(sqrt(n))
.
Open question, is there solution with comlexity better than O(sqrt(n))
. If you have ideas, let me know!
If you like the solution, you can upvote it on leetcode discussion section: Problem 0279


Andy is the Managing Director of Clearleft. He also goes by the title of User Experience Director depending what mood he’s in. Andy is the author of CSS Mastery, curates the dConstruct and UX London events and is responsible for Silverbackapp, our low cost usability testing application for the Mac.
Richard is a founding partner and the production director for Clearleft. He has been designing websites and web applications since the birth of the commercial web, over twelve years ago. Richard leads the user experience team at Clearleft, pioneering innovative approaches to designing fantastic experiences for clients and their customers.
Jeremy is a hugely experienced developer specialising in XHTML, CSS, Javascript and PHP-driven solutions. Jeremy is technical director at Clearleft.


Ghost Recon Breakpoint now lets you change your gender and face at any point
Follow Polygon online:
by Ryan GilliamAfter a rough few months in the wild, Ubisoft is reworking the customization process for Ghost Recon Breakpoint.
In the studio’s upcoming patch, update <IP_ADDRESS>, players can customize their Ghost at anytime — specifically by changing their gender or face mid-game. In a reddit post detailing its patch, Ubisoft clarified that it wants to players to have more customization options in the game, which includes the freedom to swap more concrete things like a character’s physical characteristics.
Related
As part of this update, players also have more customization options available to them from the start. The studio now offers players 40 more items to build an outfit with by default. Previously, players needed to find these items in the world or purchase them with the Skell Credits currency. It’s currently unclear if players who’ve already purchased these items will see any kind of kick-back reward from Ubisoft. We’ve reached out to Ubisoft for clarification.
This update — which also includes a load of bug fixes — will hit live servers on Nov. 26 at 4 p.m. EST.