Class OrleansRelationalDownloadStream
This is a chunked read implementation for ADO.NET providers which do
not otherwise implement
Inheritance
Namespace: Orleans.Reminders.AdoNet.Storage
Assembly: Orleans.Reminders.AdoNet.dll
Syntax
public class OrleansRelationalDownloadStream : Stream
Constructors
| Improve this Doc View SourceOrleansRelationalDownloadStream(DbDataReader, Int32)
The default constructor.
Declaration
public OrleansRelationalDownloadStream(DbDataReader reader, int ordinal)
Parameters
| Type | Name | Description |
|---|---|---|
| DbDataReader | reader | The reader to use to read from the database. |
| System.Int32 | ordinal | The column ordinal to read from. |
Properties
| Improve this Doc View SourceCanRead
Can the stream be read.
Declaration
public override bool CanRead { get; }
Property Value
| Type | Description |
|---|---|
| System.Boolean |
CanSeek
Are seeks supported.
Declaration
public override bool CanSeek { get; }
Property Value
| Type | Description |
|---|---|
| System.Boolean |
Remarks
Returns FALSE.
CanTimeout
Can the stream timeout.
Declaration
public override bool CanTimeout { get; }
Property Value
| Type | Description |
|---|---|
| System.Boolean |
Remarks
Returns FALSE.
CanWrite
Can the stream write.
Declaration
public override bool CanWrite { get; }
Property Value
| Type | Description |
|---|---|
| System.Boolean |
Remarks
Returns FALSE.
Length
The length of the stream.
Declaration
public override long Length { get; }
Property Value
| Type | Description |
|---|---|
| System.Int64 |
Position
The current position in the stream.
Declaration
public override long Position { get; set; }
Property Value
| Type | Description |
|---|---|
| System.Int64 |
Methods
| Improve this Doc View SourceCopyToAsync(Stream, Int32, CancellationToken)
A buffer copy operation from database to the destination stream.
Declaration
public override Task CopyToAsync(Stream destination, int bufferSize, CancellationToken cancellationToken)
Parameters
| Type | Name | Description |
|---|---|---|
| Stream | destination | The destination stream. |
| System.Int32 | bufferSize | The buffer size. |
| CancellationToken | cancellationToken | The cancellation token. |
Returns
| Type | Description |
|---|---|
| Task |
Remarks
Reading from the underlying ADO.NET provider is currently synchro
Dispose(Boolean)
Dispose.
Declaration
protected override void Dispose(bool disposing)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Boolean | disposing | Whether is disposing or not. |
Flush()
Throws
Declaration
public override void Flush()
Read(Byte[], Int32, Int32)
Reads the stream.
Declaration
public override int Read(byte[] buffer, int offset, int count)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Byte[] | buffer | The buffer to read to. |
| System.Int32 | offset | The offset to the buffer to stat reading. |
| System.Int32 | count | The count of bytes to read to. |
Returns
| Type | Description |
|---|---|
| System.Int32 | The number of actual bytes read from the stream. |
ReadAsync(Byte[], Int32, Int32, CancellationToken)
Reads the stream.
Declaration
public override Task<int> ReadAsync(byte[] buffer, int offset, int count, CancellationToken cancellationToken)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Byte[] | buffer | The buffer to read to. |
| System.Int32 | offset | The offset to the buffer to stat reading. |
| System.Int32 | count | The count of bytes to read to. |
| CancellationToken | cancellationToken | The cancellation token. |
Returns
| Type | Description |
|---|---|
| Task<System.Int32> | The number of actual bytes read from the stream. |
Seek(Int64, SeekOrigin)
Throws
Declaration
public override long Seek(long offset, SeekOrigin origin)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Int64 | offset | The offset to the stream. |
| SeekOrigin | origin | The origin. |
Returns
| Type | Description |
|---|---|
| System.Int64 | Throws |
SetLength(Int64)
Throws
Declaration
public override void SetLength(long value)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Int64 | value |
Write(Byte[], Int32, Int32)
Throws
Declaration
public override void Write(byte[] buffer, int offset, int count)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Byte[] | buffer | The buffer. |
| System.Int32 | offset | The offset to the buffer. |
| System.Int32 | count | The count of bytes to read. |


inQ is a simple game engine written in Java
I am passionate about games and I love solving problems, so it made sense to me that a game engine was the obvious choice for a large-ish summer coding project. It started off as a small UI test but the more I worked on inQ, the more things I wanted to implement. I've had a lot of fun learning and creating with this project. So, even though it's on hold, I'll be back.
The info below isn't an overview of the entire project, but it serves as a brief description of some of its systems. If you would like to see some of what was completed over the summer of 2016, please download the inQ_Test.zip from the inQ GitHub repository. If you value your time and would rather get it from here instead, click the "inQ_Test POC" button below.
The proof of concept consists of a level with dynamic and static scenery objects, a controllable character, a highlightable clicky, and a fading wall. Use the 'A' and 'D' keys to walk, and press the spacebar to jump.
If you'd like to see the code, check it out on GitHub.
GRAPHICS
inQ currently uses Java and its AWT graphics API for rendering. The main graphics class extends a JFrame with repaint disabled so AWT and Swing will play nice. The graphics class also has a Canvas, with a double buffered BufferStrategy, which serves as the front and back buffer. At the start of each render call, a compatible BufferedImage is created and drawing is delegated to all of the inQ view components; this creates a composite image of the scene which is then clipped to the size of a camera object's viewport.
Right now there is a large bottleneck during render time. After doing some research I found that Java's native graphics API might not be powerful enough for the sort of engine I would like to build (surprise!). I'm now working on an OpenGL based engine written in C++ in hopes that I can alleviate the problems inQ is experiencing with AWT.
PATHING & MOVERS
The pathing system in inQ is implemented with a matrix of pathing cells, with each cell having an enum signifying its pathing type. As collidable actors move through the game space, their mover system checks the scene state's pathing map to see if nearby cells allow that mover's pathing type. Movement involves a mover system which is attached to a moveable actor, and mover modules which can be attached to the moversystem. The current scene state issues movement commands (i.e. walk, jump, etc.) to the actor state which delegates to the mover system.
I think these systems could use some redesign, but right now the biggest problem is that jumping and jumping while moving don't function well. With the C++ and OpenGL engine in the works, I think any redesign and problem solutions will likely end up in that version instead.
INTERACTIVE OBJECTS & GAME EVENTS
Interactive objects mainly consist of subclassed actor and actor state objects. They may have additional attributes such as fading and highlighting, both of which can be disabled, and can have a game event added to them using an attach method. Game events are the basis of what will eventually become the scripting system, and currently come wrapped in one of two trigger objects: timed event and area trigger.
I'm kind of a sucker for abstraction and modularity. Thus, I try my best to implement everything so that it can be customized to some extent. For instance, you can create an interactive object with an attached trigger area, give it a game event that tells it to fade, then have a fading wall like the one in the inQ_Test program. I believe that designing and building with abstraction and scaling in mind can make additional features easier to implement in the future, like an editor. In reality it may not always be so simple, but I believe it's good to have an idealistic springboard to start from.


{% extends "app.html" %} {% block css %} {% endblock %} {% block title %}Track Mixology{% endblock %} {% block content %}
Followed by {{ playlist['followers'] }} People
Got a sweet mix up on your spotify account? Why not share it with us!
Share My Mix


17 Simple Ways To Express Your Love To Your Partner
by Sofiya GolovnyaAny relationship can’t exist without partners showing their affection to each other. While telling your significant other that you love them is very important, there are a lot of different ways to express how you feel. Here are some simple things you can do to show your love to someone.
Do Something They Love
Even if you’re not a fan of it, it’s nice to do something your partner loves, like dancing or exercising together. Besides, you might change your mind in the process.
Compliment Them
We all like compliments, but they are especially meaningful when received from someone you love. Tell your partner something sweet to remind them how you feel.
Ask Them About Their Day
It doesn’t seem like a lot, but asking a loved one how their day went can make a huge difference. This shows that you truly care about your partner.
Do the Little Things
Romance is nice, but managing to show your love through everyday activities is so meaningful. If you see your loved one cleaning or working, ask if they need your help.
Listen to Them
Listening is an essential skill that can be used in both your personal and professional life. Paying close attention to what your partner is saying will show how much you care about them.
Tell Them Something Personal
You are truly close to someone only if you know everything about them. Don’t be scared to share; it will definitely show that you trust your partner with anything.
Hold Their Hand
Physical touch expressed through gestures like holding hands is essential when in a relationship. It helps you to get connected to your loved one.
Do Something Together
Spending time together helps people bond, and doing something like cooking, going on a hike, or traveling somewhere together is going to bring you and your partner closer to each other.
Tell How Important They Are to You
Sometimes, you can forget to tell your partner that you appreciate their presence in your life. Make sure to remind them how much they mean to you regularly.
 This will show that you’re serious about your intentions.
Consider How They Show Affection
We all show our love in a different way, and sometimes partners can disagree on how they do it to each other. But, if someone is truly important to you, make sure to return the signs of affection they show.
Show Your Emotions
It might be hard to show how you feel at times, and some of us tend to bottle up our emotions. This is a terrible habit, so try to get rid of it and make sure to let your loved one know how you feel.
Consider Their Opinion
A healthy relationship can’t exist without occasional disagreements, but try to avoid turning these into big fights. To achieve this, always consider your partner’s opinion.
Leave a Love Note
This small, yet mighty gesture can be very meaningful, especially in the age of technology and social media. A sweet note will show your partner how much you love them.
Use the Word We Instead of I
This might feel scary at first, especially to the more introverted of us, but using the word ‘we’ can have such a positive impact on your relationship. By doing this, you declare the importance of your connection.
Laugh Together
Humor is one of the best ways to get closer to people. In a relationship, laughing together with your partner makes a huge difference. It shows you’re genuinely comfortable with each other.
Give Them Space
While you might want to be around your partner 24/7, it’s important to give them some space if they want it. Besides, this lets you understand how much you miss your loved one while away from them.
Read More:
Lovedating,Dating Advice,Love,Relationship
Sofiya GolovnyaCOLLEGECANDY Writer
I write and stuff.
-<PHONE_NUMBER>1348454


The following steps will allow you to use ChatSafe securely:
When you create a chat, a random key is generated and stored in the hash part of the URL. That's the part which your browser can see but is not sent over the internet to the server. This key used to encrypt your messages in your browser before they are sent to the server. Once the message reaches the other members of the chat, their browsers will get the key from the URL you sent them to join the chat, and use it to decrypt the message back to its original form.
All encryption is done using the Gibberish AES library, so it follows the 256 bit AES specification. Because all encryption is done in the browser, not even the ChatSafe server can read messages, as it does not have the encryption key.
In case somebody does manage to get your chat URL, with the key to decrypt the messages, the lock feature can be used to stop any new members from joining the chat, so they cannot access the messages. The chat is deleted from the server once all members have left.
People have a right to communicate in private without being tracked, recorded or monitored. Chatsafe provides a simple, fast, browser-based instant messaging service for people to do this.
You shouldn't have to trust any external service to protect your communication data. With ChatSafe, even if somebody has access to our servers they cannot read your messages.
ChatSafe was created by David Timms, a student and web developer from Bristol, UK. If you have any questions or feedback about the site, send me a message on my website.
You don't have to. ChatSafe is open source software, meaning anybody can view the source code, so you can check that it does what I say it does.


#include <Record.h>
The Record class. This file structure stores information regarding a timeslot's attendees.
◆ Record() [1/2]
Class default Constructor, this method should not be call.
◆ Record() [2/2]
| Record::Record |
( |
std::string |
t | ) |
|
Class Constructor
- Parameters
-
◆ ~Record()
Class Destructor, this method will delete class member userlist
◆ addUser()
| void Record::addUser |
( |
std::string |
uid | ) |
|
This method will add a user id into the class member userlist.
- Parameters
-
- Postcondition
- add user to class member userlist.
◆ getTime()
| std::string Record::getTime |
( |
| ) |
|
This method will return calss member time.
- Returns
- time block string
◆ getUserList()
| std::list< std::string > Record::getUserList |
( |
| ) |
|
This method will return class member userlist when it been called.
- Returns
- userlist list.
◆ removeUser()
| void Record::removeUser |
( |
std::string |
uid | ) |
|
This method will remove a certain user from the class member userlist.
- Parameters
-
- Postcondition
- remove user from class member userlist
The documentation for this class was generated from the following files:


Ederson out of Liverpool vs Man City due to injury confirms Pep Guardiola
The Brazilian was injured in the Champions League draw with Atalanta in midweek and will now miss the crunch Premier League showdown at Anfield
by David McDonnell, https://www.mirror.co.uk/authors/david-mcdonnell/Ederson is out of Manchester CIty's title showdown at Liverpool on Sunday.
City's first-choice goalkeeper suffered a thigh muscle strain in the 1-1 Champions League draw away to Atalanta in midweek.
Pep Guardiola had hoped Ederson would recover in time to play at Anfield, but the City boss confirmed today that he is out.
It means Claudio Bravo, who was sent off in Italy after coming on as a substitute, will play in goal for City in a game they cannot afford to lose if they are to stay in touch with Liverpool in the title race.
Guardiola said: “He [Ederson] is not able to play. [But] We have another top keeper - Claudio Bravo can do it too.
"We won the Carabao Cup thanks to Claudio. He's an exceptional keeper, he played a lot of games for Chile."
Bravo's last Premier League start for CIty was 18 months ago at Southampton on the final day of the 2017-18 season, when City had already won the title.
Asked whether he was confident in the Chilean, Guardiola declared: "Why shouldn’t I be confident in my players? I would not like to be a player if my manager doubts me.
"I see him every day in training and how good a goalkeeper he is, we’re not going to lose because of Claudio.
"The red card at Atalanta is because we lost the ball in a dangerous position. He won the Copa America, respect that guy, he’s an incredible goalkeeper.”
Guardiola also said he hopes there is no repeat of the attack on the City team coach, which saw Liverpool fans pelt the vehicle with missiles before a Champions League quarter-final tie in April 2018.
The City boss said: “Hopefully it will be an incredible game and hopefully not the same is going to happen like two seasons ago, when it was more than one bottle [thrown]."


The awesome and stylish mobile app gets regular updates. Don't miss any update to make your app work even better and to get new functions and features.
The awesome and stylish mobile app gets regular updates. Don't miss any update to make your app work even better and to get new functions and features.


You know a bunch of songs you would like to quickly add to a new or existing YouTube playlist but you don't want to go and search for each one, click on it and then add it to a playlist.
Well, now you don't have to.
Just create a new playlist, or select and existing one, enter the names of the songs(preferably with artist names) and add them all together.
The system is not perfect, sometimes it might not find the song or get the version you don't like, but for the most part it will find an ok version of the song.
YouTube search is smart enought to give us good results and then I used Levenshtein distance algorythm to find the best matching title. The algorythm immplementation came from Andrew Hedges, you can check it out here.
Give it a go, and if you have any feedback feel free to contact me.
Close this


Michelle Nicolini
A Pioneer in Womens Combat Arts
Main Achievements:
- ADCC World Championship 2013
- IBJJF World Championship x8
- IBJJF World CHampionship 2010, 2008
- UAEJJF Abu Dhabi Pro 2012
- IBJJF European Open 2012
- IBJJF Pan Championship 2011, 2010, 2008
Background
Born in 1982, this Brazillian started her martial arts training in Capoeira, eventually switching to jiu jitsu. She holds a black belt under Robert Drysdale and is considered one of the most decorated champions in BJJ, retiring from the BJJ circuit in 2016. Currently, she is an MMA figher signed to ONE Championship, ranked #2 in the women's strawweight bracket.
For more info check out these sites:
WikipediaONE Championship


Josh Bellas
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Snoh Aalegra Graces New "Godfather Of Harlem" Track "Wolves Are Out Tonight"
Snoh Aalegra adds to the "Godfather Of Harlem" soundtrack.
by Milca P.Wolves Are Out Tonight
Snoh Aalegra
Editor Rating: HOTTTTT
User Rating: meh - 54% (6)
Snoh Aalegra is the latest voice to be added to the Godfather Of Harlem soundtrack. This time around the Swedish-born songstress hops over the Swizz Beatz-crafted backdrop on new select "Wolves Are Out Tonight."
The nostalgic production receives a wondrous complement in Snoh's matured vocals as she weaves a tale in tandem with the current storyline playing out on the EPIX drama series. She joins a host of artists that includes A$AP Ferg, Rick Ross, DMX, Buddy, Dave East, & Wale among others. Since the show's premiere, new tracks have arrived in conjunction with new episodes and continue to score the retelling of the story of late mob boss Bumpy Johnson, portrayed by Forest Whitaker.
Quotable Lyrics
A king has been shot down
His crown's been taken
Now people are watching
Words they speakin'


#include <tinyxml.h>
Inheritance diagram for TiXmlAttribute:
Public Member Functions | |
| TiXmlAttribute () | |
| Construct an empty attribute. | |
| TiXmlAttribute (const std::string &_name, const std::string &_value) | |
| std::string constructor. | |
| TiXmlAttribute (const char *_name, const char *_value) | |
| Construct an attribute with a name and value. | |
| const char * | Name () const |
| Return the name of this attribute. | |
| const char * | Value () const |
| Return the value of this attribute. | |
| int | IntValue () const |
| Return the value of this attribute, converted to an integer. | |
| double | DoubleValue () const |
| Return the value of this attribute, converted to a double. | |
| int | QueryIntValue (int *_value) const |
| QueryIntValue examines the value string. | |
| int | QueryDoubleValue (double *_value) const |
| QueryDoubleValue examines the value string. See QueryIntValue(). | |
| void | SetName (const char *_name) |
| Set the name of this attribute. | |
| void | SetValue (const char *_value) |
| Set the value. | |
| void | SetIntValue (int _value) |
| Set the value from an integer. | |
| void | SetDoubleValue (double _value) |
| Set the value from a double. | |
| void | SetName (const std::string &_name) |
| STL std::string form. | |
| void | SetValue (const std::string &_value) |
| STL std::string form. | |
| const TiXmlAttribute * | Next () const |
| Get the next sibling attribute in the DOM. Returns null at end. | |
| const TiXmlAttribute * | Previous () const |
| Get the previous sibling attribute in the DOM. Returns null at beginning. | |
| virtual void | Print (FILE *cfile, int depth) const |
| All TinyXml classes can print themselves to a filestream. |
Elements have an arbitrary number of attributes, each with a unique name.
|
|
All TinyXml classes can print themselves to a filestream. This is a formatted print, and will insert tabs and newlines. (For an unformatted stream, use the << operator.) Implements TiXmlBase. |
|
|
QueryIntValue examines the value string. It is an alternative to the IntValue() method with richer error checking. If the value is an integer, it is stored in 'value' and the call returns TIXML_SUCCESS. If it is not an integer, it returns TIXML_WRONG_TYPE. A specialized but useful call. Note that for success it returns 0, which is the opposite of almost all other TinyXml calls. |


Cat content
Dog content
This block has minimal width = 350px, check effect by window resizing
Fish content
This block has minimal width = 500px, check effect by window resizing
Elephant content
Close this for vertical animation
Seal content
Current state of structure could be saved in cookies (f5)
Dolphin content
Close button could be anywhere inside the block : close


LifeEmulator Crafting Utility
V0.6 by Shield
New Recipe
Machine:
Recipe id:
Quantity Produced:
Ingredients:
Item ID
Quantity
Add Ingredient
Remove Ingredient
Save Recipe
Export Recipes
Import Recipes
View recipe of


Browse
Upload
Resize
Manage
File Browser
loading
Image Resizer
139
x
92px
Quick Image Upload
Manage Image
[Update]
[Restore]
[Delete]
Image Name:
Image Description:
loading..
Image Folder:
loading..


{% extends "docs/base.html" %} {% load static %} {% block title %}Build a YouTube playlist browser with React Native and Siphon | Siphon Docs{% endblock %} {% block docs_toc %} Create a new Siphon app Remove the template app content Add a placeholder for the video list screen Install an XML parser Fetch, parse and display a YouTube playlist Add a navigator component Add a video player screen Add a navigator route for the video player Trigger the video player when tapping a video Next up {% endblock %} {% block docs_content %}
We're going to use Siphon to quickly build a React Native app from scratch. The finished app will display a live YouTube playlist and let you play a video by tapping it.
You will learn all about:
Please follow the quickstart tutorial first if you haven't already set up your machine to use Siphon.
The finished app will look something like this:
First, navigate to a suitable directory (anywhere is fine) and type the following command to create a new app:
You can call it anything you like, but for the rest of this tutorial we will refer to the app as youtube-browser.
A new directory containing the basic app template will be created on your local machine and the files will be pushed to our servers.
Open up the Siphon Sandbox app on your iOS device and tap the new app icon to run it. Alternatively, if you have a Mac, you can also run it standalone on your iOS device like this:
Or to run it on an iOS simulator with access to the full React Native debugging environment you can use the develop command:
We want to start with a blank slate, so let's remove all of the views that come with the template app.
Open up the youtube-browser/index.js file in your favourite editor and edit it so that it looks like this:
{% include "docs/snippets/youtube-blank-app.html" %}When you hit save, run siphon push and the app will reload itself. You should see some basic text.
Later we're going to need a view to display a list of video thumbnails, so lets add a placeholder for that now. Make a new subdirectory within your app's directory:
Then, using your chosen text editor, make a new file in the components subdirectory, call it VideoListView.js, and paste in the following code:
{% include "docs/snippets/youtube-video-list.html" %}Notice that it's ready to render an <Image> component for each video in the playlist, but for now it will be empty because we have no data.
Next, edit your index.js file to import and display our new list view:
{% include "docs/snippets/youtube-video-list-app.html" %}The purpose of the playlistID property that we passed into <VideoListView> will become clear later. Note that if you push your changes now, the app will render as an empty white screen.
In the next section, we're going to parse a YouTube playlist that comes in an XML format.
For that we're going to use the xmldom library. If you don't already have npm installed on your machine, click here to learn how to install it.
To install the library, navigate to your app directory and type in:
If successful, you should see a newly created node_modules directory.
Our app is going to display a particular YouTube playlist and let you tap a thumbnail to play a video. First we're going to need to fetch the playlist and parse it into a more convenient format.
 Let's add some code that fetches the feed and outputs the result to the console.
Stream the logs
First, make sure that you're streaming the logs for your app, because we're going to output to the console for now. Open up another terminal window, navigate to the app directory and type in:
Be sure to leave this terminal window open for the rest of the tutorial.
Fetch the feed
Let's add some code that uses the built-in React Native fetch() function to retrieve the playlist we want to parse. For now we'll just use the cat video playlist.
Modify your components/VideoListView.js file by adding these three methods to the VideoListView class:
{% include "docs/snippets/youtube-fetch.html" %}When the app loads, it's going to grab the remote feed and then log the length of the returned text to the console. Run siphon push and try it.
Parse the feed
Now we're going to use the xmldom library to parse the result. First put the following line at the top of your components/VideoListView.js file, above the class definition:
{% include "docs/snippets/youtube-require-xmldom.html" %}Then modify the parseVideos() method in your VideoListView class to extract a thumbnail URL and video ID for each feed item:
{% include "docs/snippets/youtube-parse-xml.html" %}Now run siphon push and you should see a list of thumbnail images in the app. That's the playlist!
We're going to need a <Navigator> component so that our users can switch between the playlist view and the video player that we will add later.
Modify your index.js so that it looks like this:
{% include "docs/snippets/youtube-add-navigator.html" %}Right now this doesn't do anything. You will still see the same list of thumbnails, but we expand it later.
Now let's add a new component for actually playing the videos and call it PlayerView. It's just going wrap a YouTube component and add a button to close the video screen.
Using your text editor, make a new file called components/PlayerView.js and paste in the following code:
{% include "docs/snippets/youtube-player-view.html" %}You will notice that it's expecting to be passed a videoID and a navigator prop. The button is hooked up to pop the current navigator screen when it is pressed.
Also notice that we have imported the react-native-youtube library. You don't need to install it because all Siphon apps can access it by default.
Now let's modify our <Navigator> configuration to support the new player screen. Open up index.js and modify it as follows:
{% include "docs/snippets/youtube-add-player-route.html" %}Now when a view tries to push a new navigator screen containing a videoID in the route definition, our app will load the player view and play the video.
Final step. Let's make it so that when you tap a video thumbnail it actually plays a video for us.
Open up your components/VideoListView.js file and add this method to the VideoListView class definition:
{% include "docs/snippets/youtube-video-list-onpress-method.html" %}Then modify the existing TouchableOpacity declaration so that it looks exactly like this:
{% include "docs/snippets/youtube-video-list-onpress-hookup.html" %}That's it! Now run siphon push and open up the app. You should be able to tap the videos and watch them.
You can find the full source code for the finished app on GitHub here: siphon-youtube-video-browser
That's the end of the tutorial, thanks for following along. Check out these other guides and resources to learn more:
{% endblock %}


The base element allows authors to specify the document base URL for the purposes of parsing URLs, and the name of the default browsing context for the purposes of following hyperlinks. The element does not represent any content beyond this information.
There must be no more than one base element per document.
A base element must have either an href attribute, a target attribute, or both.
In this example, a base element is used to set the document base URL:
<!DOCTYPE html>

<title>This is an example for the <base>
element</title>
<base href="http://www.example.com/news/index.html">

Visit the archives.

The link in the above example would be a link to "http://www.example.com/news/archives.html".


PALMETTO Reviewed by Jamie Peck
Harry Barber (Woody Harrelson) is fresh out of prison, where he's served a couple of years for a crime he didn't commit. Even though he harbors animosity towards the obtuse local officials, Harry's first order of business is to return to his home town of Palmetto to be with his sculptor girlfriend Nina (Gina Gershon). While searching for work, he catches the eye of Rhea Malroux (Elisabeth Shue), the mysterious sexbomb wife of a Palmetto millionaire. Rhea proposes a scheme that'll get Harry $50,000 easy -- to play a small part in the staged kidnaping of her jailbait stepdaughter Odette (Chloe Sevigny). "You do like risks, don't you, Mr. Barber?" Rhea alluringly coos. Boys, form a line behind me.
Part of "Palmetto"'s success can be attributed to the performance of Elisabeth Shue, who demonstrates here that her Oscar-nominated turn in "Leaving Las Vegas" might merely be foreshadowing great things to come. Shue's a seductive, campy delight, and pulls off a Barbara Stanwyck-Gloria Swanson combo with admirable relish. The other actors form a solid ensemble around her, including Sevigny ("Kids"), tantalizingly slutty as a teen tease, as well as the ever-likeable Gershon, cast a far cry from her extreme roles in "Bound" and "Showgirls." Harrelson is still doing fine follow-up work to "The People vs. Larry Flynt."
"Palmetto" does have its share of grievances. Harrelson's narration is needless, I suppose, and Gershon's Nina cries to be meatier than she ultimately is. One of the plot's unexpected angles -- that Harry is asked by the police to become the press liaison for the very crime in which he's involved -- could have been played a little better. There are moments when you question the tone, but it's never so unstable that it deserves the reproach it's been receiving from most other critics. If "Palmetto" didn't want to be laughed at, would it really have tacked on a climax that plays like a live-action "Who Framed Roger Rabbit"?
Although a few elements can be questioned, the movie works well on its own terms. Thanks to a juicy cast -- especially Shue -- and the nifty material approach from director Volker Schlondorff (you remember him from last summer's suddenly re-popular "The Tin Drum," right?), everything runs smoothly. And for fans of revelation-heavy endings, this film's got a few shocks in store that I won't even dream of revealing. "Palmetto" is a generous amount of fun to watch, and that's all you need to know.
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The force of gravity between two bodies is given by multiplying the Gravitational Constant by the masses of the bodies, then dividing the result by the square of the distance between them.
By adjusting the Gravitational Constant, gravitational force is changed all throughout the solar system (and the universe!)


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Despite the centrality of geography to Census data, many key concepts are not centrally defined. Instead, each data release documents the subsets of geographic metadata that are relevant to that release. Fortunately, the metadata is consistent from release
to release—it's just sometimes hard to find a single source that lays out all of the details.
There are two broad areas about geography to understand: what kinds of places the Census has data for (summary levels) and how each of those individual places is identified (geoIDs).
For privacy reasons, the Census Bureau doesn't release the raw responses to the American Community Survey. Therefore, all data in the American Community Survey is summarized for different places that researchers and reporters might analyze. The various
classes of place for which data is available are called "summary levels." Some of the summary levels are obvious: state or county. Some are more nuanced. All of the geographies in a summary level are independent—they never overlap each other.
Summary levels have a hierarchy: some are conceptually "bigger" than others, although, of course, there are several cities in America with more area or population than the state of Rhode Island.
Summary levels have three-digit numeric codes, sometimes beginning with a zero. If you get more involved in Census data analysis, these codes will become familiar, and you may even start to use them as shorthand for the summary levels they identify.
These are the fundamental summary levels of the Census:
Summary Levels
For each of these, the next level down is a perfect subdivision—that is, all of the "parent" geography is covered by the "children." As always, there are subtle exceptions: Puerto Rico is a 040 summary level, but it is not technically part of the 010 (United States). And, while Washington, DC is not a state, it is counted in 040, and it is part of 010. And while there is no true county government for DC, there is a record for it in the 050 summary level, to maintain this consistency.
There is no clearly designated "official" list of Census summary levels, but there is a fairly complete list in the Cartographic Boundary File documentation. The Missouri Census Data Center created a list designed for use with SAS statistical software. (Even if you don't use SAS, it's easy to read and may come in handy sometimes.) It's part of their own extensive documentation about Census summary levels.
Reporters will often want statistics for the cities and towns in their coverage area. For basic access on Census Reporter, all you need to do is search for the name of your city This can be more complicated than you might first guess.
Incorporated cities, towns, and villages are part of the 160 summary level, generically described as places The 160 level also includes "Census designated places," or CDPs, which provide data for unincorporated areas which are commonly recognized by people who live in or near them. Place boundaries can divide census tracts and cross county borders, but a place is always contained in a single state. In every state, there is some territory which isn't in any census "place."
In an attempt to use simpler language, Census Reporter will occasionally use the word 'place' to mean any Census geography at any summary level. Let us know if you think we're being carelessly unclear.
In some parts of the US, the county subdivision is a more appropriate summary level to use for this kind of statistical analysis . In 12 states, most or all county subdivisions serve as local governments much like cities and towns. Specifically, those states are Connecticut, Maine, Massachusetts, Michigan, Minnesota, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island, Vermont, and Wisconsin.
In these and 17 more states, most or all county subdivisions are legal entities, known to the Census Bureau as minor civil divisions (or MCDs). In the rest of the states, county subdivisions exist for statistical purposes, but are less likely to be important for journalists. Nine states have county subdivisions which are a mix of MCDs (representing legal entities) and statistical areas known as unorganized territories. For more guidance on understanding county subdivisions, consult the Geographic Terms and Concepts documentation.
Especially when comparing cities around the US, it may be more appropriate to compare metropolitan areas. Technically, the census calls these core based statistical areas (or CBSAs), a general term which includes both metropolitan and micropolitan statistical areas. A CBSA is an official designation of one or more counties around a core urban area which is the primary focus of economic activity for those counties. You can learn much more about this on the Census' Metropolitan and Micropolitan Statistical Areas Main Page. Most of the time, Census Reporter uses "metropolitan area" as a general term for both kinds of CBSA.
In addition to data about cities, counties, and states, the Census Bureau tabulates data for several other potentially useful geographies, listed below. As with other summary levels, many of these have companion summary levels that subdivide them or account for intersecting boundaries. All of these summary levels are included in the ACS and in Census Reporter.
If you've done a little work with data, you've already learned that names are difficult to use to connect data. There are many cities called Cleveland in the US, and even within a state, we've found duplicate city and school district names. Therefore, it's important that every specific geography have a unique identifier. As with summary levels, it's difficult to find a formal definition or listing from the Census Bureau, but here's how Census Reporter handles geographic identifiers, which we usually refer to as geoIDs.
The Census Bureau lists geoIDs for places as part of its gazetteer files, which are the attribute data which accompanies official TIGER shapefiles (maps). Census geoIDs are unique among geographies at the same summary level. However, they aren't necessarily unique among all geoIDs. In order to give each row in the summary file a unique identifier that clearly identified its geography, we adapted a practice we've seen elsewhere.
Census Reporter geoids are, wherever possible, Census Bureau geoids prefixed with a seven-character string. The string is in the format {summary level}{geographic component}US{geoid}. In almost all cases, the geographic component is 00, and the common summary levels are described above. For example, the is the Census Reporter geoid for the city of Chicago, Illinois is 16000US1714000. It has these parts:
| 160 | Summary level (three digits) |
| 00 | Geographic component (always 00)* |
| US | Separator (always US) |
| 1714000 | identifier (variable length depending on summary level) |
| *Geographic components offer alternative data tabulations for states and larger areas. For example, there are separate components for urban areas and rural areas. Census Reporter does not show geographic component data, although it is available in our raw SQL data. |
censusreporter.com/profile/{geoid}
. You may notice that in your browser, the profile URLs are longer, including
the name of the place on the page. Don't worry about that; Census Reporter recognizes "geoID only" URLs and handles them. So, this URL will take you to the profile for Chicago: censusreporter.org/profiles/16000US1714000/
Note: Since Census Reporter was developed, the Census Bureau has begun using a similar but slightly different scheme on American Fact Finder. As documented in the "Individual Geography Identifiers" section of this page on Geography Identifiers,
they also include two digits for a "geographic variant". In this format, the full GeoID for Chicago would be 1600000US1714000
. While Census Reporter has not generally been updated to handle these, it is able to accept them in profile
URLs as described in the previous paragraph — the variant is simply ignored. That is, this URL (with a longer geoID) will also take you to the profile for Chicago: censusreporter.org/profiles/1600000US1714000/


04 April 1996
Disease Outbreak Reported
A WHO Consultation on public health issues related to human and animal spongiform encephalopathies was held in Geneva on 2-3 April 1996. The consultation made recommendations, based on the latest scientific information, to minimize transmission of BSE among animals and to reduce as completely as possible any exposure of humans to the BSE agent.


npm install-ci-test alias: npm cit
This command runs npm ci followed immediately by npm test.
npm ci
npm test


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Closing payment (GBP {{proposal.endPayoutAmount | number : 2 }}): not paid yet see transaction info
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| Name | Address | Product count | Total amount (GBP) |
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Company: {{buyer.buyerInfo.company}} |
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Be aware that domain filters can overlap. Example: if you have filtered "picasaweb.google.com" and "google.com", removing "picasaweb.google.com" will not reactivate Picasa Web Albums, as it will still be excluded by the "google.com" filter.
Source code | Report a bug
Version - © 2014 Oleg Anashkin


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>
Harry Potter and the Cursed Child is definitely the eighth book in the Harry Potter series, picking up from where we left – nineteen years after the Battle of Hogwarts. This book, written by John Tiffany and Jack Thorne is based on a story written by our queen, JK Rowlin
Released as a special rehearsal edition script, Harry Potter and the Cursed Child is divided into two parts and is spread across four acts and various scenes. As is common knowledge for the Potter fandom, Harry Potter and the Cursed Child traces the tumultuous relationship between Harry Potter, a thirty-seven-year-old ‘overworked Ministry of Magic employee’, and his son Albus Severus Potter, who has to carry the weight of unwanted popularity and history that comes attached to his last name.
But, Harry Potter and the Cursed Child has more than that to offer. It brings our favourites Harry, Ron, Hermione and Ginny and the much-hated Draco Malfoy together in situations where they can’t escape each other. It also has mentions of many dead characters – Dumbledore, Cedric Diggory, Lord Voldemort, James and Lily Potter – and all of them have something to contribute in their own unique ways. The book is compelling enough, like its predecessors, to force you to not put it down. At the same time, it is a light-reading book with less text, which adds to the ease of reading.
Harry Potter and the Cursed Child traverses through our pleasant and unpleasant memories of the wizarding world – students boarding the Hogwarts Express at platform nine and three-quarters, the Hogwarts School of Witchcraft and Wizardry, centaurs in the Forbidden Forest, Ministry of Magic, the treacherous floo powder mode of travel, the Godric’s Hollow, the Triwizard Tournament and what not! It juggles between the past and the present in ways that could change their future to extents that are unimaginable and unforeseen.
Harry Potter and the Cursed Child brings to the fore the troubles of dealing with both famous and infamous legacies, of fragile human relationships, of having a shot at altering your life and deciding who to put first – yourself or others.
Harry Potter and the Cursed Child is very much a Potter book – it has all the plot twists and turns and characters and quotes that stay with you long after you have read the book. For anyone who tells you otherwise – don’t let them. Harry Potter and the Cursed Child is a beautiful rendition.
The main characters in this show are mentioned below
It has received many awards and nominated for many more.among them it won below tony awards in different catagories
Best Direction of a Play – John Tiffany
Best Scenic Design of a Play – Christine Jones
Best Costume Design of a Play – Katrina Lindsayb
Best Lighting Design of a Play – Neil Austin
Best Sound Design of a Play – Gareth Fry
Remaning horrypotter books are
Book 1: Harry Potter and the Sorcerer's Stone,
Book 2: Harry Potter and the Chamber of Secrets
Book 3: Harry Potter and the Prisoner of Azkaban
Book 4: Harry Potter and the Goblet of Fire
Book 5: Harry Potter and the Order of the Phoenix
Book 6: Harry Potter and the Half-Blood Prince
Book 7: Harry Potter and the Deathly Hallows
Based on this book they made a film . TO watch the trailer of the film do check the below link
youtube


Twitter acquires London AI startup as it looks to target small businesses
by James WarringtonTwitter has snapped up artificial intelligence (AI) marketing platform Aiden as it looks to expand its advertising offering for small businesses.
Read more: Twitter outlines political ad ban ahead of 2020 US election
The social media giant today said it had agreed a takeover of the London-based startup, which provides a cross-platform advertising command centre, for an undisclosed sum.
Announcing the deal, Twitter’s vice president of revenue product Bruce Falck said his company was “very impressed with their [Aiden’s] forward-looking team and the innovative technology their platform houses”.
“This technology is a first step in helping us better unlock Twitter for small businesses as we improve our self-serve offerings over time for our customers,” he added.
The acquisition highlights Twitter’s efforts to tap into potential advertising revenue from the millions of small businesses using its platform.
It also marks the expansion of Twitter’s team in London, as the tech giant attempts to decentralise its business.
Aiden was founded in Fitzrovia in 2016 by Marie Outtier and PJ Camillieri and secured an initial $750,000 (£581,000) seed round led by Kima Ventures.
Read more: Twitter shares plunge after revenue hit by weaker advertising and demand
Aiden will cut ties with its existing clients to focus on Twitter’s clients, and its team will relocate to the social media firm’s London office.
Main image credit: Aiden


GApS Coding scheme
In the table below, we provide a description of all the tiers (variables) contained in the GApS coding template (GApS_coding template.etf) and describe their different attributes.
When you create your own template, you can decide to include all variables in the Elan template or to add some variables related to the dyad and the interacting individuals such as: study species, study site, ID1-ID2 Dyad name, dyad rank difference, Dyad DSI index, signal function (based on ASO), sex (Male, Female), age class (Subadult, Adult,…),… post-hoc directly in the Excel output file.
| Tier level | Tier name | Annotation type | Annotation values | Definition of annotations (if applicable) | Segment length | Segment duration | Parent tier | Tier_Type | Controlled_vocabulary | Comments |
|---|---|---|---|---|---|---|---|---|---|---|
| Interaction | ||||||||||
| Clip_Name | Name of media file | Date-Activity type- ID_1-ID_2-Rater ID; e.g., 16.01.17_ Play_KU_CLB_R1 | 3sec | Fixed 3sec segment (from time 00:00:00) | None | None | None | In Excel output, the clip name will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | ||
| Study_Site | Name of study site | LYB, SD, BSL, SIG, LVS | 3sec | Fixed 3sec segment (from time 00:00:00) | None | Study_site | Study_site | In Excel output, the study site will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | ||
| Species | Name of study species | Bonobos, Chimpanzees | 3sec | Fixed 3sec segment (from time 00:00:00) | None | Species | Species | In Excel output, the species name will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | ||
| Activity_Type | Type of social activity | e.g., Grooming; Play, Sex; Travel,… | Activity duration | From onset of first movement typical of activity, to cessation of movements typical of activity | None | Activity_type | Activity_type | In Excel output, type of social activity will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | ||
| Dyad_name | Identities of the interacting partners | ID_a@ID_b; e.g., CLB@KU | ID_a is the first name in alphabetic order | 3sec | Fixed 3sec segment (from time 00:00:00) | None | Dyad_name | Dyad_name | The dyad name should always be the same throughout the dataset regardless of who is ID_1 in the interaction ( for instance, the dyad CLB@KU will always be named CLB@KU regardless of whether CLB is ID_1 or ID_2 in a given interaction), ID_a should be the first in the alphabetic order. In Excel output, the dyad name will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | |
| Dyad_DSI | DSI is an index of dyad bond strength (see Neumann and Kulik, 2014, and Heesen et al. 2021, for description of methods to obtain DSI indices) | 3sec | Fixed 3sec segment (from time 00:00:00) | None | None | None | In Excel output, the DSI index value will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | |||
| ID_1_ID_2_Rank_Diff | Elorating index of rank difference between ID_1 and ID_2 (see Silk et al., 2013 and Heesen et al. 2021, for description of methods to obtain Elorating indices) | 3sec | Fixed 3sec segment (from time 00:00:00) | None | None | None | In Excel output, the Elorating index value will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | |||
| ID_1 | ||||||||||
| ID_1 | Identity of individual who produces the first signal in the interaction | e.g., KZ | 3sec | Fixed 3sec segment (from time 00:00:00) | None | ID | ID | ID_1 corresponds to the identity of the individual who produces the first signal in the interaction. In Excel output, ID_1 name will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | ||
| ID_1_Bout _number | Bout number in interaction | A bout is a string of gesture and/or gesture sequences | Length of bout | From beginning of segment of ID_1 first produced gesture, to end of segment of ID_1 last produced gesture | None | None | None | |||
| ID_1_Sequence_number | Sequence number in interaction | A sequence is a string of 2 or more gestures produced by one signaller without pause, and that follow each other by less than 1 sec. | Length of sequence | From beginning of segment of ID_1 first produced gesture in sequence, to end of segment of ID_1 last produced gesture in sequence | None | None | None | |||
| ID_1_Combination_number | Signal combination number in interaction | A signal combination is a string of signals from different sensory modalities (e.g., gesture + call; gesture + facial expression,) produced simultaneously and overlap, or that follow each other by less than 1 sec. | Length of overlap between the signals segments | From beginning to end of overlap between segments of ID_1 first and second produced signals in combination | None | None | None | |||
| ID_1_Goal reached | Yes/No (0/1) | 0;1 | 3sec | Fixed 3sec segment (from moment goal is reached, e.g., when first movement typical of activity (e.g., sex, play, grooming) starts | None | Presence | Presence | |||
| ID_1 _Gesture_R1 | Gesture Type | See Table 2 for gesture type definitions | ID_1 gesture segment length | From onset of movement to produce gesture from a neutral position, to onset of retraction from gesture held position to go back to neutral position (or to start a new gesture, or end of gesture action) | None | Gesture | Gesture | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_1_Gest_Mod | Sensory modality of gesture type | Silent-visible; Tactile; Audible | ID_1 gesture segment length | ID_1 gesture segment duration | ID_1_gesture | Modality | Modality | |||
| ID_1_Gesture_amplitude_R1 | Amplitude of gesture in space | Low, Medium, High; NA (See list of amplitudes definition for each gesture of repertoire; in preparation for manuscript) | Low= minimum amplitude; medium= intermediate amplitude; High: maximum amplitude | ID_1 gesture segment length | ID_1 gesture segment duration | ID_1_gesture | Amplitude | Amplitude | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | |
| ID_1_Persistence | Yes/No (0/1) | 0;1 | If ID_1 gesture is repetition of first ID_1_gesture produced in sequence= 1; if ID_1 gesture is different from first ID_1_gesture produced in sequence= 0; if ID_1 gesture is repetition of another gesture than first gesture produced in sequence= no annotation | ID_1 gesture segment length | ID_1 gesture segment duration | ID_1_gesture | Presence | Presence | ||
| ID_1_Elaboration | Yes/No (0/1) | 0;1 | If ID_1 gesture is repetition of first ID_1_gesture produced in sequence= 0 if ID_1 gesture is different from first ID_1_gesture produced in sequence= 1 | ID_1 gesture segment length | ID_1 gesture segment duration | ID_1_gesture | Presence | Presence | ||
| ID 1 _overlapping Gesture 1 R1 | Gesture Type | See Table 2 for gesture types definitions | Gesture segment length | From onset of movement to produce gesture from a neutral position, to onset of retraction from gesture held position to go back to neutral position (or to start a new gesture, or end of gesture action) | None | Gesture | Gesture | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_1 _overlapping_Gesture_2_R1 | Gesture Type | See Table 2 for gesture types definitions | Gesture segment length | From onset of movement to produce gesture from a neutral position, to onset of retraction from gesture held position to go back to neutral position (or to start a new gesture, or end of gesture action) | None | Gesture | Gesture | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_1 _Body signal _R1 | Body signal type | See Table 3 for Body signal types definitions | Body signal segment length | From onset of movement to produce body signal to onset of movement to end body signal | None | Body_signal | Body_Signal | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_1 _Vocalisation_R1 | Vocalisation Type | See Table 4 for vocalisation types definitions | Vocalisation segment length | From onset of vocalisation production to end of vocalisation production | None | Vocalisation | Vocalisation | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_1 _Facial expression_R1 | Facial expression | See Table 5 for Facial expression types definitions | Facial expression segment length | From onset of facial movements to produce facial expression, to end od facial expression | None | Facial_expression | Facial_expression | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_1_Gaze orientation_R1 | Gaze directed at partner, when facing or looking back at partner | Partner, Gaze_back, | Partner = Signaller is gazing directly at recipient’s face, Gaze back= Signaller is gazing back at partner’s face over his shoulder while walking away | Gaze segment length | From moment gaze is locked on partner to moment gaze is detached from partner | None | Gaze | Gaze | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | |
| ID_1_ Body_part_R1 | Recipient’s body part touched by ID_2 tactile gesture | Arm; Back; Breast; Face: Fit; Genitals; Hand; Head; Hind; Hip; Leg; Shoulder; Stomach; Wrist; Out_of_Sight | ID_1 gesture segment length | ID_1 gesture segment duration | None | Recipient_body_parts | Recipient_body_parts | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_1_ Behavioral_response_R1 | Behaviour type performed in response to signal produced by ID_2 | Behaviour segment length | From onset of movement typical of the behaviour to moment behaviour is achieved | None | None | None | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | |||
| ID-1 _Signal_function | Function of signal based on ASO (see Hobaiter and Byrne, 2014 for description of ASO) | Attention getter; Leave_taking; Follow-invitation, Contact_invitation; Chase_invitation; Play_contact_invitation; Sex_invitation; Grooming_invitation; Stop:request; Move_away_request | Corresponding signal segment length | Corresponding signal segment duration | None | Function | Function | Based on ASO (Apparently Stisfactory Outcome, see Hobaiter eand Byrne, 2014), if behavioural outcome appears satisfactory, the signaller should stop signaling. The function of signals can be inferred at the end of the bout. | ||
| ID_1_Activity_Role | Role of ID_1 in interaction | Groomer; groomee; chaser; chasee; leader; follower | 3sec | 3sec | None | Role | Role | |||
| ID_2 | ||||||||||
| ID-2 | Identity of the individual that is the receiver of the first signal produced in the interaction | e.g., KL | 3sec | Fixed 3sec segment (from time 00:00:00) | None | ID | ID | ID2 corresponds to the ID of individual who was the recipient of the first signal produced in the interaction. In Excel output, ID_2 will be only in the first few rows of the column and will have to be copied down across the other rows related to the corresponding interaction. | ||
| ID_2_Bout number | Bout number in interaction | A bout is a string of gesture and/or gesture sequences | Length of bout | From beginning of segment of ID_2 first produced gesture, to end of segment of ID_2 last produced gesture | None | None | None | |||
| ID_2_Sequence_number | Sequence number in bout | A sequence is a string of 2 or more gestures produced by one signaller without pause and that follow each other by less than 1 sec. | length of sequence | From beginning of segment of ID_2 first produced gesture, to end of segment of ID_2 last produced gesture in sequence | None | None | None | |||
| ID_2_Combination_number | Signal combination number in interaction | A signal combination is a string of signals from different sensory modes (e.g., gesture + call; gesture + facial expression,) produced simultaneously and overlap, or that follow each other by less than 1 sec. | Length of overlap between the signals segments | From beginning to end of overlap between segments of ID_2 first and second produced signals in combination | None | None | None | |||
| ID_2_Goal reached | Yes/No (0/1) | 0;1 | 3sec | Fixed 3sec segment (from moment goal is reached, e.g., when first movement typical of activity (e.g., sex, play, grooming) starts | None | Presence | Presence | |||
| ID-2Gaze orientation R1 | Gaze directed at partner, when facing or looking back at partner | Partner, Gaze_back | Partner = Signaller is gazing directly at recipient’s face, Gaze back= Signaller is gazing back at partner’s face over his shoulder while walking away | Gaze segment length | From moment gaze is locked on partner to moment gaze is detached from partner | None | Gaze | Gaze | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | |
| ID-2_Gesture_R1 | Gesture Type | See Table 2 for gesture types definitions | ID_2 gesture segment length | From onset of movement to produce gesture from a neutral position, to onset of retraction from gesture held position to go back to neutral position (or to start a new gesture, or end of gesture action) | None | Gesture | Gesture | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_2_Gest_Mod | Sensory modality of gesture type | Silent-visible, Tactile or Audible | ID_2 gesture segment length | ID_2 gesture segment duration | ID_2_gesture | Modality | Modality | |||
| ID-2 _Gesture_amplitude_R1 | Amplitude of gesture in space | Low, Medium, High; NA. See list of amplitudes definition for each gesture of repertoire (in preparation for manuscript) | Low= minimum amplitude; medium= intermediate amplitude; High: maximum amplitude | ID_2 gesture segment length | ID_2 gesture segment duration | ID_2_gesture | Amplitude | Amplitude | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | |
| ID_2_Persistence | Yes/No (0/1) | 0;1 | If ID_2 gesture is repetition of first ID_2_gesture produced in sequence= 1; if ID_2 gesture is different from first ID_2_gesture produced in sequence= 0; if ID_2 gesture is repetition of another gesture than first gesture produced in sequence= no annotation | ID_2 gesture segment length | ID_2 gesture segment duration | ID_2_gesture | Presence | Presence | ||
| ID_2_Elaboration | Yes/No (0/1) | 0;1 | If ID_2 gesture is repetition of first ID_2_gesture produced in sequence= 0 if ID_2 gesture is different from first ID_2_gesture produced in sequence= 1 | ID_2 gesture segment length | ID_2 gesture segment duration | ID_2_gesture | Presence | Presence | ||
| ID_2_overlapping_Gesture_1_R1 | Gesture Type | See Table 2 for gesture types definitions | Gesture segment length | From onset of movement to produce gesture from a neutral position, to onset of retraction from gesture held position to go back to neutral position (or to start a new gesture, or end of gesture action) | None | Gesture | Gesture | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_2 overlapping_Gesture_2_R1 | Gesture Type | See Table 2 for gesture types definitions | Gesture segment length | From onset of movement to produce gesture from a neutral position, to onset of retraction from gesture held position to go back to neutral position (or to start a new gesture, or end of gesture action) | None | Gesture | Gesture | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID-2 _Body_signal_R1 | Body signal type | See Table 3 for Body signal types definitions | Body signal segment length | From onset of movement to produce body signal to onset of movement to end body signal | None | Body_signal | Body_Signal | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_2 Vocalisation_R1 | Vocalization Type | See Table 4 for vocalisation types definitions | Vocalisation segment length | From onset of vocalisation production to end of vocalisation production | None | Vocalisation | Vocalisation | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_2 Facial_Expression_R1 | Facial expression type | See Table 5 for Facial expression types definitions | ID_2 Facial expression segment length | From onset of facial movements to produce facial expression, to end od facial expression | None | Facial_expression | Facial_expression | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_2_Body part_R1 | Recipient’s body touched by ID_1 tactile gesture | Arm; Back; Breast; Face: Fit; Genitals; Hand; Head; Hind; Hip; Leg; Shoulder; Stomach; Wrist; Out_of_Sight | ID_2 gesture segment length | ID_1 gesture segment duration | None | Recipient_body_parts | Recipient_body_parts | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | ||
| ID_2 Behavioral_response_R1 | Behaviour type performed in response to signal produced by ID_1 | Behaviour segment length | From onset of movement typical of the behaviour to moment behaviour is achieved | None | None | None | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | |||
| ID-2_Signal_function | Function of signal based on ASO (see Hobaiter and Byrne, 2014 for description of ASO) | Attention getter; Leave_taking; Follow:invitation, Contact_invitation; Chase_invitation; Play_contact_invitation; Sex_invitation; Grooming_invitation; Stop:request; Move_away_request | Corresponding signal segment length | Corresponding signal segment duration | None | Function | Function | Based on ASO (Apparently Stisfactory Outcome, see Hobaiter eand Byrne, 2014), if behavioural outcome appears satisfactory, the signaller should stop signaling. The function of signals can be inferred at the end of the bout. | ||
| ID_2 _Activity_Role | Role of ID_2 in interaction | Groomer; groomee; chaser; chasee; leader; follower | 3sec | Fixed 3sec segment (from onset of movement typical of the activity; e.g., when first movement typical of sex, play, or grooming starts ) | None | Role | Role | |||
| Dyad | ||||||||||
| Mutual_gaze | ID_1 and ID_2 gaze directly at each other simultaneously | 1 | Length of overlap between ID_1 Gaze orientation and ID_2_Gaze orientation segments | From beginning of overlap between segments of ID_1_Gaze_orientation and ID_2_Gaze_orientation, to end of overlap between segments of ID_1_Gaze_orientation and ID_2_Gaze_orientation | None | None | None | See section <IP_ADDRESS>. of GApS manual for automatically creating overlapping segments | ||
| Spatial Distance_R1 | Spatial distance between ID_1 and ID_2 | 0;1;2 | 0=physical contact, 1=at arm length distance; 2= beyond arm-length distance | Corresponding gesture segment length | Corresponding gesture segment duration | None | None | None | Tier names must contain the indicators R1 for the first rater and R2 for the second rater for calculating interrater agreement with EasyDIAg (see section 6 of GApS manual) | |
| Role_Reversal | Activity roles reversal | 1 | From groomer to groomee or vice versa, from chaser to chasee and vice versa, from leader to follower and vice versa. | 3ms | Fixed 3sec segment (from onset of movement typical of the activity; e.g., when first movement typical of sex, play, or grooming starts , when role changes | None | None | None | ||
| Turn_taking | Communicative turn-taking between ID_1 and ID_2 | 1 | Length of gap between end of ID-1 (or ID_2, depending on whose signal came first) signal and beginning of ID-2 (or ID_1, depending on whose signal came first) signal | From end of segment ID_1_gesture, to start segment ID_2, and vice versa depending on sequential order of gesture | None | Presence | Presence |


Death came passing by,
Whispered me a tale,
Of Life Beyond.
Through the pale mist,
I sought the light
Which grew dim with every step.
A promise made to me ,
To seal the wounds that Life made.
The warmth slowly faded,
As I succumbed to his charms.
But the touch of frost,
Ignited the Life inside.
I could hear Reason lamenting,
Her voice echoed through the plains of oblivion:
"Death only answers the Craven's Cry"
She led me astray from the path that beset.
And Realization delved deep into my mind,
Of Death's impending transgression.
Turned my back away,
To follow Her voice,
Through the Autumn of Life,
Where Salvation might lie.
Or wither away ,
In the Sands Of Time.
Life waited inside,
While Apathy greeted.
Death left unhurriedly.
And left a rose behind,
To be remembered,
When nothing shall remain.


An Independent DevOps Consultant, and a co-founder and a CTO at NoopsWare
This is my technology blog. Here I talk mostly about Cloud computing, DevOps, and a bit about programming.


ARMAGEDDON (Touchstone - 1998) Starring Bruce Willis, Billy Bob Thornton, Liv Tyler, Ben Affleck, Will Patton Screenplay by Jonathan Hensleigh and J.J. Abrams Produced by Jerry Bruckheimer, Gale Anne Hurd, Michael Bay Directed by Michael Bay Running time: 150 minutes
** (out of four stars) Alternate Rating: C
Note: Some may consider portions of the following text to be spoilers. Be forewarned.
-------------------------------------------------------------
From the outset, it's impossible to take the latest Earth-in-peril summer flick, ARMAGEDDON, very seriously. The newest testosterone-ladened conflagration from the team of director Michael Bay and producer Jerry Bruckheimer, this is a film which suggests that when confronted by a Texas-sized asteroid headed on a collision-course with the planet, NASA has The Right Stuff to launch an emergency space shuttle mission within two weeks and slingshot two spacecraft around the moon in order to intercept the massive interloper hurtling through the heavens at 22,000 mph, but is utterly helpless when it comes to simply digging a hole in the rock where a nuke will be dropped to hopefully divert the impending calamity.
To that ends, a civilian team of crack deep-core drillers led by roughneck Harry S. Stamper (Bruce Willis) is hurriedly brought on board by stoical NASA director Dan Truman (Billy Bob Thornton) for an extended weightlessness-training cram session in order to be shot shot into space and, of course, Save The World. Along the way, legendary gems such as "Hang on!", "It's gonna blow!", "I've never missed a depth that I've aimed for, and by God, I'm not going to start now!", and of course, the venerable "Blue wire or red wire?" are uttered. There's even an impromptu rendition of "Leaving On A Jet Plane". Who could ask for more? Get in line.
"Do you think that somewhere in this world two people are doing the exact same thing that we're doing?" coos Harry's precious daughter, the doe-eyed Grace (Liv Tyler), to her hotshot oil driller beau A.J. (Ben Affleck) in the film's requisite (and hopelessly hokey) romantic subplot. "I hope so," he responds with an admirably straight face.  The question certainly comes to mind during the film's first half which introduces us to the assorted miscreants that make up our dubious heroes. Presumably acting as counterpoint to the intellectual NASA staff, Harry's team is an ultra-blue collar collection of ragtag misfits that one can't help but liken to the CON AIR convicts -- and like that previous Bruckheimer-produced vehicle, each member of the drilling team is solely distinguished by a characteristic idiosyncrasy: Rockhound (Steve Buscemi) has a thing for buxom babes, Chick (Will Patton) wants to win back his son, and so forth. Early exposition (opening with a brutal piece of would-be slapstick involving a gun-toting Harry chasing A.J. around an oil rig) succeeds in making this crew of ruffians about as endearing as the stormchasers from TWISTER -- which is to say that I found myself hoping the incoming "global killer" asteroid would smack them down first. If these Dudes With Attitudes weren't already distasteful enough, when their expertise is called upon to prevent global annihilation, the film finds them negotiating for fringe benefits and incentives. Welcome to heroism, 1990s-style.
Make no mistake, inspirational heroism is what this effects-filled action film is intended to be all about, complete with at least two clips of our entire group of spacesuit-clad world-savers purposely striding towards the camera in slow motion as Trevor Rabin's ennobling score blares in the background. Mr. Bay seems especially fond of the low-angle shot, employed liberally throughout ARMAGEDDON to lend stature and an imposing quality towards his subjects, but his rapid cutting style, already unnecessarily excessive in THE ROCK, seems completely out of control here. There are countless points during the film's frenetic action sequences where one is at a loss as to exactly where certain characters are relative to others and so forth. (The incoherent space station sequence is particularly problematic.) The entire 150-minute film is assembled out of short edits which seem to run no more than a few seconds on average; I'd be very surprised if there are more than a handful of shots which run for more than twenty seconds. The net visual effect is not quite enough to generate an epileptic reaction, although the threat looms everpresent.
From start to finish, ARMAGEDDON is such a carefully crafted product abiding by bold jingoistic patriotism conventions that its biggest surprise comes from the list of top screenwriters (credited and uncredited) assembled to provide the film's backbone. Ace Hollywood writers such as Jonathan Hensleigh, Tony Gilroy, Paul Attanasio (QUIZ SHOW, DONNIE BRASCO, ARMAGEDDON -- something looks ... out of place here), Ann Biderman, Scott Rosenberg (whom I can envision gleefully penning many of Rockhound's one-liners) and Robert Towne presumably picked up nice paycheques for their respective contributions to this by-the-numbers screenplay, but realistically any shades of subtlety present from the cast or script alike are utterly obliterated by the wildly overstated and calculated manner in which Mr. Bay presents each scenario. This is the sort of film where it's not enough to simply have Grace weeping as her father's space-originated transmission cuts off; it has to have her weeping at a wall of monitors busily airing static as the camera slowly dollies out and maudlin music provides background ambiance.
If the film is skimping on original ideas and appealing heroes, it does provide a lot of spectacle for two-and-a-half hours. A meteor shower in the opening reel supplies plentiful destruction and mayhem in New York, and ARMAGEDDON becomes a dizzying series of incessant explosions, action and stunts once the gang goes spacebound. In this respect, the film distinguishes itself from the schmaltzy treacliness of DEEP IMPACT, the DreamWorks / Paramount film which beat it to the North American market by two months -- eschewing its predecessor's sensitive approach, this is an action film through and through. It's not an entirely unsuccessful diversion, full of energy and providing enough visceral stimuli to rival any music video, but in terms of genuine drama and suspense, ARMAGEDDON is remarkably hollow.
- Alex Fung email<EMAIL_ADDRESS>web : http://www.ncf.carleton.ca/~aw220/
-- Alex Fung<EMAIL_ADDRESS>| http://www.ncf.carleton.ca/~aw220/ "Only a twerp would castigate an audience for its enjoyment of something." - Pauline Kael
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Input Data
Input Type:
  Note: The Input Type is selected from the loaded input file or is set to XML by default.
Try Out
Output Data
Output Type:
JSON
XML
CSV


{% extends 'diary/main_base.html' %}
{% load static %}
{% block head_extra %}
{# inherit the head_extra block in case parents have already used it #}
{{ block.super }}
{# attachment point for js etc specific to certain diary pages. #}
{% block diary_head_extra %}
{% endblock diary_head_extra %}
{% endblock head_extra %}
{# this block is only used in the test app to give a home page nav link #}
{# you can most likely ignore this block in your override :) #}
{% block links %}
{% endblock links %}


Class: Pathname
Public Visibility
Public Instance Method Summary
| #/(path) |
|---|
Public Instance Method Details
/
public
/(path)
[View source]
23 24 25 |
# File 'lib/pomegranate.rb', line 23 def /(path) (self + path). end |


In this quick video course, you'll learn everything you need to get started with web scraping using Python and Scrapy. Among other things, you'll learn how to:
Our personalized training program is all you need to get you and your team up and running with Scrapy and a modern web scraping technology stack. You'll start from the basics and gradually learn the most common challenges you'll face in the day-to-day job of a web scraping expert.
The training program is priced on a per-seat basis and delivered over the course of 2 weeks through a combination of all-hands sessions and one-one coachings
Check out a preview of the course material.
This program consists of 6 one-hour units spread around two weeks:
Right after a unit, each trainee gets 30 minutes of individual coaching with the instructor.


generate nblocks ( maxtries )
Mine up to nblocks blocks immediately (before the RPC call returns)
Arguments:
1. nblocks (numeric, required) How many blocks are generated immediately.
2. maxtries (numeric, optional) How many iterations to try (default = 1000000).
Result:
[ blockhashes ] (array) hashes of blocks generated
Examples:
Generate 11 blocks
> bitcoin-cli generate 11


onComplete
A common use case for animation involves causing two or more animations to fire sequentially. This is known as chaining. It's easy to chain animations using the YUI Animation Utility's custom events.
In this example, a color animation is set to fire after an animation of position. Click the button below to start the sequence.


Helloooo
Menu
Home
Gallary
About
Hi!
Welcome To The Tea Party!
Sure !
Gallary
A cute list of drawings.
Buddha art
Blue hair
Sketch
Reading book
Bird
Glasses
Tree
Cat
Kiss
Girl
Hi!
It's time to say hi.


To rearrange items using a keyboard: move focus to a site's drag handle, then use Ctrl + Up Arrow and Ctrl +
Down Arrow shortcuts to change its position.
Alternatively, press Space to enter 'drag' mode and rearrange items with just the Up and Down arrow keys.


--- layout: default layout_keyword: knowledge_base_page title: Duplicate a group tags: group_admin_pages left_col_section_nav: [basic_user_nav] user_help_videos: [basic_user_videos] ---
As you create your groups within your organization, you may need to create additional, similar groups.
For example, in our sample organizational chart, we have five groups under our Sports Programs group: Football, Baseball, Basketball, Soccer and Volleyball.
After creating one group like Soccer, we can quickly duplicate that group to create the remaining groups.
From the front page that will be the Group Above your new group, go to More Tools in yourGroup Toolbox and choose Subgroup.
To create the group to be copied, follow the steps to Create a Subgroup.
Once you have created the first group that you want to duplicate, go to More Tools in your Group Toolbox and choose Subgroup, to create your next group.
On the Create Subgroup page, find the group you want to copy under Create a copy of an existing group and select Create a Copy of this Group.
Your new Create Subgroup form will be pre-populated with all of the information from the group you are duplicating, except for the name.
Enter a new name for this group.
You may keep all other information the same, or modify information to meet the needs of the new group.
You may create additional duplicate groups by clicking Add Another and renaming each duplicate group.
Click Create Group to create your subgroup(s) and return to the top level group.
To see the Subgroups for your current group, open your Dashboard, choose Subgroups from the Add dropdown, and drag the Subgroups: Active box onto your page.
You can also show a hierarchal tree of your Groups Below by dragging the Groups Below: Tree View box onto your page. See Show organization hierarchy tree for more information.
See Add boxes to your page for more information on adding elements to your page with your Dashboard.


Home
Order
Menu
FILL FORM TO MAKE ORDER
PICK PIZZA TYPE
...
VEGETARIAN
CHICKEN & MUSHROOM
HAWAIIAN
BBQ-STEAK
PICK SIZE
...
LARGE
MEDIUM
SMALL
PIZZA TOPPINGS
...
SAUSAGE--Ksh.180
CHEESE--Ksh.200
MUSHROOM--Ksh 100
BACON--Ksh.110
CRUST
...
THICK---Ksh.100
THIN---Ksh.0
Add
ORDER/ORDERS SUMMARY
TYPE
TOPPING/TOPPINGS
CRUST
SUM
Delivery: Ksh.
Total: Ksh.
Checkout
Checkout Form
Name
ENTER PIZZA DELIVERY OPTION
...
Delivery
Collection
Submit
Delivery Location
Enter Your Estate
Enter House Number
Submit


SearchUnit - Basic Examples : Multiple Page Searching
In this example the keyotiSearchBox.resultURL is set to "Multiple%20Page%20Search%20Results.htm" which will display the results.
Try keywords like: soup, cheese, chicken, saltIn this example the keyotiSearchBox.resultURL is set to "Multiple%20Page%20Search%20Results.htm" which will display the results.
Try keywords like: soup, cheese, chicken, salt


For most unschooled kids the process of reading is gradual. They build up their own sight words and morphemes. ... At home kids can learn in any way that appeals to them. They can listen, do, watch, ask questions.
Painting can help your children communicate their emotions or feelings. Through the use of different colors, they can express themselves without the use of words. Painting allows children an educational opportunity that is also fun and exciting. Painting can help children learn sizes, shapes, patterns and designs.
Volunteer, give compliments, donate to charity, hold the door for someone; there are so many ways to be an example of kindness.
Wild math looks different than domesticated math. It looks more like conversations, using numbers to figure out something the child wants to know, video games, allowance, weighing things in the grocery store, finding the best deal among several choices—that is not as a lesson but what you would normally do—board games, figuring out "how long until?" when she asks, budgets, doing a rough estimation of the items in the grocery cart to see if you have enough money, baseball statistics, crafts, origami, wrapping presents.
Small group learning is an educational approach that focuses on individuals learning in small groups and is distinguished from learning climate and organizational learning. It is also described as a team-based approach to learning where students work together towards shared learning objectives.


PLEASE RE-REGISTER FOR TODAY This page will open on Saturday, 2nd March on 12:15 pm . Hold your horses. Developers: Shantanu Jain | Harsh Nisar | Mayank Hinger | Zubin Kapadia


Yeah!!! You have made a plugin!
Just for fun, here is your accountRS:
You now need to change a few things to make this plugin a little more interesting, and then don´t forget to share it to the world!
| Field Name | Value |
|---|
No data loaded.
Last update:
Just for fun, here is your accountRS:
You now need to change a few things to make this plugin a little more interesting, and then don´t forget to share it to the world!
| Field Name | Value |
|---|
No data loaded.
Last update:


SC accepts transfer plea in barrister’s murder case
by Hasnaat MalikISLAMABAD.: The Supreme Court has accepted a constitutional petition regarding transfer of Barrister Fahad Malik murder case from the Islamabad High Court to any other high court.
A three-judge bench of the apex court headed by Justice Mushir Alam and comprising Justice Sardar Tariq Masood and Justice Qazi Muhammad Amin on Friday heard the petition filed by the accused — Raja Arshad Mahmood — under Article 186-A of the Constitution.
He requested the court to transfer the matters related to Barrister Fahad murder from the IHC to any other high court on account of recusal of three IHC judges. Currently, four judges have been working in the IHC.
Malik was killed in a shooting in the federal capital, reportedly while mediating a case between two parties involving groups connected to his uncle Tariq Malik, and Raja Arshad, Nauman Khokar and others.
He was the nephew of former Senate chairman Mian Mohammad Soomro, the incumbent privatisation minister.
On May 1, a two-member division bench of Justice Athar Minallah and Justice Miangul Hassan Aurangzeb halted the release of Raja Arshad after an anti-terrorism court granted him post-arrest bail.
Later, the bench suspended the anti-terrorism court’s bail granting order.
In the meantime, the accused also filed an application, requesting transfer of the case from the ATC to a sessions court.
Both the matters are still pending; however, three judges recused themselves from hearing on different grounds.
On September 27, the accused approached the apex court, requesting transfer of the case from the IHC to any other high court.
The court on October 22 issued notice to Islamabad Advocate General Tariq Jahangiri for legal assistance in the matter.
On November 4, on a query of the bench, Jahangiri strongly opposed the transfer plea from one high court to other. He stated that it would encourage a new trend that would not be justifiable.
Jahangiri recommended the bench to issue notice to the complainant party. Upon this, the court issued notice to the complainant party for November 7.
Likewise, the Islamabad attorney general was also directed to ensure service.
The complainant side appeared before the bench on Thursday with the request to grant it time to engage a counsel over the issue.
Upon this, the court adjourned the matter till Friday. Faisal Siddiqui appeared on behalf of the complainant party while Ahsan Bhoon advocate represented the accused.
After hearing both the parties, the court allowed the constitutional petition regarding the transfer of the case from the IHC to any other high court.
However, a written order is yet to be issued.
Raja Arshad was nominated in an August 15, 2016 FIR registered with the Shalimar police.
The complainant contended that the suspect was granted bail by the ATC at a time when the murder trial of Fahad was in its final stages and statements of accused individuals were to be recorded under Section 342 of the Criminal Procedure Code.
The accused was arrested while trying to enter Afghanistan from the Torkham border crossing, as he was on the exit control list.
Both sides are accusing each other of using their influence in the case. Senior lawyers believe that the Supreme Court judgment will evolve new jurisprudence regarding the transfer of a case from one high court to another.


{% extends "app/layout.html" %} {% block content %}
You come here to know what courses were you working on and how you were doing.
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-NICHLOS
- (
2018-06-05
)
PLS CHORDS LANKA give me a guitar chords of Mala mama oba ganama sithala-paul fernando.thank YOU.
-ROCKY
- (
2018-05-30
)
HI Mr.chords lanka pls give me a E RAN KANDA PEM HANDA -M.S FERNANDO CHORDS
-INDIKA
- (
2018-05-22
)
firstof thanx for your best job pls give me a chords of E RAN KANDA PEM HANDA - M.S FERNANDO
-M
- (
2018-05-10
)
Ridma weerawardanege sindu wala chords danna
-Sam
- (
2017-12-09
)
Can you please upload “Oba wenuwen ma Gayu gee” by Milton M with other chord options. Thanks.
-Kasundalpa
- (
2017-12-01
)
Pls submit the organ notes also in this
-Jaye
- (
2017-11-28
)
Plz give me guitar chords for manamali 2 තුරුලේ නිදන් song plz plz plz
-Chamila Vithanage (Fb friend)
- (
2017-11-09
)
ayye chord sheet eka direct print krnna puluwan widiyata hadanna try krnna. BS tc
-Lakshika
- (
2017-08-16
)
Emokoda piano Lanka websiteaka wada wenatha
-Falooda
- (
2017-07-18
)
piano cords walatath aluth ewa dannako ane
-Falooda
- (
2017-07-08
)
adiraja darmashoka eke sadathere song cords denna puluwnda
-Falooda
- (
2017-06-12
)
mwe page ekatama repl ewanna ba da machan
-Falooda
- (
2017-06-09
)
tank you gaise marunu hithe dunnata
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I'm a full stack web developer! Both Front-end and Back-end!
I graduated 2014 from Faculty of Computer Science! Since then I work on my skills in web development!
Get Started!My websites could be updated regularly so they don't break.
You can use my web designs as is, or we together can make changes!
I update dependencies to keep things fresh.
I have to make your websites with love these days!
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Packet switching versus circuit switching. Which of the following are true?
Please select all correct answers.
If you click the button again, you will get the answer.
Answer: A, C, D


DET
: determiner
This document is a placeholder for the language-specific documentation
for DET
.
Treebank Statistics (UD_Coptic)
There are 22 DET
lemmas (2%), 44 DET
types (4%) and 1037 DET
tokens (12%).
Out of 14 observed tags, the rank of DET
is: 8 in number of lemmas, 4 in number of types and 5 in number of tokens.
The 10 most frequent DET
lemmas: ⲡ, ⲟⲩ, ⲡⲉϥ, ⲡⲉⲕ, ⲡⲉⲩ, ⲡⲁⲓ, ⲡⲁ, ⲕⲉ, ⲡⲉⲓ, ⲡⲓ
The 10 most frequent DET
types: ⲡ, ⲛ, ⲧ, ⲟⲩ, ϩⲉⲛ, ⲧⲉ, ⲡⲉ, ⲛⲉ, ⲡⲉⲕ, ⲛⲉⲩ
The 10 most frequent ambiguous lemmas: ⲡ (DET 627, PRON 4), ⲟⲩ (DET 144, PRON 13), ⲕⲉ (DET 20, NOUN 10), ϩⲛ (ADP 162, DET 1), ϭⲉ (PART 9, DET 1), ⲛⲁ (ADP 97, AUX 58, VERB 4, DET 1, NOUN 1)
The 10 most frequent ambiguous types: ⲛ (ADP 316, DET 131, AUX 49, ADV 19, PRON 13, VERB 1), ⲧ (DET 105, PRON 3), ⲟⲩ (PRON 165, DET 79), ⲧⲉ (DET 49, PRON 7, NOUN 1), ⲡⲉ (DET 38, PRON 31, NOUN 3), ⲛⲉ (AUX 40, DET 30, PRON 15), ⲙ (ADP 131, DET 12), ⲩ (PRON 230, DET 12), ⲛⲁ (ADP 88, AUX 58, DET 9, VERB 4, NOUN 1), ⲛⲏ (ADP 9, DET 2)
- ⲛ
- ADP 316: ⲛ ⲅ ⲥⲟⲧ ⲟⲩ ⲉⲃⲟⲗ ϩⲛ ⲧ ϭⲓϫ ⲛ ⲛ ⲉⲧ ⲑⲗⲓⲃⲉ ⲙⲙⲟ ⲟⲩ ·
- DET 131: ⲛ ⲅ ⲥⲟⲧ ⲟⲩ ⲉⲃⲟⲗ ϩⲛ ⲧ ϭⲓϫ ⲛ ⲛ ⲉⲧ ⲑⲗⲓⲃⲉ ⲙⲙⲟ ⲟⲩ ·
- AUX 49: ⲛ ⲅ ⲥⲟⲧ ⲟⲩ ⲉⲃⲟⲗ ϩⲛ ⲧ ϭⲓϫ ⲛ ⲛ ⲉⲧ ⲑⲗⲓⲃⲉ ⲙⲙⲟ ⲟⲩ ·
- ADV 19: ⲛ ⲥⲉ ⲛⲁ ϭⲙϭⲟⲙ ⲅⲁⲣ ⲁⲛ ⲉ ⲣϩⲙϩⲁⲗ ⲛⲁ ⲕ , ⲛ ⲥⲉ ⲣϩⲙϩⲁⲗ ⲛ ⲛ ⲣⲉϥϫⲓⲛϭⲟⲛⲥ ,
- PRON 13: ⲁ ϥ ⲟⲩⲱϣⲃ ⲛⲁ ϥ ϫⲉ ⲉⲃⲟⲗ ϫⲉ ⲙⲡⲁⲧ ⲕ ⲉⲓⲱⲣϩ ⲙ ⲡ ⲙⲧⲟⲛ ⲉⲧ ⲛ ϩⲉⲗⲡⲓⲍⲉ ⲉⲣⲟ ϥ ·
- VERB 1: ⲉⲣϣⲁⲛ ⲡ ⲕⲁⲣⲡⲟⲥ ⲇⲉ ⲡⲱϩ ⲛ ⲧⲉ ⲩⲛⲟⲩ ϣⲁ ϥ ⲛ ⲡ ⲟϩⲥ ϫⲉ ⲁ ⲡ ⲧⲉ ⲙ ⲡ ⲱϩⲥ ϣⲱⲡⲉ
- ⲧ
- ⲟⲩ
- ⲧⲉ
- ⲡⲉ
- ⲛⲉ
- ⲙ
- ⲩ
- ⲛⲁ
- ⲛⲏ
Morphology
The form / lemma ratio of DET
is 2.000000 (the average of all parts of speech is 1.152000).
The 1st highest number of forms (7) was observed with the lemma “ⲡ”: ⲙ, ⲛ, ⲛⲉ, ⲡ, ⲡⲉ, ⲧ, ⲧⲉ.
The 2nd highest number of forms (3) was observed with the lemma “ⲟⲩ”: ϩⲉⲛ, ⲟⲩ, ⲩ.
The 3rd highest number of forms (3) was observed with the lemma “ⲡⲁ”: ⲛⲁ, ⲡⲁ, ⲧⲁ.
DET
does not occur with any features.
Relations
DET
nodes are attached to their parents using 15 different relations: cop-dep/det (907; 87% instances), cop-dep/obl (27; 3% instances), cop-dep/nsubj (20; 2% instances), cop-dep/dislocated (19; 2% instances), cop-dep/nmod (14; 1% instances), cop-dep/conj (11; 1% instances), cop-dep/obj (11; 1% instances), cop-dep/root (11; 1% instances), cop-dep/appos (6; 1% instances), cop-dep/acl (3; 0% instances), cop-dep/ccomp (3; 0% instances), cop-dep/advcl (2; 0% instances), cop-dep/aux (1; 0% instances), cop-dep/discourse (1; 0% instances), cop-dep/parataxis (1; 0% instances)
Parents of DET
nodes belong to 9 different parts of speech: NOUN (884; 85% instances), VERB (77; 7% instances), PROPN (26; 3% instances), PRON (18; 2% instances), DET (12; 1% instances), ROOT (11; 1% instances), NUM (5; 0% instances), ADV (3; 0% instances), X (1; 0% instances)
915 (88%) DET
nodes are leaves.
42 (4%) DET
nodes have one child.
50 (5%) DET
nodes have two children.
30 (3%) DET
nodes have three or more children.
The highest child degree of a DET
node is 6.
Children of DET
nodes are attached using 17 different relations: cop-dep/acl (95; 37% instances), cop-dep/case (54; 21% instances), cop-dep/cop (16; 6% instances), cop-dep/cc (14; 5% instances), cop-dep/nmod (11; 4% instances), cop-dep/punct (11; 4% instances), cop-dep/advmod (10; 4% instances), cop-dep/nsubj (10; 4% instances), cop-dep/mark (9; 4% instances), cop-dep/advcl (7; 3% instances), cop-dep/csubj (7; 3% instances), cop-dep/conj (5; 2% instances), cop-dep/det (3; 1% instances), cop-dep/appos (2; 1% instances), cop-dep/discourse (1; 0% instances), cop-dep/dislocated (1; 0% instances), cop-dep/parataxis (1; 0% instances)
Children of DET
nodes belong to 12 different parts of speech: VERB (102; 40% instances), ADP (55; 21% instances), PRON (22; 9% instances), NOUN (20; 8% instances), DET (12; 5% instances), ADV (11; 4% instances), CCONJ (11; 4% instances), PUNCT (11; 4% instances), PART (7; 3% instances), SCONJ (3; 1% instances), PROPN (2; 1% instances), AUX (1; 0% instances)
DET in other languages: [am] [ar] [bg] [bxr] [ca] [ckb] [cop] [cs] [cu] [da] [de] [el] [en] [es] [et] [eu] [fa] [fi] [fo] [fr] [ga] [gl] [got] [grc] [he] [hi] [hr] [hu] [id] [it] [ja] [kk] [kmr] [ko] [la] [lv] [mr] [nl] [no] [pl] [pt] [ro] [ru] [sa] [sk] [sla] [sl] [so] [sr] [sv] [swl] [ta] [tr] [ug] [uk] [u] [urj] [ur] [vi] [yue] [zh]