Package algorithms.imageProcessing.util
Class AngleUtil
- java.lang.Object
-
- algorithms.imageProcessing.util.AngleUtil
-
public class AngleUtil extends java.lang.Object
- Author:
- nichole
-
-
Constructor Summary
Constructors Constructor Description AngleUtil()
-
Method Summary
All Methods Static Methods Instance Methods Concrete Methods Modifier and Type Method Description static double
calcAngleAddition(double theta1, double theta2, boolean useRadians)
given twoPi in degrees or in radians, return the angle sum corrected to the larger angle frame, e.g.static double
calcAngleAddition(double theta1, double theta2, boolean useRadians, double[] outputQuadrantCorrected)
given angles in degrees or in radians, return the angle sum corrected to the larger angle frame, e.g.static double
calculateAverageWithQuadrantCorrections(double[] angles, boolean useRadians)
calculate the average of the angles using quadrant corrections (note, angles is modified by descending sort).static void
correctForQuadrants(java.util.List<java.lang.Double> thetas, boolean useRadians)
Runtime complexity is O(N*lg2N) for sort plus O(N).protected static double
getAngleAverage(double rot0, double rot1, boolean useRadians)
given twoPi in degrees or in radians, return the angle average.protected static double
getAngleAverageInDegrees(double rotationInDegrees0, double rotationInDegrees1, double[] outputQuadrantCorrected)
calculate the angular average of rotDegrees0 and rotDegrees1 with corrections for quadrants if necessary.static float
getAngleAverageInDegrees(float rotDegrees0, float rotDegrees1)
static double
getAngleAverageInRadians(double rotation0, double rotation1)
static float
getAngleDifference(float rotDegrees0, float rotDegrees1)
get the difference in angles, making correction for quadrants.static double
polarAngleCCW(double x, double y)
calculates the polar theta in radians given x and y w.r.t.static double
polarAngleCW(double x, double y)
calculates the polar theta in radians given x and y w.r.t.double
subtract(double diffX1, double diffY1, double diffX2, double diffY2)
calculates the difference of angles between pairs of points in set1 and set 2 ( angle of (diffX1, diffY1) - angle of (diffX2, diffY2).
-
-
-
Method Detail
-
subtract
public double subtract(double diffX1, double diffY1, double diffX2, double diffY2)
calculates the difference of angles between pairs of points in set1 and set 2 ( angle of (diffX1, diffY1) - angle of (diffX2, diffY2). diffX1, diffX2 are the difference in x and y between 2 points in set 1, and diffX2, diffY2 are the difference for the same matched point pair in set2. The reference frame is polar clockwise. For example, (diffX1, diffY1) being (1, 4) and (diffX2, diffY2) being (3.536, 2.12) leads to angles 284 minus 329 = -45. Note that to transform (diffX1, diffY1) to (diffX2, diffY2) one would apply -1*result of this method.clockwise --> +Y V 270 III | IV 180 --------- 0 +X II | I 90
Note that the subtraction is from closest angles. For example, if point 1 is in qI and point 2 is in qIV, 360 is added to point 1's angle, then the equation is (2*PI + point1 angle) - (point 2 angle).- Parameters:
diffX1
-diffY1
-diffX2
-diffY2
-- Returns:
-
polarAngleCCW
public static double polarAngleCCW(double x, double y)
calculates the polar theta in radians given x and y w.r.t. origin. theta increases in value in a counter clockwise direction (CCW). range of returned values is 0 to 2*pi.- Parameters:
x
-y
-- Returns:
-
polarAngleCW
public static double polarAngleCW(double x, double y)
calculates the polar theta in radians given x and y w.r.t. origin. theta increases in value in a clockwise direction (CW).- Parameters:
x
-y
-- Returns:
- polar angle in radians
-
getAngleDifference
public static float getAngleDifference(float rotDegrees0, float rotDegrees1)
get the difference in angles, making correction for quadrants.- Parameters:
rotDegrees0
-rotDegrees1
-- Returns:
-
getAngleAverageInDegrees
public static float getAngleAverageInDegrees(float rotDegrees0, float rotDegrees1)
-
getAngleAverageInRadians
public static double getAngleAverageInRadians(double rotation0, double rotation1)
-
getAngleAverage
protected static double getAngleAverage(double rot0, double rot1, boolean useRadians)
given twoPi in degrees or in radians, return the angle average.- Parameters:
rot0
-rot1
-useRadians
-- Returns:
-
calcAngleAddition
public static double calcAngleAddition(double theta1, double theta2, boolean useRadians)
given twoPi in degrees or in radians, return the angle sum corrected to the larger angle frame, e.g. 0 + 350 = 710.- Parameters:
theta1
-theta2
-useRadians
-- Returns:
-
calcAngleAddition
public static double calcAngleAddition(double theta1, double theta2, boolean useRadians, double[] outputQuadrantCorrected)
given angles in degrees or in radians, return the angle sum corrected to the larger angle frame, e.g. 0 + 350 = 710. It always chooses the smallest difference in quadrant space between the two angles (adding a cycle if needed) before adding.- Parameters:
theta1
-theta2
-useRadians
-outputQuadrantCorrected
- quadrant corrected values of [rotationInDegrees0, rotationInDegrees1]- Returns:
-
getAngleAverageInDegrees
protected static double getAngleAverageInDegrees(double rotationInDegrees0, double rotationInDegrees1, double[] outputQuadrantCorrected)
calculate the angular average of rotDegrees0 and rotDegrees1 with corrections for quadrants if necessary. For example, 0 averaged with 350 is 355. Any changes in the given angles for quadrant math are seen in the populated outputQuadrantCorrected.- Parameters:
outputQuadrantCorrected
- quadrant corrected values of [rotationInDegrees0, rotationInDegrees1]- Returns:
-
calculateAverageWithQuadrantCorrections
public static double calculateAverageWithQuadrantCorrections(double[] angles, boolean useRadians)
calculate the average of the angles using quadrant corrections (note, angles is modified by descending sort). Runtime complexity is O(N*lg2N) for sort plus O(N). Note, may change to use CountingSort for N > 80 and max(angles) ~ 360 in the future.- Parameters:
angles
- angles in units of degrees. Note that this array is modified by use here so pass a copy if it should not be.useRadians
-- Returns:
-
correctForQuadrants
public static void correctForQuadrants(java.util.List<java.lang.Double> thetas, boolean useRadians)
Runtime complexity is O(N*lg2N) for sort plus O(N). Note, may change to use CountingSort for N > 80 and max(angles) ~ 360 in the future.
-
-


{% extends 'school_base.html' %} {% load static %} {% block title %}{{found_school.name}}{% endblock %} {% block content %}
| Location : | {{found_school.secondary.state|upper}} | Year Founded : | {{found_school.founded}} |
|---|---|---|---|
| # of Students : | {{found_school.number_students}} | # of Intl. Students : | {{found_school.secondary.international_students}} |
| Grades : | {{found_school.secondary.grade_start}} ~ {{found_school.secondary.grade_end}} | ||
| Program Fee : | $ {{found_school.secondary.program_fee}} | Application Fee : | $ {{found_school.secondary.application_fee}} |
| Entry Requirement : | {{found_school.secondary.admission_requirements}} |


( a) Excitation (λ em = 615 nm) and ( b) emission (λ ex = 393.5 nm) spectra of Rb 2Eu(PO 4)(MoO 4) at 77 and 500 K temperature. ( c) Calculation of TQ 1/2 value for the sample doped with 100% Eu 3+ from normalized emission integral intensity. ( d) Temperature-dependent photoluminescence (PL) lifetimes (τ 1/e) of Rb 2Bi(PO 4)(MoO 4) doped with 1%, 50%, and 100% Eu 3+.


Master Foo Discourses on the Two Paths
Master Foo instructed his students:
"There is a line of dharma teaching, exemplified by the Patriarch McIlroy's mantra 'Do one thing well', which emphasizes that software partakes of the Unix way when it has simple and consistent behavior, with properties that can be readily modeled by the mind of the user and used by other programs".
"But there is another line of dharma teaching, exemplified by the Patriarch Thompson's great mantra 'When in doubt, use brute force', and various sutras on the value of getting 90% of cases right now, rather than 100% later, which emphasizes robustness and simplicity of implementation".
"Now tell me: which programs have the Unix nature?"
After a silence, Nubi observed:
"Master, these teachings may conflict".
"A simple implementation is likely to lack logic for edge cases, such as resource exhaustion, or failure to close a race window, or a timeout during an uncompleted transaction".
"When such edge cases occur, the behavior of the software will become irregular and difficult. Surely this is not the Way of Unix?"
Master Foo nodded in agreement.
"On the other hand, it is well known that fancy algorithms are brittle. Further, each attempt to cover an edge case tends to interact with both the program's central algorithms and the code covering other edge cases".
"Thus, attempts to cover all edge cases in advance, guaranteeing 'simplicity of description', may in fact produce code that is overcomplicated and brittle or which, plagued by bugs, never ships at all. Surely this is not the Way of Unix?"
Master Foo nodded in agreement.
"What, then, is the proper dharma path?" asked Nubi.
The master spoke:
"When the eagle flies, does it forget that its feet have touched the ground? When the tiger lands upon its prey, does it forget its moment in the air? Three pounds of VAX!"
On hearing this, Nubi was enlightened.
|


Gov. Evers asks Republicans to release homelessness funding
MADISON, Wis. - Gov. Tony Evers is asking the Republican leaders of the Legislature's budget committee to release $3.7 million a year in funding to pay for programs designed to help homeless people.
Evers sent a letter Thursday to the committee co-chairs, urging them to make available the funding that has been pending for four months. Evers is seeking action now before winter sets in. He says with cold temperatures and snow across the state already, "my concern has only grown."
The funding would go toward such things as providing grants to help low-income people with housing costs, help fund emergency shelters and pay for support to help homeless people get into permanent housing.
The Assembly passed bills to approve the funding but they've stalled in the Senate. The budget committee has declined to release the money while the bills are pending.


FAREWELL MY CONCUBINE [Spoilers] A film review by Raymond Maihin Chowkwanyun Copyright 1994 Raymond Maihin Chowkwanyun
Probably this movie has already been reviewed. Nevertheless, I feel compelled to write my own because this movie made such a big impact with me. I believe it to be one of the all-time greats. Right up there with the best of Bergman, Wells, Kurosawa, Fellini, Ray, etc. This is movie making at its most powerful, fully realizing the potential of the medium.
In one of the early scenes, a young boy's finger is cut off by his mother. Like the opening salvo of UN CHIEN ANDALOU, this merely serves as a prelude to what is to come. This is a harrowing movie and the steady crescendo of harrowing is relentlessly harrowing.
 He has grown too big to keep around the brothel so his mother decides to put him into a Beijing Opera company. There's just one snag: he has an extra finger on his hand. You know the rest. Talk about a tough job interview!
But I get ahead of myself. Before the finger chopping exercise, Douzi is led by his mother through the streets of Beijing where they come upon the Opera company that is to be his life, performing in the street. The pace and timing of this early sequence puts us on notice that we are in the presence of a major new force in film. The director seamlessly intercuts frenetic action, as the Opera troupe dances around, with a sudden still close-up of Shitou, who is to become Douzi's lifelong acting partner and lover. The montage is flawless but it is never technique for its own sake. It is always in the service of telling the story.
 (The leader of the thugs finds this amusing and lets them go). Later, we are startled to see the Opera troupe leader beat the living daylights out of Shitou as punishment for pulling his old "brick" trick. Never mind that it saved their skins. Most of the early going in the movie is consumed by beatings. Myself, I felt the director carried this to the edge of intolerability without quite going over it but I'm sure some of you will feel it's too over the top.
But I get ahead of myself, again. In the very opening sequence, Douzi and Shitou enter a theatre dressed in full Beijing Opera regalia. These outfits are of a flamboyance that would make Elton John in his prime say, "Whoa. Hold on a minute." Shitou is dressed as a king in a bright yellow costume. You've heard of shocking pink? This is shocking yellow.
 The actors who portray Douzi in youth and adulthood (I forget the actors' name for them in youth, but they are portrayed by Leslie Cheung and Zhang Fengyi in adulthood) are extraordinary. When made up, they completely look and behave like women, especially the adult actor. It is another of the remarkable aspects of this movie that they were able to find a boy and man who resemble each other sufficiently that you could believe the boy grew up to be the man.
Back to the opening scene: it is 1977 and Shitou and Douzi have not seen each other for eleven years. This point is the basis for some banter between the two. Shitou tells an off-stage official that he hasn't seen Douzi for ten years to which Douzi immediately snips, "No, it's been eleven." I mean, just like a married couple of many years. And then the movie launches into the tumultuous story of those years.
The movie covers that most interesting time in China's history that begins with the warlord period, followed by the Japanese occupation (short history lesson: the occupation started before WWII with the invasion of Manchuria in 1931), followed by the Nationalist regime of Chiang Kai Shek, followed by the Communist regime of Mao Tse Tung.
The movie's narrative can be neatly divided into several stages: 1) Shitou and Douzi learn to become Opera stars, 2) Shitou becomes involved with and eventually marries Juxian (played by Gong Li), causing a virulently jealous reaction from Douzi, 3) Shitou gets into trouble with the Japanese forces of occupation and is bailed out by Douzi's operatic skills (who gets spat on for his pains by Shitou in a fit of macho ultra-patriotism), 4) they both get into trouble with the Nationalists because Douzi performed for the Japanese and, inevitably, and 5) they both get into trouble with the Communists for performing for both the Japanese and the Nationalists. Sometimes, you can't win for losing.
At the center of the movie is the Beijing Opera. I found the Opera sequences fascinating enough that I intend to seek out some Opera videos. However, you may find yourself wishing you were elsewhere during these sequences, most of which are dominated by Douzi's singing and he sings in a piercing falsetto. The traditional Chinese orchestra also sounds nothing like Western music. For me, the outlandish costumes, the music, and the singing all combined into a powerful artistic experience. Where can you go nowadays to find true Opera performances like this?
I find it interesting that Bejing Opera, of all things, should pop up in both of the Chinese movies I have been able to see. In RAISE THE RED LANTERN, the third wife is an ex-Opera star and gets to display her, also piercing, singing talents. What is it, I wonder, that these young filmmakers find so fascinating about Beijing Opera? They are too young to have experienced the wild craze for Opera that flourished during the period between the wars. It must represent something powerful, and I suspect subversive to them. (I thought Raise the Red Lantern was slo-o-o-w and boring--big disappointment).
At the center of the Beijing Opera is *the* opera, "Farewell my Concubine." Shitou plays the character of the Shang King. Douzi plays the role of his faithful concubine who stays with him to the end even after he is defeated by the Han King (the ancestors of present-day chinese). Odd, isn't it to center a play around your defeated enemy? It would be like the U.S. having a play lauding King George III or the English putting Napoleon on top of Nelson's column or the French awarding first prize at Cannes to JURASSIC PARK. I know, international jury, but still, point, what? Eventually, the concubine commits suicide rather than fall into the hands of the king's enemies--a final and ultimate gesture of loyalty. Let's just say Douzi gets into this role a bit too much for his own good.
The real reason to see this movie is the rich cast of characters, all three-dimensional. Besides the triangle at stage center there is the Beijing Opera troupe leader and teacher of Douzi and Shitou.  The assistant teacher who deals out whacks of the hand equally for getting lessons both wrong *and* right. The latter so the students will remember to do it right again the next time. The disgustingly degenerate ex-Imperial eunuch Shang (?) who re-appears later as a penniless, mindless street vendor. The "king" of Beijing Opera who seduces Douzi with a gift of Shang's sword which he purchased at the eunuch's bankruptcy auction. This king has an almost painfully over-developed artistic sensibility. He is later pilloried and executed by the Communists.
The theatre manager who first spots Douzi's talent. Asked to recite a famous poem, Douzi gets it wrong. He keeps saying "I have the spirit of a boy" instead of "I have the spirit of a girl." The theatre manager loses interest and the whole troupe is about to lose its big break. Infuriated, Shitou washes Douzi's mouth out with a pipe, until it bleeds. Impressed (shocked?) by this display, the theatre manager is persuaded to give them a second look. This time, Douzi gets the poem right and their look. This time, Douzi gets the poem right and their career is launched. From this moment onwards, Douzi assumes his feminine persona. This theatre manager brings to mind the description: he oiled around the corridors. You probably have one in your company.
Then, there is Douzi's adopted son whom he rescues from being left to die of exposure in the streets. This son becomes his student and later usurps his place in the Opera. And finally, as a red guard, presides over the trial of Douzi and Shitou. Oh, how sharper than a serpent's tooth....
The glory of this movie is the way the director is able to intertwine so many subplots and characters and historical and personal themes without ever once dropping one of the many threads he introduces. It all comes together. There is not a wasted sequence. There are no loose ends or subplots that go nowhere. Every scene and twist in the story has a point. It's been a long time since I can remember a movie so richly sub-plotted and with such a kaleidescope of characters.
One example: in Opera school, Douzi runs away with a friend who craves candied crab apples more than anything in the world. After seeing the troupe perform, Douzi realizes the Opera and Shitou are his life and he returns to, you guessed it, a damned good thrashing. This time from the flat of a large and formidable looking sword. Rather than endure the punishment, Douzi's fellow-truant commits suicide. Later, at the height of his career, Douzi is preening himself and about to enter the theatre when he hears the voice of a street vendor shouting, "Candied crab apples." All the smug self-confidence immediately drains from his face.
Extracurricular Activities: --------------------------
This movie was made at considerable personal risk to the participants. The newspapers have been full of reports about how this movie was first banned by Beijing, then re-released when it won a foreign prize (Cannes? Venice?), then re-banned. I would guess the authorities liked the movie up until the Liberation of Beijing by the Communists. If the movie had cut out the Red Guards scene near the end, I think Beijing would have blessed this movie. Because it shows how corrupt and rotten Chinese society had become during 20's, 30's, and 40's, i.e., good reason for the Communists to take over and reform society.
None of this would amount to a hill of beans, if this weren't a great movie. But enjoying the movie as I did, and knowing the conditions it was made under, just gives the film an extra dimension. I really admire the guts of the filmmaker and the actors (even the about-to-be-put-upon Juxian).
Minor Cavils: ------------
1) I have never liked fade-to-black as a technique for splitting scenes. This movie does nothing to convince me otherwise.
2) The scene in the brothel where Juxian leaps from an upper story into Shitou's arms rings false. The cutting is just too crude so that the sequence looks like (1) Juxian jumps from a safe height. (2) Cut to Juxian arriving in Shitou's arms. To be convincing, such a scene has to show the full jump from start to finish. Imagine if the cliff-jumping scene from BUTCH CASSIDY AND THE SUNDANCE KID had only shown Redford and Newman taking off, cut to them entering the water without the bit in between. Done the way it was, it's a classic movie moment. Cutting out the middle bit would drain all the emotional impact.
3) Juxian doesn't age from the time we first encounter her in the mid-1930's to the mid-1960's. I know we're supposed to suspend our sense of reality but this is a bit much.
4) It seems I'm being hard on Juxian but I found her to be a bit on the expressionless side as in ice princess. However, there is a touching scene where she nurses Douzi during his withdrawal from opium addiction. That's what I liked about this movie. The characters do surprising things that are completely believable (thank you Roger Ebert for that critiquing criteria).
Douzi and Juxian are immediately set up for conflict over Shitou but she finds it in her heart to nurse Douzi. It's surprising because if the characters had been cardboard cutouts, the conflict would have been maintained. Later, we are surprised again when Douzi rejects Juxian's gesture of pity after Douzi is usurped from the Opera by his adopted son. And again, when Douzi viciously turns on Juxian and accuses her of being a prostitute to the Red Guards.
4) There were some scenes of Douzi wandering by a lily-filled lake that I thought were superfluous without actually damaging the flow of the movie. Others might find it a nice interlude in an otherwise (did I mention this?) harrowing movie.
Parallels to Other Great Movies: -------------------------------
The structure of the movie is a classic recollection, with the sequences in the present time (present being 1977) serving as convenient bookends for the lives of the characters. Of course, many movies use this structure but the one that pops to my mind is CITIZEN KANE. The phrase "Why does the concubine have to die?" serves the same plot function as "Rosebud" in CITIZEN KANE. It's full of loaded double and triple entendres within the context of the movie.
Another obvious parallel is LES ENFANTS DU PARADIS. In real life, this movie was also made under difficult conditions (occupied France during World War II). LES ENFANTS also centers around the theatre and the off-stage lives of the actors. However, LES ENFANTS lacks the historical subtext of FAREWELL. (This does not in any way diminish Les Enfants, of course. When movies rise to these exalted heights, differences are cause for celebration not to put one down over another).
-- ray
.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Class: Image
- Inherits:
-
Object
- Object
- Image
- Includes:
- Lotus::Entity
- Defined in:
- lib/noteshare/entities/image.rb
Overview
include Aws
Instance Method Summary (collapse)
-
- (Object) object_name(size = 'original')
def self.upload(local_file).
- - (Object) safe_url
- - (Object) url(size = 'original')
Instance Method Details
- (Object) object_name(size = 'original')
def self.upload(local_file)
# http://ruby.awsblog.com/post/Tx354Y6VTZ421PJ/-Downloading-Objects-from-Amazon-span-class-matches-S3-span-using-the-AWS-SDK-fo
# https://ruby.awsblog.com/post/Tx1K43Z7KXHM5D5/Uploading-Files-to-Amazon-S3
# http://docs.aws.amazon.com/sdkforruby/api/index.html
bucket = 'vschool/noteshare_images'
# mime_type = "application/octet-stream"
s3 = Aws::S3::Resource.new(
credentials: Aws::Credentials.new('ENV[AWS_ACCESS_KEY_ID], ENV[AWS_SECRET_ACCESS_KEY]'),
region: 'us-west-1',
endpoint: 'https://s3.amazonaws.com'
)
base_name = File.basename(local_file)
t1 = Time.now
obj = s3.bucket(bucket).object(base_name)
obj.upload_file("outbox/#{base_name}", acl: 'public-read')
t2 = Time.now
message = "Uploaded as #{obj.public_url}"
message << "Elapsed: #{t2-t1}\n"
end
41 42 43 44 45 46 47 48 49 |
# File 'lib/noteshare/entities/image.rb', line 41 def object_name(size='original') old_name = self.file_name return if old_name == nil name_parts = old_name.split('/') file_name = name_parts[-1] base_name, extension = file_name.split('.') new_name = "#{base_name}-#{size}.#{extension}" "vschool/noteshare_images/#{new_name}" end |
- (Object) safe_url
55 56 57 58 59 60 61 |
# File 'lib/noteshare/entities/image.rb', line 55 def safe_url if object_name url else '#' end end |
- (Object) url(size = 'original')
51 52 53 |
# File 'lib/noteshare/entities/image.rb', line 51 def url(size='original') "http://s3.amazonaws.com/#{self.object_name}" end |


Table Legend & notes:
- "not supported" means the feature is implemented by the browser, but required accessibility support is not implemented.
- "partially supported" means the feature is implemented and accessibility support is partially implemented.
- "not implemented" means the feature has not yet been implemented in the browser, so accessibility support is unknown.
- "supported" means that the browser exposes feature information via an accessibility API and if the feature is interactive it can be operated using a range of input device types.
- The 'notes' cell of each row provides further information about browser support.
- A test page was used to test the support in each browser.
- The following tools were used to test the HTML5 feature information being exposed in browsers to accessibility APIs:
- Aviewer (free desktop application for windows )
- Dom Inspector (free Firefox extension)
- Inspect.exe (free desktop application for windows available as part of the Windows SDK)
- Accprobe (free open source desktop application)
- Accessibility Inspector (free Mac application)
- Keyboard support was tested by attempting to use interactive controls using the keyboard.
- Please report any inaccuracies to<EMAIL_ADDRESS>| OS | Notes | |||||
|---|---|---|---|---|---|---|
| Windows | Not supported | Partially supported | Not supported | Not supported | Not supported |
|
| OSX | Not supported | Not supported | Not supported |
|
||
| Linux | Not supported | Not supported | Partially supported | Not supported | Not supported |
|
| IOS | Partially supported | Partially supported | Partially supported | Not supported |
|
|
| Android | ||||||
| Chrome OS |


My Thesis which which I defended in 2015.
My thesis which which I defended in 2015.
This is a XeteX version of my thesis. I recommend using TexMaker and MikTex to auto-install all required packages. In addition I used the minted package for software syntax highlighting. In order for the package to run properly, --shell-escape
flag option must be invoked (more info here).


Mitch Kroska
Portfolio
Blog
JavaScript Game
IT'S PRETTY SNAZZY!
◀
▲
►
Use arrow keys to move the hero
Back To Top
Go To My Blog


{% extends "layout.html" %} {% block content %}
all things capture agent
toggle between primary and backup live streams
redunlive


I'm Gene, a Software Engineer specialising in anything games.
Here you can view my professional projects, and student projects.
Most recently I spent over 3 years working at Electronic Arts (EA) on NFS No Limits.
Before that I spent a year at Mana Tea, creating and releasing Unfamiliar.
I love working on all aspects of games, especially collaborating with the team to create and refine outstanding features. I have a strong perseverance for learning and taking on challenges.
At Electronic Arts (EA) I spent 4 years maintaining and delivering updates for Need For Speed: No Limits
Implement Features
Support Content Creation
Workflow Improvements
Bug Fixing
Divide is a turn-based strategy game on hex grid, that I and 8 others made in 4 months
Utility Based AI system
Dissolve shader
Camera shake, Playing Animations and Particles
Over world player movement
An example project to show how my GOAP library can be used
Templated world values
Cyclic graph in planning stage
Dijkstra's to find the best plan
A OpenGL game engine in C++
OBJ file loading and serialisation for faster loading
Rendering models with diffuse, normal, and specular textures
Lighting using a phong shader model
Post-Processing and Render Targets with HDR
Send me an email and I will get back to you as soon as possible!


Preparation time
over 2 hours
Cooking time
30 mins to 1 hour
Serves
Makes 1 three-tiered cake
Dietary
You’re in good hands for this ultimate of all celebration chocolate cakes. Mary Berry and Paul Hollywood share their skills to make a stunning three-tier chocolate fudge cake creation.
Preheat the oven to 180C/350F/Gas 4 (fan 160C). Grease and line two 20cm/8in deep sandwich tins, one 15cm/6in cake tin and one 10cm/4in cake tin with baking parchment.
For the chocolate cakes, blend the cocoa powder and 200ml/7fl oz boiling water in a large bowl. Add the remaining cake ingredients and beat until the mixture has become a smooth, thickish batter.
Divide the cake mix between the prepared tins, filling the sandwich tins half full and the two cake tins two-thirds full. Level the surfaces.
Place all four tins on the middle shelf of the preheated oven and cook the sandwich tins for about 25-30 minutes, the 10cm/4in cake tin for 35-40 minutes and the 15cm/6in cake for 45-50 minutes, or until well-risen and the tops of the cakes spring back when lightly pressed with a finger. (If the tins won't fit on the same shelf place the 15cm/6in cake on the shelf above and move it down to the middle shelf as soon as possible - this may reduce the cooking time slightly.) Leave to cool in the tins for a few minutes and then turn out onto a wire rack, peel off the parchment and leave to cool completely.
For the white chocolate ganache, break the white chocolate into pieces. Heat the cream in a pan until just hot enough to melt the chocolate. Drop the chocolate pieces into the cream and stir until they have all melted.
Remove from the heat and leave to cool until stone cold. Beat the cream cheese in a bowl to soften it, then gradually beat in the cold chocolate cream mixture. You may need to set aside the mixture in the fridge for 15 minutes to thicken up.
To assemble, cut the 15cm/6in and 10cm/4in cakes in half horizontally and sandwich them together with some of the white chocolate ganache. Sandwich the 20cm/8in cakes together with more of the white chocolate ganache and stack the cakes on top of each other with the sandwiched 10cm/4in cake on top, the sandwiched 15cm/6in cakes in the middle and the 15cm/6in sandwiched cake on the bottom. Set aside the rest of the ganache.
Warm the apricot jam in a small pan and brush it all over the stacked cakes. Using a palette knife, spread the remaining white chocolate ganache over the cakes to cover. If your kitchen is hot you may need to place the cakes in the fridge to allow the ganache to set.
For the chocolate lace collars, break 150g/5½oz of the plain chocolate into a bowl set over a pan of simmering water. Stir until the chocolate reaches a melting temperature of 47C/115F (use a kitchen thermometer to check). Remove the bowl from the heat, add the remaining 50g/1¾oz of chocolate and stir until the chocolate has cooled to 31C/90F.
Cut two strips of greaseproof paper or acetate 10cm/4in wide and long enough to wrap around the middle-sized and the large cakes. (They will need to be about 10x55cm/4x22in for the middle cake and about 10x70cm/4x28in long for the large cake.) Place the strips on a work surface.
Pour the chocolate into a piping bag fitted with a writing nozzle and let the chocolate fall out of the bag while swirling up and down the strips of greaseproof to create a lace effect. (Don’t worry if the chocolate falls outside of the paper strips, just be sure to move the strips of paper before they set so that they don’t stick to the work surface). Leave to cool until just set and firm enough to wrap around the base and middle layer of the cake leaving the acetate on (about 15 minutes).
Leave to set completely (about one hour) before peeling off the greaseproof or acetate paper. Don’t be tempted to set the chocolate collars in the fridge as this will cause the chocolate to be dull and not have a shine when you remove the paper. Decorate the outside of the bottom and middle cakes with the chocolate lace collars.
For the chocolate curls, break the plain chocolate into a bowl set over a pan of simmering water. Stir until the chocolate melts and then pour over a cold marble or granite surface. Leave to cool until just set. Using a cheese slicer, gently slice from the top of the chocolate down to the bottom, to create chocolate curls. Sprinkle the curls over the top tier of the cake.
You need JavaScript to view this clip.
Greasing and lining cake tins
You need JavaScript to view this clip.
Icing a cake with chocolate ganache


This sample has the basic functions of a GIS application:
1) A table of contents(TOC) to allow layers turn on/off, layers visiblity controled by map scale and reflected on TOC.
2) Allow click on map to do spatial query, with options to choose layers.
Switch to a different map service:
Map Opacity(0=transparent;1=opaque):
Note:Layers from cached service or Layers that are not visible in current zoom level are disabled.
Click anywhere on map to show data(on right side of map).
Retrieve data for layer:


|
|---|
| Now faith is the substance of things hoped for, the evidence of things not seen.
|
|---|
| ᎪᎯᏳᏗᏃ ᎨᏒ ᎯᎠ ᏄᏍᏗ ᎦᏛᎬᎢ, ᎤᎵᏂᎩᏛ ᎪᎯᏳᏗᏱ ᎠᎪᏩᏛᏗᏱ ᎨᏒ ᏄᏍᏛ ᎤᏚᎩ ᎣᏩᏒᎢ, ᎠᎴ ᏄᏜᏓᏏᏛᏒᎾ ᎢᏳᏓᎵᏍᏓᏁᏗᏱ ᎡᎲ ᎾᏍᎩ Ꮎ ᎠᏏ ᎠᎪᎲᎯ ᏂᎨᏒᎾ ᎨᏒᎢ.
|
|---|
Go-hi-yu-di-no ge-sv hi-a nu-s-di ga-dv-gv-i, u-li-ni-gi-dv go-hi-yu-di-yi a-go-wa-dv-di-yi ge-sv nu-s-dv u-du-gi o-wa-sv-i, a-le nu-dla-si-dv-sv-na i-yu-da-li-s-da-ne-di-yi e-hv na-s-gi na a-si a-go-hv-hi ni-ge-sv-na ge-sv-i.
|
|---|
|
|---|
| For by it the elders obtained a good report.
|
|---|
| ᎾᏍᎩᏰᏃ ᎠᏅᏗᏍᎬ ᎡᏘ ᎤᎾᏕᏅᎯ ᎣᏍᏛ ᎨᏥᏃᎮᏗᏱ ᎤᏂᏩᏛᎲᎩ.
|
|---|
Na-s-gi-ye-no a-nv-di-s-gv e-ti u-na-de-nv-hi o-s-dv ge-tsi-no-he-di-yi u-ni-wa-dv-hv-gi.
|
|---|
|
|---|
| Through faith we understand that the worlds were framed by the word of God, so that things which are seen were not made of things which do appear.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎢᏛᏗᏍᎬ ᎢᏙᎵᎦ ᎤᏁᎳᏅᎯ ᎧᏁᎬ ᎬᏔᏅᎯ ᎨᏒ ᎡᎶᎯ ᏚᏙᏢᏅᎢ, ᎾᏍᎩᏃ ᏧᏓᎴᏅᏛ ᎠᎪᏩᏛᏗ ᏥᎩ ᎥᏝ ᎾᏍᎩ Ꮎ ᎬᏂᎨᏒ ᎢᏳᎵᏍᏔᏅᎯ ᎨᏒ ᏗᎪᏢᏔᏅᎯ ᏱᎩ.
|
|---|
Go-hi-yu-di ge-sv i-dv-di-s-gv i-do-li-ga U-ne-la-nv-hi ka-ne-gv gv-ta-nv-hi ge-sv e-lo-hi du-do-tlv-nv-i, na-s-gi-no tsu-da-le-nv-dv a-go-wa-dv-di tsi-gi v-tla na-s-gi na gv-ni-ge-sv i-yu-li-s-ta-nv-hi ge-sv di-go-tlv-ta-nv-hi yi-gi.
|
|---|
|
|---|
| By faith Abel offered unto God a more excellent sacrifice than Cain, by which he obtained witness that he was righteous, God testifying of his gifts: and by it he being dead yet speaketh.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎡᏈᎵ ᎤᏟ ᎢᏲᏍᏛ ᎤᎵᏍᎪᎸᏓᏁᎴ ᎤᏁᎳᏅᎯ ᎠᏥᎸ-ᎨᎳᏍᏙᏗ ᎨᏒ ᎡᏍᎦᏉ ᎨᏂ, ᎾᏍᎩ ᏄᏛᏁᎸ ᎤᏩᏛᏔᏁ ᎪᎯᏳᏗᏍᎩ ᎤᏓᎤᏗᏳ ᎨᏒᎢ, ᎤᏁᎳᏅᎯ ᎬᏂᎨᏒ ᏄᏩᏁᎴ ᏚᏓᏂᎸᏤᎸ ᎤᎵᏍᎪᎸᏔᏅᎯ ᎨᏒᎢ; ᎾᏍᎩᏃ ᏄᏛᏁᎸ ᎬᏗᎭ ᎧᏁᎦ ᎾᏍᏉ ᎤᏲᎱᏒᎯ ᏥᎩ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv E-qui-li u-tli i-yo-s-dv u-li-s-go-lv-da-ne-le U-ne-la-nv-hi a-tsi-lv--ge-la-s-do-di ge-sv e-s-ga-quo Ge-ni, na-s-gi nu-dv-ne-lv u-wa-dv-ta-ne go-hi-yu-di-s-gi u-da-u-di-yu ge-sv-i, U-ne-la-nv-hi gv-ni-ge-sv nu-wa-ne-le du-da-ni-lv-tse-lv u-li-s-go-lv-ta-nv-hi ge-sv-i; na-s-gi-no nu-dv-ne-lv gv-di-ha ka-ne-ga na-s-quo u-yo-hu-sv-hi tsi-gi.
|
|---|
|
|---|
| By faith Enoch was translated that he should not see death; and was not found, because God had translated him: for before his translation he had this testimony, that he pleased God.
|
|---|
| ᎦᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎢᎾᎩ ᎠᎦᏘᎾᏫᏛᎮ ᎾᏍᎩ ᎠᏲᎱᎯᏍᏗ ᎨᏒ ᎤᎪᏩᏛᏗᏱ ᏂᎨᏒᎾ; ᎠᎴ ᎥᏝ ᏯᏥᏩᏛᎮᎢ, ᎤᏁᎳᏅᎯᏰᏃ ᎤᏘᎾᏫᏛᎮᎢ; ᎠᏏᏉᏰᏃ ᎾᎦᏘᎾᏫᏗᏍᎬᎾ ᎨᏎ ᎤᏁᎳᏅᎯ ᎣᏏᏳ ᎤᏰᎸᏗ ᎨᏒ ᏚᎸᏫᏍᏓᏁᎲ ᎬᏂᎨᏒ ᎾᎬᏁᎴᎢ.
|
|---|
Ga-hi-yu-di ge-sv gv-di-s-gv I-na-gi a-ga-ti-na-wi-dv-he na-s-gi a-yo-hu-hi-s-di ge-sv u-go-wa-dv-di-yi ni-ge-sv-na; a-le v-tla ya-tsi-wa-dv-he-i, U-ne-la-nv-hi-ye-no u-ti-na-wi-dv-he-i; a-si-quo-ye-no na-ga-ti-na-wi-di-s-gv-na ge-se U-ne-la-nv-hi o-si-yu u-ye-lv-di ge-sv du-lv-wi-s-da-ne-hv gv-ni-ge-sv na-gv-ne-le-i.
|
|---|
|
|---|
| But without faith it is impossible to please him: for he that cometh to God must believe that he is, and that he is a rewarder of them that diligently seek him.
|
|---|
| ᎪᎯᏳᏗᏍᎩᏂ ᎨᏒ ᏂᏛᏗᏍᎬᎾ ᏱᎩ ᎬᏩᏟᏍᏗ ᎣᏍᏛ ᎤᏰᎸᏗ [ᎤᏁᎳᏅᎯ] ᏗᎩᎸᏫᏍᏓᏁᏗᏱ; ᎩᎶᏰᏃ ᎤᏁᎳᏅᎯ ᏱᎦᎷᏤᎭ ᎠᏎ ᏱᎪᎯᏳᎲᏍᎦ ᎡᎲᎢ, ᎠᎴ ᎾᏍᎩ ᏗᎫᏴᎡᎯ ᎨᏒ ᎤᎵᏂᎩᏛ ᎬᏩᏲᎯ.
|
|---|
Go-hi-yu-di-s-gi-ni ge-sv ni-dv-di-s-gv-na yi-gi gv-wa-tli-s-di o-s-dv u-ye-lv-di [U-ne-la-nv-hi] di-gi-lv-wi-s-da-ne-di-yi; gi-lo-ye-no U-ne-la-nv-hi yi-ga-lu-tse-ha a-se yi-go-hi-yu-hv-s-ga e-hv-i, a-le na-s-gi di-gu-yv-e-hi ge-sv u-li-ni-gi-dv gv-wa-yo-hi.
|
|---|
|
|---|
| By faith Noah, being warned of God of things not seen as yet, moved with fear, prepared an ark to the saving of his house; by the which he condemned the world, and became heir of the righteousness which is by faith.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᏃᏯ, ᎤᏁᎳᏅᎯ ᎤᏪᏯᏔᏅ ᎤᏁᎢᏍᏓᏁᎸ ᏧᏓᎴᏅᏛ ᎠᏏ ᎤᎪᎲᎯ ᏂᎨᏒᎾ ᎨᏒᎢ, ᎤᎾᏰᏎᎢ, ᎤᏛᏅᎢᏍᏔᏁ ᏥᏳ ᎤᎾᎵᏍᏕᎸᏙᏗ ᏚᏓᏘᎾᎥᎢ; ᎾᏍᎩ ᏄᏛᏁᎸ ᎤᏮᏔᏁ ᏚᏭᎪᏓᏁᎴ ᎡᎶᎯ, ᎠᎴ ᎤᏤᎵ ᏄᎵᏍᏔᏁ ᎾᏍᎩ ᏚᏳᎪᏛ ᎨᏒ ᎪᎯᏳᏗ ᎨᏒ ᏨᏗᏓᎴᎲᏍᎦ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv No-ya, U-ne-la-nv-hi u-we-ya-ta-nv u-ne-i-s-da-ne-lv tsu-da-le-nv-dv a-si u-go-hv-hi ni-ge-sv-na ge-sv-i, u-na-ye-se-i, u-dv-nv-i-s-ta-ne tsi-yu u-na-li-s-de-lv-do-di du-da-ti-na-v-i; na-s-gi nu-dv-ne-lv u-wv-ta-ne du-wu-go-da-ne-le e-lo-hi, a-le u-tse-li nu-li-s-ta-ne na-s-gi du-yu-go-dv ge-sv go-hi-yu-di ge-sv tsv-di-da-le-hv-s-ga.
|
|---|
|
|---|
| By faith Abraham, when he was called to go out into a place which he should after receive for an inheritance, obeyed; and he went out, not knowing whither he went.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎡᏆᎭᎻ ᎾᎯᏳ ᎠᏥᏯᏅᎲ ᎢᎸᎯᏢ ᎤᏪᏅᏍᏗᏱ ᎾᏍᎩ ᎾᎿᎭᎣᏂ ᎢᏴᏛ ᎤᏤᎵᎦ ᎢᏯᎬᏁᏗ ᎨᏒᎢ, ᏧᏬᎯᏳᏁᎢ; ᎠᎴ ᏧᏄᎪᏤᎢ ᎾᎦᏔᎲ ᎾᎿᎭᎠᎢᏒᎢ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv E-qua-ha-mi na-hi-yu a-tsi-ya-nv-hv i-lv-hi-tlv u-we-nv-s-di-yi na-s-gi na-hna o-ni i-yv-dv u-tse-li-ga i-ya-gv-ne-di ge-sv-i, tsu-wo-hi-yu-ne-i; a-le tsu-nu-go-tse-i na-ga-ta-hv na-hna a-i-sv-i.
|
|---|
|
|---|
| By faith he sojourned in the land of promise, as in a strange country, dwelling in tabernacles with Isaac and Jacob, the heirs with him of the same promise:
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎡᏙᎯᏉ ᎢᏳᏍᏗ ᎤᏪᏙᎴ ᎾᎿᎭᎠᏥᏚᎢᏍᏓᏁᎸ ᎦᏙᎯ, ᏅᏩᎾᏓᎴ ᎤᎾᏤᎵᎪᎯ ᎾᏍᎩᏯ, ᏕᎦᎵᏦᏛᏉ ᎠᏁᎮ ᎢᏧᎳᎭ ᎡᏏᎩ ᎠᎴ ᏤᎦᏈ, ᎾᏍᎩ ᎤᎾᏠᏯᏍᏗᏍᎩ ᏥᎨᏎ ᎤᏠᏱ ᎠᏚᎢᏍᏔᏅᎯ ᎨᏒᎢ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv e-do-hi-quo i-yu-s-di u-we-do-le na-hna a-tsi-du-i-s-da-ne-lv ga-do-hi, nv-wa-na-da-le u-na-tse-li-go-hi na-s-gi-ya, de-ga-li-tso-dv-quo a-ne-he i-tsu-la-ha E-si-gi a-le Tse-ga-qui, na-s-gi u-na-tlo-ya-s-di-s-gi tsi-ge-se u-tlo-yi a-du-i-s-ta-nv-hi ge-sv-i.
|
|---|
|
|---|
| For he looked for a city which hath foundations, whose builder and maker is God.
|
|---|
| ᎠᎦᏖᏃᎮᏰᏃ ᎦᏚᎲᎢ ᏗᎦᎫᏍᏓᎢ, ᎾᏍᎩ ᎤᏁᎳᏅᎯ ᎤᏁᏍᎨᎲᎢ ᎠᎴ ᎤᏬᏢᏅᎯ ᏥᎩ.
|
|---|
A-ga-te-no-he-ye-no ga-du-hv-i di-ga-gu-s-da-i, na-s-gi U-ne-la-nv-hi u-ne-s-ge-hv-i a-le u-wo-tlv-nv-hi tsi-gi.
|
|---|
|
|---|
| Through faith also Sara herself received strength to conceive seed, and was delivered of a child when she was past age, because she judged him faithful who had promised.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎾᏍᏉ ᎬᏗᏍᎬ ᏎᎵ ᎤᏩᏒ ᏧᎵᏂᎪᏎ ᏰᎵᏉ ᎬᏩᏁᎵᎢᏍᏗ ᏥᏄᎵᏍᏔᏁᎢ, ᎠᎴ ᎠᏲᎵ ᏧᎾᏄᎪᏫᏎ ᎿᎭᏉ ᏧᏓᎾᏄᎪᏫᏍᏗᏱ ᎤᎶᏐᏁᎸᎯ ᏥᎨᏎᎢ, ᏅᏗᎦᎵᏍᏙᏗᏍᎨ ᏄᏓᎵᏓᏍᏛᎾ ᎤᏰᎸᏅ ᎾᏍᎩ Ꮎ ᎤᏚᎢᏍᏔᏅᎯ ᎨᏒᎢ.
|
|---|
Go-hi-yu-di ge-sv na-s-quo gv-di-s-gv Se-li u-wa-sv tsu-li-ni-go-se ye-li-quo gv-wa-ne-li-i-s-di tsi-nu-li-s-ta-ne-i, a-le a-yo-li tsu-na-nu-go-wi-se hna-quo tsu-da-na-nu-go-wi-s-di-yi u-lo-so-ne-lv-hi tsi-ge-se-i, nv-di-ga-li-s-do-di-s-ge nu-da-li-da-s-dv-na u-ye-lv-nv na-s-gi na u-du-i-s-ta-nv-hi ge-sv-i.
|
|---|
|
|---|
| Therefore sprang there even of one, and him as good as dead, so many as the stars of the sky in multitude, and as the sand which is by the sea shore innumerable.
|
|---|
| ᎾᏍᎩᏃ ᎠᏏᏴᏫ ᎨᏒ ᏧᎾᏓᎴᏁᎢ ᎠᎴ ᎾᏍᎩ ᎤᏲᎱᏒᎯᏉ ᎾᏍᎩᏯ ᎨᏒᎢ, ᏃᏈᏏ ᎦᎸᎶ ᏣᏂᎧᎳ ᏥᏄᏂᏧᏈᏍᏗ ᎢᏳᏂᏧᏈᏍᏗ, ᎠᎴ ᏃᏳ ᎠᎺᏉᎯ ᎤᏣᏘ ᏥᎦᎳᎨᏴ ᎬᏎᎰᎲᏍᏗ ᏂᎨᏒᎾ ᏥᎩ ᎢᏳᏂᏧᏈᏍᏗ.
|
|---|
Na-s-gi-no a-si-yv-wi ge-sv tsu-na-da-le-ne-i a-le na-s-gi u-yo-hu-sv-hi-quo na-s-gi-ya ge-sv-i, no-qui-si ga-lv-lo tsa-ni-ka-la tsi-nu-ni-tsu-qui-s-di i-yu-ni-tsu-qui-s-di, a-le no-yu a-me-quo-hi u-tsa-ti tsi-ga-la-ge-yv gv-se-ho-hv-s-di ni-ge-sv-na tsi-gi i-yu-ni-tsu-qui-s-di.
|
|---|
|
|---|
| These all died in faith, not having received the promises, but having seen them afar off, and were persuaded of them, and embraced them, and confessed that they were strangers and pilgrims on the earth.
|
|---|
| ᎯᎠ ᎾᏍᎩ ᏂᎦᏛ ᎬᏩᏃᎯᏳᎯ ᏚᏂᏲᎱᏎᎢ, ᏂᏚᎾᏓᏂᎸᏨᎾ ᎾᏍᎩ Ꮎ ᎨᏥᏚᎢᏍᏓᏁᎸᎯ ᎨᏒᎢ, ᎢᏅᏍᎩᏂ ᏫᏓᏂᎪᏩᏘᏍᎨᎢ ᎠᎴ ᏄᎾᏜᏓᏏᏛᎡᎲᎾ ᎨᏎᎢ, ᎠᎴ ᏚᏂᏂᏴᎮᎢ, ᎠᎴ ᎠᏂᏃᎲᏍᎨ ᏅᏩᎾᏓᎴᏉ ᎠᎴ ᎠᏁᏙᎯᏉ ᎨᏒ ᎠᏂ ᎡᎶᎯ.
|
|---|
Hi-a na-s-gi ni-ga-dv gv-wa-no-hi-yu-hi du-ni-yo-hu-se-i, ni-du-na-da-ni-lv-tsv-na na-s-gi na ge-tsi-du-i-s-da-ne-lv-hi ge-sv-i, i-nv-s-gi-ni wi-da-ni-go-wa-ti-s-ge-i a-le nu-na-dla-si-dv-e-hv-na ge-se-i, a-le du-ni-ni-yv-he-i, a-le a-ni-no-hv-s-ge nv-wa-na-da-le-quo a-le a-ne-do-hi-quo ge-sv a-ni e-lo-hi.
|
|---|
|
|---|
| For they that say such things declare plainly that they seek a country.
|
|---|
| ᎾᏍᎩᏰᏃ ᎯᎠ ᎢᏯᏂᏪᏍᎩ, ᎬᏂᎨᏒᎢᏳ ᎾᏅᏁᎰ ᎤᎾᏤᎵᎪᎯ ᎤᏂᏲᎲᎢ.
|
|---|
Na-s-gi-ye-no hi-a i-ya-ni-we-s-gi, gv-ni-ge-sv-i-yu na-nv-ne-ho u-na-tse-li-go-hi u-ni-yo-hv-i.
|
|---|
|
|---|
| And truly, if they had been mindful of that country from whence they came out, they might have had opportunity to have returned.
|
|---|
| ᎢᏳᏰᏃ ᏳᎾᏅᏖ ᎾᎿᎭᏧᏂᏄᎪᏨᎢ ᏳᏫᏜᏓᏅᏓᏕᎴᏉ ᎥᎤᎾᏨᏍᏗᏱ;
|
|---|
I-yu-ye-no yu-na-nv-te na-hna tsu-ni-nu-go-tsv-i yu-wi-dla-nv-da-de-le-quo v-u-na-tsv-s-di-yi;
|
|---|
|
|---|
| But now they desire a better country, that is, an heavenly: wherefore God is not ashamed to be called their God: for he hath prepared for them a city.
|
|---|
| ᎪᎯᏍᎩᏂ ᎤᏟ ᎢᏲᏍᏛ ᎤᎾᏤᎵᎪᎯ ᎤᏂᏲᎭ, ᎾᏍᎩ ᎦᎸᎶᎢ ᏗᏍᏆᏂᎪᏛᎢ; ᎾᏍᎩ ᎢᏳᏍᏗ ᎤᏁᎳᏅᎯ ᎥᏝ ᏯᏕᎰᏍᎦ ᎾᏍᎩ ᎤᏁᎳᏅᎯ ᎠᎪᏎᏗᏱ; ᏚᏛᏅᎢᏍᏓᏁᎸᏰᏃ ᎦᏚᎲᎢ.
|
|---|
Go-hi-s-gi-ni u-tli i-yo-s-dv u-na-tse-li-go-hi u-ni-yo-ha, na-s-gi ga-lv-lo-i di-s-qua-ni-go-dv-i; na-s-gi i-yu-s-di U-ne-la-nv-hi v-tla ya-de-ho-s-ga na-s-gi U-ne-la-nv-hi a-go-se-di-yi; du-dv-nv-i-s-da-ne-lv-ye-no ga-du-hv-i.
|
|---|
|
|---|
| By faith Abraham, when he was tried, offered up Isaac: and he that had received the promises offered up his only begotten son,
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎡᏆᎭᎻ, ᎾᎯᏳ ᎠᏥᎪᎵᏰᎥ ᎡᏏᎩ ᎤᎵᏍᎪᎸᏔᏁᎢ; ᎠᎴ ᎾᏍᎩ Ꮎ ᎠᏥᏚᎢᏍᏓᏁᎸᎯ ᎨᏒ ᎤᏩᏒᎯᏳ ᎤᏪᏥ ᎤᎵᏍᎪᎸᏔᏁᎢ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv E-qua-ha-mi, na-hi-yu a-tsi-go-li-ye-v E-si-gi u-li-s-go-lv-ta-ne-i; a-le na-s-gi na a-tsi-du-i-s-da-ne-lv-hi ge-sv u-wa-sv-hi-yu u-we-tsi u-li-s-go-lv-ta-ne-i.
|
|---|
|
|---|
| Of whom it was said, That in Isaac shall thy seed be called:
|
|---|
| ᎾᏍᎩ Ꮎ ᎯᎠ ᎢᏯᏥᏪᏎᎸᎯ ᏥᎨᏎᎢ, ᎾᏍᎩ ᎡᏏᎩ ᏚᏙᎥ ᎨᏥᏯᏅᏗᏍᎨᏍᏗ ᏣᏁᏢᏔᏅᎯ ᎨᏒᎢ;
|
|---|
Na-s-gi na hi-a i-ya-tsi-we-se-lv-hi tsi-ge-se-i, Na-s-gi E-si-gi du-do-v ge-tsi-ya-nv-di-s-ge-s-di tsa-ne-tlv-ta-nv-hi ge-sv-i;
|
|---|
|
|---|
| Accounting that God was able to raise him up, even from the dead; from whence also he received him in a figure.
|
|---|
| ᎤᏁᏔᏅᎯ ᏰᎵᏉ ᏄᎵᏂᎬᎦ ᏧᎴᏙᏗᏱ ᎡᎵᏍᎨᎢ, ᎾᏍᏉ ᎤᏲᎱᏒᎯ ᏱᎩ; ᎾᎿᎭᎾᏍᏉ ᏥᏚᏓᏂᎸᏤ ᏗᏟᎶᏍᏔᏅᎯ ᎾᏍᎩᏯᎢ.
|
|---|
U-ne-ta-nv-hi ye-li-quo nu-li-ni-gv-ga tsu-le-do-di-yi e-li-s-ge-i, na-s-quo u-yo-hu-sv-hi yi-gi; na-hna na-s-quo tsi-du-da-ni-lv-tse di-tli-lo-s-ta-nv-hi na-s-gi-ya-i.
|
|---|
|
|---|
| By faith Isaac blessed Jacob and Esau concerning things to come.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎡᏏᎩ ᎣᏍᏛ ᏥᏚᏁᏤᎴ ᏤᎦᏈ ᎠᎴ ᎢᏐ ᎪᎱᏍᏗ ᎠᏏ ᎤᎵᏰᎢᎶᎯᏍᏗ ᎨᏒ ᎤᎬᏩᎵ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv E-si-gi o-s-dv tsi-du-ne-tse-le Tse-ga-qui a-le I-so go-hu-s-di a-si u-li-ye-i-lo-hi-s-di ge-sv u-gv-wa-li.
|
|---|
|
|---|
| By faith Jacob, when he was a dying, blessed both the sons of Joseph; and worshipped, leaning upon the top of his staff.
|
|---|
| ᏤᎦᏈ ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬᎢ, ᎿᎭᏉ ᎠᏲᎱᏍᎨᎢ ᎣᏍᏛ ᏚᏁᏤᎴ ᎢᏧᎳ ᏦᏩ ᏧᏪᏥ; ᎠᎴ ᎤᏓᏙᎵᏍᏔᏁ ᎤᏙᎳᏅᏍᏗᏱ ᎤᏍᎪᎵ [ᎤᎵᏍᏕᎸᏕᎢ.]
|
|---|
Tse-ga-qui go-hi-yu-di ge-sv gv-di-s-gv-i, hna-quo a-yo-hu-s-ge-i o-s-dv du-ne-tse-le i-tsu-la Tso-wa tsu-we-tsi; a-le u-da-do-li-s-ta-ne u-do-la-nv-s-di-yi u-s-go-li [u-li-s-de-lv-de-i.]
|
|---|
|
|---|
| By faith Joseph, when he died, made mention of the departing of the children of Israel; and gave commandment concerning his bones.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᏦᏩ ᎿᎭᏉ ᎠᏲᎱᏍᎨᎢ, ᎤᏁᎢᏍᏔᏁ ᎢᏏᎵ ᏧᏪᏥ ᎤᎾᏓᏅᏍᏗᏱ; ᎠᎴ ᏧᏁᏤ ᏧᎪᎳ ᎤᎬᏩᎵ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv Tso-wa hna-quo a-yo-hu-s-ge-i, u-ne-i-s-ta-ne I-si-li tsu-we-tsi u-na-da-nv-s-di-yi; a-le tsu-ne-tse tsu-go-la u-gv-wa-li.
|
|---|
|
|---|
| By faith Moses, when he was born, was hid three months of his parents, because they saw he was a proper child; and they were not afraid of the king's commandment.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎠᏅᏗᏍᎬ ᎼᏏ ᏧᎦᏴᎵᎨ ᎾᎯᏳ ᎤᏕᏅ ᏦᎢ ᎢᏯᏅᏙ ᏥᎬᏩᏍᎦᎸᏁᎢ, ᎠᏂᎪᏩᏘᏍᎨᏰᏃ ᎤᏬᏚᎯᏳ ᎨᏒ ᎠᏲᎵ; ᎥᏝ ᎠᎴ ᏯᏂᏍᎦᎢᎮ ᎤᎬᏫᏳᎯ ᎤᏁᏨᎢ.
|
|---|
Go-hi-yu-di ge-sv a-nv-di-s-gv Mo-si tsu-ga-yv-li-ge na-hi-yu u-de-nv tso-i i-ya-nv-do tsi-gv-wa-s-ga-lv-ne-i, a-ni-go-wa-ti-s-ge-ye-no u-wo-du-hi-yu ge-sv a-yo-li; v-tla a-le ya-ni-s-ga-i-he u-gv-wi-yu-hi u-ne-tsv-i.
|
|---|
|
|---|
| By faith Moses, when he was come to years, refused to be called the son of Pharaoh's daughter;
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎼᏏ ᎿᎭᏉ ᎤᏔᏅ ᏄᎵᏍᏔᏅ ᎤᏲᎢᏎᎴᏉ ᏇᎵᏲ ᎤᏪᏥ ᎠᎨᏴ, ᎤᏪᏥ ᎠᎪᏎᏗᏱ;
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv Mo-si hna-quo u-ta-nv nu-li-s-ta-nv u-yo-i-se-le-quo Que-li-yo u-we-tsi a-ge-yv, u-we-tsi a-go-se-di-yi;
|
|---|
|
|---|
| Choosing rather to suffer affliction with the people of God, than to enjoy the pleasures of sin for a season;
|
|---|
| ᎤᏑᏰᎭ ᎤᏟ ᎤᏰᎸᏁ ᎤᏁᎳᏅᎯ ᏧᏤᎵ ᏴᏫ ᎠᏂᎩᎵᏲᏥᏙᎲ ᎤᏠᏯᏍᏙᏗᏱ, ᎠᏃ ᎠᏍᎦᏂ ᏞᎦ ᎣᏍᏛ ᎤᏓᏓᏅᏓᏗᏍᏙᏗ ᎨᏒᎢ;
|
|---|
U-su-ye-ha u-tli u-ye-lv-ne U-ne-la-nv-hi tsu-tse-li yv-wi a-ni-gi-li-yo-tsi-do-hv u-tlo-ya-s-do-di-yi, a-no a-s-ga-ni tle-ga o-s-dv u-da-da-nv-da-di-s-do-di ge-sv-i;
|
|---|
|
|---|
| Esteeming the reproach of Christ greater riches than the treasures in Egypt: for he had respect unto the recompence of the reward.
|
|---|
| ᎤᏟ ᎦᎸᏉᏗᏳ ᎡᎵᏍᎨ ᎦᏰᏥᏐᏢᏙᏗᏱ ᎦᎶᏁᏛ ᎨᏒ ᎢᏳᏍᏗ, ᎠᏃ ᏧᎬᏩᎶᏗ ᎠᏍᏆᏂᎪᏛ ᎢᏥᏈᏱ; ᎠᎦᎫᏴᎡᏗᏰᏃ ᎨᏒ ᎢᏴᏛ ᏫᏓᎧᏂᏍᎨᎢ.
|
|---|
U-tli ga-lv-quo-di-yu e-li-s-ge ga-ye-tsi-so-tlv-do-di-yi Ga-lo-ne-dv ge-sv i-yu-s-di, a-no tsu-gv-wa-lo-di a-s-qua-ni-go-dv I-tsi-qui-yi; a-ga-gu-yv-e-di-ye-no ge-sv i-yv-dv wi-da-ka-ni-s-ge-i.
|
|---|
|
|---|
| By faith he forsook Egypt, not fearing the wrath of the king: for he endured, as seeing him who is invisible.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎢᏥᏈᏱ ᎤᏓᏅᏎᎢ, ᎾᏍᎦᎢᎲᎾ ᎨᏎ ᎤᎬᏫᏳᎯ ᎤᏔᎳᏬᏍᎬᎢ; ᎬᏂᏗᏳᏍᎩᏂ ᎨᏒ ᎾᏍᎩᏯᏉ ᏣᎪᏩᏘᏍᎪ ᎾᏍᎩ Ꮎ ᎦᏰᏥᎪᏩᏛᏗ ᏂᎨᏒᎾ ᎨᏒᎢ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv I-tsi-qui-yi u-da-nv-se-i, na-s-ga-i-hv-na ge-se u-gv-wi-yu-hi u-ta-la-wo-s-gv-i; gv-ni-di-yu-s-gi-ni ge-sv na-s-gi-ya-quo tsa-go-wa-ti-s-go na-s-gi na ga-ye-tsi-go-wa-dv-di ni-ge-sv-na ge-sv-i.
|
|---|
|
|---|
| Through faith he kept the passover, and the sprinkling of blood, lest he that destroyed the firstborn should touch them.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎤᏁᏤ ᎧᏃᎯᏰᎩ ᏗᎵᏍᏓᏴᏗᏱ ᎤᏂᏍᏆᏂᎪᏙᏗᏱ, ᎠᎴ ᎩᎬ ᎤᏂᏍᏚᏟᏍᏗᏱ [ᎦᎶᎯᏍᏗᏱ,] ᎾᏍᎩ ᎢᎬᏱ ᎤᎾᏕᏅᎯ ᏗᏛᏗᏍᎩ ᎪᎱᏍᏗ ᎤᏅᏁᏗᏱ ᏂᎨᏒᎾ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv u-ne-tse ka-no-hi-ye-gi di-li-s-da-yv-di-yi u-ni-s-qua-ni-go-do-di-yi, a-le gi-gv u-ni-s-du-tli-s-di-yi [ga-lo-hi-s-di-yi,] na-s-gi i-gv-yi u-na-de-nv-hi di-dv-di-s-gi go-hu-s-di u-nv-ne-di-yi ni-ge-sv-na.
|
|---|
|
|---|
| By faith they passed through the Red sea as by dry land: which the Egyptians assaying to do were drowned.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎠᏅᏗᏍᎬ ᎠᎺᏉᎯᎩᎦᎨᏍᏛᏱ ᎠᏰᎵ ᎤᏂᎶᏎ ᎤᎧᏲᏛᎯ ᏣᏂᎶᏍᎪ ᎾᏍᎩᏯᎢ; ᎢᏥᏈᏱᏃ ᎠᏁᎯ ᎤᎾᏁᎶᏔᏅ ᎾᏍᎩ ᎢᏳᎾᏛᏁᏗᏱ ᏚᏂᎬᏤᎢ.
|
|---|
Go-hi-yu-di ge-sv a-nv-di-s-gv a-me-quo-hi-gi-ga-ge-s-dv-yi a-ye-li u-ni-lo-se u-ka-yo-dv-hi tsa-ni-lo-s-go na-s-gi-ya-i; I-tsi-qui-yi-no a-ne-hi u-na-ne-lo-ta-nv na-s-gi i-yu-na-dv-ne-di-yi du-ni-gv-tse-i.
|
|---|
|
|---|
| By faith the walls of Jericho fell down, after they were compassed about seven days.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎠᏅᏗᏍᎬ ᏓᏐᏴ ᏤᎵᎪ ᏚᏪᏒᏙᎠᏎᎢ, ᎿᎭᏉ ᎦᎵᏉᎩ ᏧᏒᎯᏛ ᏂᏚᎾᏚᏫᏍᏔᏁᎢ.
|
|---|
Go-hi-yu-di ge-sv a-nv-di-s-gv da-so-yv Tse-li-go du-we-sv-do-a-se-i, hna-quo ga-li-quo-gi tsu-sv-hi-dv ni-du-na-du-wi-s-ta-ne-i.
|
|---|
|
|---|
| By faith the harlot Rahab perished not with them that believed not, when she had received the spies with peace.
|
|---|
| ᎪᎯᏳᏗ ᎨᏒ ᎬᏗᏍᎬ ᎴᎭᏫ ᎤᏁᎫᏥᏛ ᎥᏝ ᏯᏥᏛᏔᏁ ᎨᏥᏛᏔᏅ ᎾᏍᎩ Ꮎ ᏄᏃᎯᏳᏒᎾ ᏥᎨᏎᎢ, ᎾᏍᎩ ᏙᎯᏱ ᏥᏚᏓᏂᎸᏤ ᎢᏳᏍᏗ ᎤᏂᎦᏛᏂᏙᎯ.
|
|---|
Go-hi-yu-di ge-sv gv-di-s-gv Le-ha-wi u-ne-gu-tsi-dv v-tla ya-tsi-dv-ta-ne ge-tsi-dv-ta-nv na-s-gi na nu-no-hi-yu-sv-na tsi-ge-se-i, na-s-gi do-hi-yi tsi-du-da-ni-lv-tse i-yu-s-di u-ni-ga-dv-ni-do-hi.
|
|---|
|
|---|
| And what shall I more say? for the time would fail me to tell of Gedeon, and of Barak, and of Samson, and of Jephthae; of David also, and Samuel, and of the prophets:
|
|---|
| ᎠᎴ ᎦᏙ ᎠᏏ ᏓᎦᏛᏂ? ᎥᏝᏰᏃ ᎬᎩᏍᏆᏗᏍᏗ ᏱᎩ ᏱᎦᏥᏃᎮᎸ ᎩᏗᏯᏂ, ᎠᎴ ᏇᎴᎩ, ᎠᎴ ᏌᎻᏏᏂ, ᎠᎴ ᏤᏈᏓ; ᏕᏫ ᎾᏍᏉ, ᎠᎴ ᏌᎻ, ᎠᎴ ᎠᎾᏙᎴᎰᏍᎩ.
|
|---|
A-le ga-do a-si da-ga-dv-ni? v-tla-ye-no gv-gi-s-qua-di-s-di yi-gi yi-ga-tsi-no-he-lv Gi-di-ya-ni, a-le Que-le-gi, a-le Sa-mi-si-ni, a-le Tse-qui-da; De-wi na-s-quo, a-le Sa-mi, a-le a-na-do-le-ho-s-gi.
|
|---|
|
|---|
| Who through faith subdued kingdoms, wrought righteousness, obtained promises, stopped the mouths of lions,
|
|---|
| ᎾᏍᎩ ᎪᎯᏳᏗ ᎨᏒ ᎠᏅᏗᏍᎬ ᎠᏰᎵ ᏕᎪᏢᏒ ᏥᏓᎾᏓᎵᏁᎯᏕᎮᎢ, ᏚᏳᎪᏛ ᏥᏚᏂᎸᏫᏍᏓᏁᎮᎢ, ᎤᎾᏤᎵ ᏥᎾᏅᏁᎮ ᏄᏍᏛ ᎨᏥᏚᎢᏍᏓᎸᎢ, ᏢᏓᏥ ᎤᏂᏃᏕᏅ ᏗᏂᎰᎵ ᏥᏓᏂᏍᏚᎲᏍᎨᎢ,
|
|---|
Na-s-gi go-hi-yu-di ge-sv a-nv-di-s-gv a-ye-li de-go-tlv-sv tsi-da-na-da-li-ne-hi-de-he-i, du-yu-go-dv tsi-du-ni-lv-wi-s-da-ne-he-i, u-na-tse-li tsi-na-nv-ne-he nu-s-dv ge-tsi-du-i-s-da-lv-i, tlv-da-tsi u-ni-no-de-nv di-ni-ho-li tsi-da-ni-s-du-hv-s-ge-i,
|
|---|
|
|---|
| Quenched the violence of fire, escaped the edge of the sword, out of weakness were made strong, waxed valiant in fight, turned to flight the armies of the aliens.
|
|---|
| ᎠᏥᎸ ᎤᏍᎦᏎᏗ ᏣᏅᏜᏓᏗᏍᎨᎢ, ᎠᏰᎳᏍᏗ-ᎦᏅᎯᏛ ᏣᎾᏗᏫᏎᎮᎢ, ᏗᏂᏩᎾᎦᎳ ᎨᏒ ᏧᎾᎵᏂᎩᏛ ᏥᏂᎨᎬᏁᎮᎢ, ᎾᏂᏍᎦᎢᎲᎾ ᏂᎾᎾᎵᏍᏗᏍᎨ ᏓᎾᎵᎲᎢ, ᏥᏓᏂᎨᎯᏙᎮ ᏅᏩᎾᏓᎴ ᎠᏂᏯᏫᏍᎩ.
|
|---|
A-tsi-lv u-s-ga-se-di tsa-nv-dla-di-s-ge-i, a-ye-la-s-di--ga-nv-hi-dv tsa-na-di-wi-se-he-i, di-ni-wa-na-ga-la ge-sv tsu-na-li-ni-gi-dv tsi-ni-ge-gv-ne-he-i, na-ni-s-ga-i-hv-na ni-na-na-li-s-di-s-ge da-na-li-hv-i, tsi-da-ni-ge-hi-do-he nv-wa-na-da-le a-ni-ya-wi-s-gi.
|
|---|
|
|---|
| Women received their dead raised to life again: and others were tortured, not accepting deliverance; that they might obtain a better resurrection:
|
|---|
| ᎠᏂᎨᏴ ᏗᎬᏩᏂᏲᎱᎯᏎᎸᎯ ᏗᏅᏃᏛ ᏔᎵᏁ ᏂᏙᎨᏥᏲᎯᏎᎮᎢ; ᎢᎦᏛᏃ ᏥᎨᏥᎩᎸᏍᎨᎢ, ᏂᏓᎾᏓᏂᎸᎬᎾ ᎨᎫᏓᎴᏍᎬᎢ; ᏅᏗᎦᎵᏍᏙᏗᏍᎨ ᎤᏟ ᎢᏲᏍᏛ ᎤᏂᏩᏛᏗᏱ ᎤᎾᏚᎵᏍᎬ ᏗᎴᎯᏐᏗ ᎨᏒᎢ;
|
|---|
A-ni-ge-yv di-gv-wa-ni-yo-hu-hi-se-lv-hi di-nv-no-dv ta-li-ne ni-do-ge-tsi-yo-hi-se-he-i; i-ga-dv-no tsi-ge-tsi-gi-lv-s-ge-i, ni-da-na-da-ni-lv-gv-na ge-gu-da-le-s-gv-i; nv-di-ga-li-s-do-di-s-ge u-tli i-yo-s-dv u-ni-wa-dv-di-yi u-na-du-li-s-gv di-le-hi-so-di ge-sv-i;
|
|---|
|
|---|
| And others had trial of cruel mockings and scourgings, yea, moreover of bonds and imprisonment:
|
|---|
| ᎢᎦᏛᏃ ᎨᏥᎪᎵᏰᏍᎨ ᎦᎨᏥᏐᏢᏗᏍᎬ ᎠᎴ ᏕᎨᏥᎵᎥᏂᎲᎢ, ᎠᎴ ᎾᏍᏉ ᏕᎨᎦᎸᎢᎲ ᎠᎴ ᏕᎨᏥᏍᏚᎲᏍᎬᎢ;
|
|---|
I-ga-dv-no ge-tsi-go-li-ye-s-ge ga-ge-tsi-so-tlv-di-s-gv a-le de-ge-tsi-li-v-ni-hv-i, a-le na-s-quo de-ge-ga-lv-i-hv a-le de-ge-tsi-s-du-hv-s-gv-i;
|
|---|
|
|---|
| They were stoned, they were sawn asunder, were tempted, were slain with the sword: they wandered about in sheepskins and goatskins; being destitute, afflicted, tormented;
|
|---|
| ᏅᏯ ᏕᎨᎬᏂᏍᏗᏍᎨᎢ, ᏗᎦᏄᏙᎩ ᎬᏗ ᏕᎨᏥᎦᎵᏍᎨᎢ, ᏕᎨᏥᎪᎵᏰᏍᎨᎢ, ᎠᏰᎳᏍᏗ-ᎦᏅᎯᏛ ᏕᎨᏥᎢᏍᏗᏍᎨᎢ; ᎠᏫ ᎤᏂᏃᏕᎾ ᎠᎴ ᎠᏫ ᏗᏂᎭᏄᎸᎯ ᏧᏂᏁᎦᎸᏅᎯ ᏧᎾᏄᏩᎢ ᎠᏁᏙᎮᎢ; ᎤᏂᏂᎬᏎᎯ ᎨᏎᎢ, ᎠᏂᎩᎵᏲᏥᏙᎮᎢ.
|
|---|
Nv-ya de-ge-gv-ni-s-di-s-ge-i, di-ga-nu-do-gi gv-di de-ge-tsi-ga-li-s-ge-i, de-ge-tsi-go-li-ye-s-ge-i, a-ye-la-s-di--ga-nv-hi-dv de-ge-tsi-i-s-di-s-ge-i; a-wi u-ni-no-de-na a-le a-wi di-ni-ha-nu-lv-hi tsu-ni-ne-ga-lv-nv-hi tsu-na-nu-wa-i a-ne-do-he-i; u-ni-ni-gv-se-hi ge-se-i, a-ni-gi-li-yo-tsi-do-he-i.
|
|---|
|
|---|
| (Of whom the world was not worthy:) they wandered in deserts, and in mountains, and in dens and caves of the earth.
|
|---|
| [ᎾᏍᎩ ᎯᎠ ᎥᏝ ᎡᎶᎯ ᎬᏩᎾᏕᏗ ᏱᎨᏎᎢ;] ᎢᎾᎨ ᎠᏁᏙᎮᎢ, ᎠᎴ ᏙᏓᎸᎢ, ᎠᎴ ᏚᏍᏓᎦᎸᎢ, ᎠᎴ ᎦᏙᎯ ᏓᏔᎴᏒᎢ.
|
|---|
[Na-s-gi hi-a v-tla e-lo-hi gv-wa-na-de-di yi-ge-se-i;] i-na-ge a-ne-do-he-i, a-le do-da-lv-i, a-le du-s-da-ga-lv-i, a-le ga-do-hi da-ta-le-sv-i.
|
|---|
|
|---|
| And these all, having obtained a good report through faith, received not the promise:
|
|---|
| ᎠᎴ ᎾᏍᎩ ᏂᎦᏛ ᎯᎠ ᎣᏍᏛ ᎨᏥᏃᎮᏍᎩ ᏥᎨᏎ ᎤᏃᎯᏳᏒ ᎢᏳᏩᏂᏌᏛ, ᎥᏝ ᏄᏍᏛ ᎨᏥᏚᎢᏍᏓᏁᎸ ᏱᏚᎾᏓᏂᎸᏤᎢ;
|
|---|
A-le na-s-gi ni-ga-dv hi-a o-s-dv ge-tsi-no-he-s-gi tsi-ge-se u-no-hi-yu-sv i-yu-wa-ni-sa-dv, v-tla nu-s-dv ge-tsi-du-i-s-da-ne-lv yi-du-na-da-ni-lv-tse-i;
|
|---|
|
|---|
| God having provided some better thing for us, that they without us should not be made perfect.
|
|---|
| ᎾᏍᎩ ᎤᏁᎳᏅᎯ ᎢᎦᏛᏅᎢᏍᏓᏁᎸᎯ ᎨᏒ ᎢᏳᏍᏗ ᎪᎱᏍᏗ ᎤᏟ ᎢᏲᏍᏛ, ᎾᏍᎩ ᏄᏂᎷᎶᏤᎲᎾ ᎢᎨᎬᏁᏗᏱ ᏂᎨᏒᎾ ᎠᏴ ᏂᎦᏠᏯᏍᏗᏍᎬᎾ.
|
|---|
Na-s-gi U-ne-la-nv-hi i-ga-dv-nv-i-s-da-ne-lv-hi ge-sv i-yu-s-di go-hu-s-di u-tli i-yo-s-dv, na-s-gi nu-ni-lu-lo-tse-hv-na i-ge-gv-ne-di-yi ni-ge-sv-na a-yv ni-ga-tlo-ya-s-di-s-gv-na.
|
|---|


Configuration
Branding Configuration
There are two layers to branding configuration. The easiest way for most purposes is to use the colors
property of the SBSDKConfiguration
singleton object. The properties of colors
will be used by the SDK to map your branding to all visual elements of the SDK. When the SBSDKConfiguration
singleton is first accessed, it will be initialized with a default set of values for the colors of the SDK, but you can override these before starting the SDK:
Swift
let configuration = SBSDKConfiguration.sharedInstance()
configuration?.colors.brandBackground = .red
configuration?.colors.brandForeground = .blue
configuration?.colors.brandForegroundDisabled = .gray
configuration?.colors.actionBackground = .purple
configuration?.colors.actionForeground = .orange
configuration?.applyColors()
Objective-C
SBSDKConfiguration *configuration = [SBSDKConfiguration sharedInstance];
configuration.colors.brandBackground = [UIColor redColor];
configuration.colors.brandForeground = [UIColor blueColor];
configuration.colors.brandForegroundDisabled = [UIColor greyColor];
configuration.colors.actionBackground = [UIColor purpleColor];
configuration.colors.actionForeground = [UIColor orangeColor];
[configuration applyColors];
There are plenty of other colors one can set, but these are just some examples. Using the small number of properties on the color
object, you can quickly brand the SDK with minimal work.
Since you are setting these properties on the singleton configuration object, there are no other changes needed (i.e. don’t need to pass this object anywhere) as any UI which is created in the SDK next will use the new values. All you need to do is call applyColors
when you are done setting your custom colors on the SBSDKConfiguration
singleton and these colors will be mapped to their respective settings for you.
The second way of setting these values (which could be used together with the first method) is to override the underlying properties which those initial properties map to. The only reason you would want to use this method was if you wanted an individual element on one screen to appear differently than a similar element on another screen. Usually these two elements would have the same appearance (they’d both use the child property of colors
, as shown above), but in this case you may want to have more granularity:
Swift
let configuration = SBSDKConfiguration.sharedInstance()
configuration?.loadingViewConfiguration.loadingBackgroundColor = .black
configuration?.loadingViewConfiguration.loadingSpinnerColor = .white
Objective-C
SBSDKConfiguration *configuration = [SBSDKConfiguration sharedInstance];
configuration.loadingViewConfiguration.loadingBackgroundColor = [UIColor blackColor];
configuration.loadingViewConfiguration.loadingSpinnerColor = [UIColor whiteColor];
Above you can see a simple example for overriding the colors of the loading view. If you didn’t override the colors like this, they’d take on the colors defined in the higher-level configurations (in this example, brandBackground & brandForeground).
This section just outlines the basic way of changing color configurations, but there is more extensive documentation on all the configuration options available in another document, so please refer to the iOS Customization Document.
Image Configuration
It is very simple to override what images the SDK uses with your own icons by including a Asset Catalog SensibillAssets.xcassets
in the bundle which you set the externalBundle
property to.
From there, simply add images with the same name as the ones contained in the internal SensibillAssets.xcassets
located in the SDK: Resources/Images/Images.xcassets
. For best results, please ensure the assets you provide are the same size as the ones you wish to override.


Window module.
MIT. See LICENSE for full details.
The Window class creates a new toplevel window.
A window is similar to a frame except that it is created as a top-level widget. The primary purpose of a toplevel is to serve as a container for dialog boxes and other collections of widgets.
auto window = new Window("New window") .setGeometry(640, 480, 10, 10) .setDefaultIcon(new Png!("icon.png")) .setMaxSize(1024, 768) .setProtocolCommand(WindowProtocol.deleteWindow, delegate(CommandArgs args){ ... });
<<PrevWindow>>, <Alt-Key>, <Key-Tab>, <Key-F10>,
Constructor.
It's important to understand that the window will be drawn immediately
by default. This means that the window will display before any other
actions take place, including drawing or managing other widgets. This is
so other methods (such as platformId) that rely on the window being
drawn don't fail if immediately used afterwards.
This behaviour can be overridden by passing false as the waitForWindow
argument which is useful if you want the entire UI belonging to the new
window to be drawn before actaully showing it.
The parent window is responsible for the life of this window. If the
parent window is destroyed, this one will be too.
| Window parent | The window to act as a parent. |
| string title | The title of the window. |
| bool waitForWindow | Whether to wait for the window to be drawn before continuing. |
Constructor.
It's important to understand that the window will be drawn immediately
by default. This means that the window will display before any other
actions take place, including drawing or managing other widgets. This is
so other methods (such as platformId) that rely on the window being
drawn don't fail if immediately used afterwards.
This behaviour can be overridden by passing false as the waitForWindow
argument which is useful if you want the entire UI belonging to the new
window to be drawn before actaully showing it.
If no parent is specified the new window with be a child of the main
window.
| string title | The title of the window. |
| bool waitForWindow | Whether to wait for the window to be drawn before continuing. |
Set the title of the window.
| string title | The title of the window. |
This window to aid method chaining.
Set the opacity of the window.
| double opacity | A number between 0.0 and 1.0 specifying the transparency. |
This window to aid method chaining.
Handle setting the window to fullscreen.
| bool fullscreen | A boolean specifying if the window should be fullscreen or not. |
This window to aid method chaining.
Handle setting the window to be the top-most. This makes the window not able to be lowered behind any others.
| bool topmost | A boolean specifying if the window should be top-most or not. |
This window to aid method chaining.
Restore the window's state to before it was minimised or withdrawn.
This window to aid method chaining.
Minimise the window.
This window to aid method chaining.
Set the size and postition of the window.
| int width | The width of the window. |
| int height | The height of the window. |
| int xPos | The horizontal position of the window. |
| int yPos | The vertical position of the window. |
This window to aid method chaining.
Set the default icon for this window. This is applied to all future child windows as well.
The data in the images is taken as a snapshot at the time of invocation. If the images are later changed, this is not reflected to the titlebar icons. Multiple images are accepted to allow different images sizes (e.g., 16x16 and 32x32) to be provided. The window manager may scale provided icons to an appropriate size.
| Image[] images | A variadic list of images. |
This window to aid method chaining.
Set the icon for this window, this overrides the default icon.
| Image[] images | A variadic list of images. |
This window to aid method chaining.
Set the maximum size of the window.
| int width | The maximum width of the window. |
| int height | The maximum height of the window. |
This window to aid method chaining.
Set the minimum size of the window.
| int width | The minimum width of the window. |
| int height | The minimum height of the window. |
This window to aid method chaining.
This command is used to manage window manager protocols such as WM_DELETE_WINDOW. Protocol is the name of an atom corresponding to a window manager protocol, such as WM_DELETE_WINDOW or WM_SAVE_YOURSELF or WM_TAKE_FOCUS.
| string protocol | The protocol to respond to. |
| CommandCallback callback | The callback to invoke when the protocol is encountered. |
This window to aid method chaining.
| CommandArgs.element | The window that executed the callback. |
| CommandArgs.uniqueData | The protocol that was responded to. |
| CommandArgs.callback | The callback which was executed. |
tkd.element.element.CommandCallback
tkd.tkdapplication.WindowProtocol
Remove a previously set protocol command.
| string protocol | The protocol which will have the command removed. |
This window to aid method chaining.
Set if the width and height can be resized.
| bool resizeWidth | True to allow width resizing, false to disable. |
| bool resizeHeight | True to allow height resizing, false to disable. |
This window to aid method chaining.
Determine if this window is above another.
| Window other | The other window to check this one is above. |
true if this window is above other, false if not.
Determine if this window is below another.
| Window other | The other window to check this one is below. |
true if this window is below other, false if not.
Withdraw a window from being displayed/mapped by the window manager.
This window to aid method chaining.
Wait until this window has been destroyed.
This window to aid method chaining.
Set a callback to be executed after a delay and after processing all other events. The callback is executed only once and discarded. This is useful for refreshing the GUI at regular intervals when monitoring something or to schedule a future action.
| CommandCallback callback | The delegate function to be executed on idle. |
| int msDelay | The delay in millisecond before executing the given callback. |
This window to aid method chaining.
InputStream stream = ...; // A data provider. this.mainWindow.setIdleCommand(delegate(CommandArgs args){ // Use data. if (!stream.empty && stream.finished) { performStep(stream.next); } // Re-arm this callback and wait for more data. this.mainWindow.setIdleCommand(args.callback, 10_000); }, 10_000);
Get the main window of the application. This is just a convenience method and shouldn't really be used. Instead use the mainWindow property of the TkdApplication class.
A reference to the main window of the application.


hi. nobody else has seen this, right? ok. here's the audio i promised. five songs. American Battle Your browser does not support WAV files. Awkward Battle Interrupted Battle Monday Morning Battle Moody Battle
BIG BROTHER is coming


Etch your number with OCR!
Click and rotate the dials!
Submit Etch Clear Etch Backspace
You're number is +1 (___) ____
Reddit: An Etch-a-Sketch OCR phone input, bring out your best picasso!


mystateMgr.chgSt(transID, netLvl, val)
transID ID of the transition to fire
netLvl Whether or not this is a transition off of the state network level (container state) into the state network
val An optional argument that is passed to the transition function.
Nothing
Change the current state along transition with id # 'trans'. In version 1.5, there is little reason to call this because transitions with triggers are handled automatically.


Home
(current)
Syllabus
PDF
Google Drive
Schedule
Lectures
Homework
Quizzes
Final Project
Misc. Links
Canvas Login
Complete course software list
Evidence Synthesis Academy
Course source code/documents (github)
One-pager examples
Recommended data visualization software
R for Data Science (e-book)
R Cookbook (e-book)
3Blue1Brown: Mathematical viz videos


Copyright © 2016 Ruel Pagayon
Version: 1.1.0
Authors<EMAIL_ADDRESS>Helper module for generating custom Firebase token in Erlang. Custom Firebase tokens are used on applications with totally different authentication methods. These tokens are in JWT (JSON Web Token) format and can be then used by client applications on authenticating to Firebase.
Only supports Firebase 3.x.x. See https://firebase.google.com/docs/auth/server/create-custom-tokens for more information.| generate/4 | Generates the custom Firebase token. |
generate(Account::map(), Uid::uid(), Life::integer(), Extra::map()) -> {token, binary()}
Generates the custom Firebase token.
Generated by EDoc, Oct 2 2016, 12:37:34.


Ryan is currently working on learning different programming languages and fulfilling the requirements to start a Masters degree in Computer Science and he holds a Bachelor of Science degree in Chemical Engineering from the University of Mississippi. Ryan worked for several companies after college the most recent of which was a petrochemical construction company where he worked in Plaquemine, Louisiana and then Port Arthur, Texas. He currently lives in Houston, Texas with his wife, Melissa Smith DVM, their two dogs, Leila and Murphy, and their cat Izzy.
This Ryan was a personal/group fitness trainer for four years and wanted to go to school to pursue a career in engineering. He is graduating in the spring of 2021 with a Bachelor of Science degree in Electrical Engineering Technologies and will continue his education to include a degree in Mechanical Engineering. He lives in Orlando, FL with his fianceé Victoria. He enjoys playing golf and being outside when he is not on the computer working on school or side projects, like this website.
(Not professional enough to have a LinkedIn... yet)


CLOCKERS A film review by Christopher Null Copyright 1995 Christopher Null
After the first two minutes of CLOCKERS, during which a parade of bloody crime scene photos are splashed on the screen, you'll be ready to put down your popcorn. After the first fifteen minutes, you'll be bored enough to go buy some more.
You can't imagine how sick and tired I was of hearing the hype surrounding CLOCKERS, Spike Lee's latest film about (surprise!) African-Americans in Brooklyn who get into trouble with drugs, murder, and betrayal. Every other critic on the planet will probably say they love CLOCKERS so as not to appear uncool. I'll give it to you straight.
By and large, Lee has forgone the traditional concepts of moviemaking (to tell a cohesive, interesting, entertaining story) in favor of playing a lot of bad music, giving us some incomprehensible and overlapping dialogue, photographing some meaningless low-light images, and other sundry nonsense.  After all, who wouldn't? The cops (Harvey Keitel and John Turturro) close in, and everything comes crashing down.
To be honest, it never goes up high enough to crash, per se. The film just wallows in its hipper-than-thou attitude and never becomes engaging in the least. Characters come and go with no motivation, spouting their lines as if...Spike Lee had written them for the actors. No one is likable at all. Lee's ultra-stylish use of a constantly moving camera gets old in about five minutes, annoying in ten. And the film just drones on and on ... for 132 very unnecessary minutes.
While CLOCKERS has its moments, they are few and far between. By the time the film starts to show some promise (about 90 minutes in), it's much too late to save it. Overall this is the perfect example of how *not* to make a movie about the mean streets, coming off more like a gory Movie of the Week than a feature film.
The bottom line for this movie about drugs? Just say no.
RATING: **
|* Unquestionably awful | |** Sub-par on many levels | |*** Average, hits and misses | |**** Good, memorable film | |***** Perfection |
-Christopher Null /<EMAIL_ADDRESS>-Screenwriter & Novelist -Contributing Editor, Mike's FEEDBACK / Film Critic, Texas Business Weekly -[R]eply to be added to movie review mailing list
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Source
0000 – 9999
Description
Instants/Periods
Geo Locations
References
Files
Reference
[ref]
Title
Title
Source Type
sourceType
Citation
citation
Author
author
URL
url
Product code
productCode
Copyright
copyright


I had a conflict with one of my managers, at what is soon to be, my place of employment(not that this story is the reasoning behind leaving... I just want to code). A manager knowingly disregarded policy in our store to make his job easier. I presented the issue to another manager about this, asking if policy had changed which would account for this increase in apparent negligence. I entered a long discussion of why it was/is necessary, and how I am at fault because I am unable to 'deal with ambiguity.'
Initially, I was outraged, because I wasn't at fault. He manipulated the situation, and tried to manipulate me. Which is interpreted to someone needs to cover their tracks. Fine. Whatever.
He then persisted to email all of my managers, including the district manager, and myself stating how I am unable to 'deal with ambiguity',' and has given me a condescending assignment to survey all of the managers. I was mortified, livid, outraged, embarrassed. There was no need to email the district manager about my development exploited by his laziness. I felt attacked and harassed for doing my job. I shut down. I isolated myself and placed blame on him. It isn't until now I (minutely) consider his side.
My actions did make the situation worse for myself. I should have approached it differently. I should have approached him directly after (after once again) disregarding policy with email documentation, then presented it to another manager, and then the district manager.
If I were to go back I would have tried to handle the situation differently, but I also would have filed a harassment complaint for how he handled the situation, not with the intentions getting him fired, just the reassurance that he won't act that way to another employee again.
I learned a few things from this experience. Open communication is very important. You must be open to discuss with problems or situations with multiple people, multiple managers, and HR, if necessary.  Most importantly, trust that most people have good intentions and are able to see good intent.
(Also divine intervention/karma exists. He broke his ankle. I didn't do it. He broke it playing soccer, and has been on leave for the past 3 months. He will not return until after my last day there.)


Putin praises Trump to ABC News, calling him “talented” and “colorful.” He also said that Trump was “absolutely the leader in the American presidential race."
Putin further acknowledged that Russia welcomed relations between Russia and the U.S. under Trump.
“How can Russia not welcome that? We welcome that," Putin said.
Source: ABC News