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There are three reasons why I prefer jogging to other sports. One reason is that jogging is a cheap sport. I can practise it anywhere at any time with no need for a ball or any other equipment . Another reason why I prefer jogging is that it is friendly to my heart. I don’t have to exhaust myself or do excessive efforts while jogging. Finally, I prefer this sport because it is safe. It isn’t as risky as other sports like gymnastics, racing or horseback riding. For all these reasons, I consider jogging the best sport of all.
There are three reasons why I prefer jogging to other sports. One reason is that jogging is a cheap sport. I can practise it anywhere at any time with no need for a ball or any other equipment . Another reason why I prefer jogging is that it is friendly to my heart. I don’t have to exhaust myself or do excessive efforts while jogging. Finally, I prefer this sport because it is safe. It isn’t as risky as other sports like gymnastics, racing or horseback riding. For all these reasons, I consider jogging the best sport of all.
Though not technically considered a requirement, many colleges include community service as an unofficial requirement for acceptance. However, some colleges prefer work experience over community service, and some require that their students also continue community service for some specific number of hours to graduate. Some schools also offer unique “community service” courses, awarding credit to students who complete a certain number of community service hours.
Though not technically considered a requirement, many colleges include community service as an unofficial requirement for acceptance. However, some colleges prefer work experience over community service, and some require that their students also continue community service for some specific number of hours to graduate. Some schools also offer unique “community service” courses, awarding credit to students who complete a certain number of community service hours.
Though not technically considered a requirement, many colleges include community service as an unofficial requirement for acceptance. However, some colleges prefer work experience over community service, and some require that their students also continue community service for some specific number of hours to graduate. Some schools also offer unique “community service” courses, awarding credit to students who complete a certain number of community service hours.


Project Structure, or Browse Mode Queries
A simple introduction to Access procedures is the roots command. roots takes no arguments, and returns a list of top-level modules. This is the same information displayed when you start DIScover:
roots
1 (proj) /xip_private
2 (proj) /ttt_private
3 (proj) /package_private
4 (proj) /xip_shared
5 (proj) /ttt_shared
6 (proj) /package_shared
7 (proj) /sysinclude
You can query the structure beneath a project using the subprojects command. Subprojects takes an argument: the parent project whose members you want to see:
subprojects /ttt_shared
1 (proj) /ttt_shared/FrameDocs
2 (proj) /ttt_shared/Relations
3 (proj) /ttt_shared/Subsystems
4 (proj) /ttt_shared/bin
5 (proj) /ttt_shared/doc
6 (proj) /ttt_shared/include
7 (proj) /ttt_shared/src
Note that in this command, a string ("/ttt_shared") was passed that was converted into a project by the subprojects command. Alternatively, the array index could have been used:
subprojects [roots] 5
Or in an interactive session, if the last command run was roots, then you can use the shortcut of specifying the result only by the index into the set—the set is assumed to be the last result:
roots
subprojects 5
If passed a set containing multiple elements, the subprojects command queries each element in turn:
subprojects [roots]
(return includes subprojects of /ttt_shared, /xip_shared, /sysinclude, on so on).
Other commands that describe the project structure are:
• contents scope returns the project structure specified by the scope (project), such as / (root) or /project name.
• modules [-level n] scope returns the set of modules (files) defined under the project scope. If the level is specified, modules returns only the indicated level.
• parent module returns the parent project that contains module.


This dialog is part of the Ameol database import wizard.
This is a Hot Spot image. Move your mouse pointer over the image
and when the mouse pointer changes to the shape of a hand click
the left mouse button once for extra help.
This dialog allows you to change the directory from which messages will be imported, the Ameol user from which messages will be imported and the database into which the message will be imported.


WHEN NIGHT IS FALLING A film review by Christopher Null Copyright 1996 Christopher Null
You know right from the start that WHEN NIGHT IS FALLING isn't going to be the uplifting tale that you might have thought it would be, as it cuts quickly from a bizarre underwater dream to a scene in which the main character, Camille (Pascale Bussières), discovers her dog has died.
Patricia Rozema's odd melodrama tells Camille's story. A Calvinist professor at a Christian college, she is on the fast track to a position as co-Chaplain of the university along with her conservative boyfriend Martin (Henry Czerny). Suddenly, circus performance artist Petra (Rachael Crawford) comes into her life, and everything changes. Petra is almost obsessively infatuated with Camille, and the once-traditionalist Camille very quickly finds herself developing an inexplicable attraction for Petra.
Unfortunately, this obsession and inexplicability together create a situation which is difficult to empathize with, largely because Camille's motivation is a complete mystery to us. The movie is thankfully well-constructed technically, with nicely-crafted cinematography, tight editing, and an interesting variety of settings and costumes. Of course, this can't overcome a very weak story, but it does give the film a worthwhile aspect to balance the plot.
By the end of WHEN NIGHT IS FALLING, we're not really sure if Camille's metamorphosis was a spur of the moment infatuation or if she really harbored these emotions deep inside. The producers are obviously hoping you'll go for the latter, but I don't think we'll ever know.
RATING: **1/2
\-------------------------------\ |* Unquestionably awful | |** Sub-par on many levels | |*** Average, hits and misses | |**** Good, memorable film | |***** Perfection | \-------------------------------\
-Christopher Null /<EMAIL_ADDRESS>-Movie Emporium (reviews) / http://www.notes.tpoint.net/emporium/ -Contributing Editor, FEEDBACK / http://www.eden.com/~feedback/ -E-mail requests to join the 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


|
Women: The Good, Bad or
Ugly in Law & Literature Text
by Joyce A. McCray Pearson
Antigone, Trifles, A Jury of Her Peers and Presumed
Innocent. What do these literary pieces; a Greek tragedy,
an early twentieth century play and short story, and a contemporary
film have in common? The common thread between them is that they
depict women who where compelled to murder, or defy the law.
As the title of my article suggests, one of the women did something
good. Antigone's act of defiance represents a good deed, a moral
act that moved critics to describe her as the "heroine of
civil disobedience". An act of civil disobedience that eventually
produced legal and political reform. Minnie Wright represents
the bad in the title; she allegedly murdered her husband in A
Jury of Her Peers. The admitted murderess in the film Presumed
Innocent definitely represents the ugly in her carefully
planned murder of her husband's former lover.
There are many legal issues in the texts and film. Natural (divine)
law and positive (man made law or law of the state/polis) law,
civil disobedience and male/female perspectives of the law are
central issues in a discussion of Antigone. Physical/psychological
abuse or domestic violence and an exclusively female jury's perspective
of murder are the central focus of Trifles and A Jury
of Her Peers. Presumed Innocent is, unfortunately,
about everything that is wrong with the legal system and questions
the relationship between law and justice.
The law and life are inseparable. And that is precisely why there
are so many novels, plays and films based on legal issues or
with lawyers as central characters.
Antigone
The Story and Setting
Modern psychologists and clinical sociologists use the phrase
"dysfunctional family" to describe a family unit which
suffers from serious problems such as alcohol or drug abuse or
incest. Antigone, the main character in this ancient Greek tragedy,
comes from such a family. Her father, Oedipus, once king of Thebes
and solver of the riddle of the sphinx (what walks on four legs
in the morning, two legs at noon, and three legs in the evening?
- man) As Mark Howenstein puts it, Oedipus "...comes
to realize the underlying horror of his existence. Throughout
the play his insatiable hunger for knowledge propels him down
a dreadful path of self-discovery. His relentless inquiry into
the causes of King Laius' death reveals that he has unknowingly
killed his father and married his mother, and has incestuously
begotten four children by her. Overcome by disgrace, he gouges
out his eyes and goes into exile, attempting to escape the misery
that he alone has wrought."
After wandering for years in
exile with Antigone, Oedipus finally settles at Colonus, a sacred
grove, an appropriate place to die and find peace for his wretched
soul. Creon, Antigone's uncle, tries to lure Oedipus back to
Thebes to no avail. Oedipus dies, so no longer needing to care
for their father, Antigone and her sister Ismene return to Thebes.
Antigone's brothers, Polynices and Eteocles, fight for control
of the kingdom and slay one another in combat. Creon succeeds
to the throne. Eteocles died fighting for his country and is
thus entitled to a proper burial. Creon issued an edict which
forbade anyone to bury Polynices. His body is left exposed to
the elements, to rot and be eaten by beasts and birds because
he fought against his native city and is deemed a traitor.
Antigone is left with a moral dilemma. Should she abide by her
familial obligation to her brother and the holiest laws of the
gods which require one to bury one's deceased kin? Or obey the
edict - man made law of king Creon? Haemon, Creon's son and Antigone's
fiancé, contests the law, but Antigone boldly and openly
defies it. She buries Polynices.  Later, Creon reverses himself, buries Polynices and orders
Antigone's release from the cave. But his change of heart came
too late. Antigone hangs herself in the cave, and when Haemon
finds her body he stabs himself. Creon's wife, Eurydice, commits
suicide upon learning of her son Haemon's death leaving only
Creon and Ismene to agonize over all the deaths in the family.
Multiple Legal and Philosophical Issues
Legal thinkers, scholars and philosophers continue to analyze
Antigone and its numerous themes. In Costas Douzinas' philosophical
article on ontological and psychoanalytical ethics he maintains
that:
"Antigone is as important
for the exploration of the origins and the force of law as Oedipus
is for the foundation of identity. We are all aware of the jurisprudential
and speculative readings of Antigone. The tragedy concerns the
unfolding of a series of conceptual juxtapositions, embodied
and represented by the two diametrically opposed protagonists.
The key conflict may be that between divine and human law, or
between law and justice, family and state, or individual and
society; but its narrative presentation always follows the same
path.
...But it is Antigone, the daughter of Oedipus, who has guided
the steps of philosophy and psychoanalysis to the primal scene
from which jurisprudence emerges, and from which it never leaves."
A mainstay of the law and literature
curriculum, Sophocles' Antigone is among the purest examples
of natural law theory. It contains the moral absolutism that
underscores natural law theory and suggests dramatic contrasts
with legal positivism, the dominant force in modern western law.
Trifles and A Jury of Her Peers
True life events are often the source of plays, novels and movies.
Susan Glaspell based the play Trifles, which was a year
later transformed into the short story A Jury of her Peers,
on an actual case. Decades later in 1981, it was adapted by Sally
Heckel into an Academy Award nominated film. The actual case
was the 1901 trial of Margaret Hossack, in State v. Hossack,
89 N. W. 1077 (Iowa 1902). Hossack was convicted of murdering
her husband with an axe while he was sleeping in bed. There was
evidence introduced at the trial of Mr. Hossack's physical and
emotional abuse of his wife. Susan Glaspell became familiar with
the case as a reporter for a Des Moines newspaper. She was assigned
to cover the case shortly after the murder of John Hassock. She
had no experience or exposure to the law or the courtroom. The
investigative reporting of the murder would be her introduction
to the criminal justice system. There is no doubt that the Hossack
(1901) case inspired the play Trifles and A Jury of
her Peers. But it took Glaspell fifteen years to pen Trifles
(1916) and A Jury of Her Peers (1917).
The setting for all three works
- the play, short story and the film - is the same: a gloomy
farmhouse kitchen. John Wright, recently strangled, and his wife
Minnie, who claims innocence and is in prison for the crime,
are never seen. Five people travel to the Wright farmhouse to
investigate - the sheriff, Mr. Peters, the prosecuting attorney,
Mr. Henderson, Mr. Hale a neighboring farmer, Mrs. Peters, the
prosecuting attorney's wife who has come specifically to gather
clothing for the accused woman and Mrs. Hale, the farmers wife.
Throughout the short story you never hear the voice of Mrs. Wright.
You only hear her words through the account of the conversation
Mr. Hale has with Mrs. Wright when he comes to her house to speak
with her husband John. He came to the farmhouse to ask John if
he would like to have a telephone installed in his house.
"'Can I see John?' 'No,' says she kind of dull like. 'Ain't
he home? says I. Then she looked at me. 'Yes," says she,
he's home.' 'Then why can't I see him?' I asked her, out of patience
with her now, "Cause he's dead,' says she, just as quiet
and dull, and fell to pleatin' her apron. 'Dead?' says I, like
you do when you can't take in what you've heard. .... 'Why, what
did he die of?' "He died of a rope round his neck,' says
she; and just went on pleatin' at her apron. "Who did this
Mrs. Wright?" 'I don't know,' she says. You don't know?'
..... 'Weren't you sleepin in the bed with him?' 'Yes,' says
she, but I was on the inside.' 'Somebody slipped a rope round
his neck and strangled him and you didn't wake up?' says Harry.
'I didn't wake up.' she said after him'."
The different perspectives of the men and women are immediately
evident. The men carry the weight of authority, they are charged
with the investigation of the murder. Based upon the time of
the setting, 1916, the men would decide what is relevant under
the law and act as judge and jurors, responsible for deciding
the fate of Mrs. Wright. The women are marginalized, they can't
serve on juries, their abilities are perceived to be limited
to domestic duties of cooking, sewing and housekeeping. After
the men enter the house they take charge attempting to solve
the crime based upon the evidence at the scene. Although they
are searching for a motive for the killing, "something to
show anger - or sudden feeling," they spend only a few minutes
in the kitchen, where Mrs. Wright has spent most of her life.
The things in the kitchen are irrelevant to the men, and they
laugh at their wives and Mrs. Wright for their concern over domestic
"trifles" and criticize her poor housekeeping.
The women act as the true judge and jury. In the most significant
dialogue and scenes in the play and story, the women discover
the evidence, a clue that the men, if they discovered it could
point to the motive of the crime, the specific event that could
have triggered Mrs. Wright's violent reaction. They find the
most incriminating evidence, the dead body of a songbird - canary
in Mrs. Wright's sewing box, gingerly wrapped in a beautiful
piece of silk, as if in preparation for a sacred burial. The
bird's neck was broken, twisted, the life "choked out of
him". The women deduce that Mr. Wright strangled Mrs. Wright's
bird, her only source of joy in that lonely house.
Presumed Innocent
I chose to include a film, a different literary medium, to point
out the difference in contextual communication between written
word and film. Sometimes film is a better vehicle for expressing
images that relate to identity and power. Novels, whether intentionally
or unintentionally often shroud the story from the reader. When
a novel is eventually made into a movie you often hear people
comment that "the book was better than the movie".
In the case of Presumed Innocent, arguably the movie was
better than the book.
 His boss, the D.A., is up for election, he loses, and
new D.A. Della Guardia takes office. After the election Sabich
is charged with the murder of Pohlemus based on evidence at the
scene of the crime. His fingerprints are found on a glass, a
semen sample taken from Pohlemus matches Sabich's blood type,
phone records indicate they communicated, and after a search
of his home they find traces of Pohlemus's blood and traces of
her carpet fiber. In the meantime the D.A.'s office is under
internal scrutiny. A bribery file (b-file) points to a D.A. that
took a $1,500 bribe which was paid to a judge, the judge who
just happens to preside over Sabich's trial.
Sabich's attorney Stern is very good, but he has help from an
informant friend Lipranzer who hides the most damaging evidence,
the fingerprinted glass. They never find the murder weapon. Witnesses
lie on the stand. Stern trips up the pathologist. Pohlemus's
tubes were tied so she wouldn't have used a spermicide and somehow
they deduce then that the semen sample had to be from someone
other than Sabich. Stern threatens to disclose the judge's involvement
with the b-file. The judge dismisses the case, Sabich walks.
But that is not the end.
One afternoon as Sabich is rummaging through his toolbox he finds
the murder weapon, a small hammer soaked with blood and blond
hair. Barbara, his wife, enters as he's cleaning off the murder
weapon. "I did it", she says. The words have double
meaning; she's speaking of her job interview, he thinks she's
confessing. In the final scene of the movie she tells her husband
what she did and why. She claims she would have confessed in
time to save her husband's life. But would she really have done
so? And who would believe her?
Female Identity - Women and Power
The image of the woman attorney in the film is not based upon
her legal prowess, but on her sexuality. In fact, the overall
message of the film suggests that it was her sexuality that caused
her murder: "the lady was bad news." is the phrase
used repeatedly to describe her. Even though she is violently
murdered before the narrative begins she remains a sexualized
presence throughout the film through flashbacks and reminiscent
day dreams. One of the lines in the film summarizes the way the
male attorneys viewed Pohlemus. Note the order of each descriptive
word or phrase used to describe her.  She
was a "hell of a lawyer" last, beautiful and sexy first.
The film portrays her as an ambitious and talented, yet promiscuous,
attorney who had a sexual relationship with almost every male
character in the movie.
The women have control and power through their sexuality and
violence in Presumed Innocent. The legal system is portrayed
as a bumbling machine that is more concerned with hiding human
flaws and frailty than serving justice. As often is the case,
the real criminal remains free. The "ugly" referred
to in the title of the paper could apply to everyone, not just
the women, in this film.
Conclusion
Who are Antigone, Minnie Foster Wright, and Barbara Sabich and
why did they do what they did? One woman was compelled by natural
law and familial love to defy the law, the others were motivated
by anger or desperation to kill. Did they have purely female
reactions to their circumstances or did they behave simply as
human beings? What all three women have in common is that they
felt they had no other choice; each one could have ended her
story with the same words of Barbara Sabich:
"You understand what happened had to happen. It couldn't
have turned out any other way. A woman's depressed with herself,
her life
She feels power, control, the sense that she's
guided by a force beyond herself
And life begins again."
Posted December 17, 2003
|


Connecting
What is your experience of compassionate (or not) leadership?
Do the multiplying goodness meditation. How did you find it?
Do the Tonglen meditation. How did you find it?
How does the SCARF model apply to your Phase 0 experience so far? How will it apply to bootcamp?
Have a difficult conversation. How did it go? (It's a valuable skill, but can take practice to develop!)


Homomorphism
Create
Here, we display the number of all homomorphisms between the graphs with four vertices. This number is an estimation. HO -> Num of Homomorphism NH -> Min num of edges to be removed to have Homomorphism


| 1 | /* =========================================================== | |
| 2 | * JFreeChart : a free chart library for the Java(tm) platform | |
| 3 | * =========================================================== | |
| 4 | * | |
| 5 | * (C) Copyright 2000-2008, by Object Refinery Limited and Contributors. | |
| 6 | * | |
| 7 | * Project Info: http://www.jfree.org/jfreechart/index.html | |
| 8 | * | |
| 9 | * This library is free software; you can redistribute it and/or modify it | |
| 10 | * under the terms of the GNU Lesser General Public License as published by | |
| 11 | * the Free Software Foundation; either version 2.1 of the License, or | |
| 12 | * (at your option) any later version. | |
| 13 | * | |
| 14 | * This library is distributed in the hope that it will be useful, but | |
| 15 | * WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY | |
| 16 | * or FITNESS FOR A PARTICULAR PURPOSE. See the GNU Lesser General Public | |
| 17 | * License for more details. | |
| 18 | * | |
| 19 | * You should have received a copy of the GNU Lesser General Public | |
| 20 | * License along with this library; if not, write to the Free Software | |
| 21 | * Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, | |
| 22 | * USA. | |
| 23 | * | |
| 24 | * [Java is a trademark or registered trademark of Sun Microsystems, Inc. | |
| 25 | * in the United States and other countries.] | |
| 26 | * | |
| 27 | * ----------------------- | |
| 28 | * DialTextAnnotation.java | |
| 29 | * ----------------------- | |
| 30 | * (C) Copyright 2006-2008, by Object Refinery Limited. | |
| 31 | * | |
| 32 | * Original Author: David Gilbert (for Object Refinery Limited); | |
| 33 | * Contributor(s): -; | |
| 34 | * | |
| 35 | * Changes | |
| 36 | * ------- | |
| 37 | * 03-Nov-2006 : Version 1 (DG); | |
| 38 | * 08-Mar-2007 : Fix in hashCode() (DG); | |
| 39 | * 21-Jun-2007 : Removed JCommon dependencies (DG); | |
| 40 | * 17-Oct-2007 : Updated equals() (DG); | |
| 41 | * 24-Oct-2007 : Added getAnchor() and setAnchor() methods (DG); | |
| 42 | * | |
| 43 | */ | |
| 44 | ||
| 45 | package org.jfree.chart.plot.dial; | |
| 46 | ||
| 47 | import java.awt.Color; | |
| 48 | import java.awt.Font; | |
| 49 | import java.awt.Graphics2D; | |
| 50 | import java.awt.Paint; | |
| 51 | import java.awt.geom.Arc2D; | |
| 52 | import java.awt.geom.Point2D; | |
| 53 | import java.awt.geom.Rectangle2D; | |
| 54 | import java.io.IOException; | |
| 55 | import java.io.ObjectInputStream; | |
| 56 | import java.io.ObjectOutputStream; | |
| 57 | import java.io.Serializable; | |
| 58 | ||
| 59 | import org.jfree.chart.text.TextAnchor; | |
| 60 | import org.jfree.chart.text.TextUtilities; | |
| 61 | import org.jfree.chart.util.HashUtilities; | |
| 62 | import org.jfree.chart.util.PaintUtilities; | |
| 63 | import org.jfree.chart.util.PublicCloneable; | |
| 64 | import org.jfree.chart.util.SerialUtilities; | |
| 65 | ||
| 66 | /** | |
| 67 | * A text annotation for a {@link DialPlot}. | |
| 68 | * | |
| 69 | * @since 1.0.7 | |
| 70 | */ | |
| 71 | public class DialTextAnnotation extends AbstractDialLayer implements DialLayer, | |
| 72 | Cloneable, PublicCloneable, Serializable { | |
| 73 | ||
| 74 | /** For serialization. */ | |
| 75 | static final long serialVersionUID =<PHONE_NUMBER>054428071L; | |
| 76 | ||
| 77 | /** The label text. */ | |
| 78 | private String label; | |
| 79 | ||
| 80 | /** The font. */ | |
| 81 | private Font font; | |
| 82 | ||
| 83 | /** | |
| 84 | * The paint for the label. This field is transient because it requires | |
| 85 | * special handling for serialization. | |
| 86 | */ | |
| 87 | private transient Paint paint; | |
| 88 | ||
| 89 | /** The angle that defines the anchor point for the annotation. */ | |
| 90 | private double angle; | |
| 91 | ||
| 92 | /** The radius that defines the anchor point for the annotation. */ | |
| 93 | private double radius; | |
| 94 | ||
| 95 | /** The text anchor to be aligned to the annotation's anchor point. */ | |
| 96 | private TextAnchor anchor; | |
| 97 | ||
| 98 | /** | |
| 99 | * Creates a new instance of DialTextAnnotation. | |
| 100 | * | |
| 101 | * @param label the label (null not permitted). | |
| 102 | */ | |
| 103 | public DialTextAnnotation(String label) { | |
| 104 |
1
1. |
if (label == null) { |
| 105 | throw new IllegalArgumentException("Null 'label' argument."); | |
| 106 | } | |
| 107 | this.angle = -90.0; | |
| 108 | this.radius = 0.3; | |
| 109 | this.font = new Font("Tahoma", Font.BOLD, 14); | |
| 110 | this.paint = Color.black; | |
| 111 | this.label = label; | |
| 112 | this.anchor = TextAnchor.TOP_CENTER; | |
| 113 | } | |
| 114 | ||
| 115 | /** | |
| 116 | * Returns the label text. | |
| 117 | * | |
| 118 | * @return The label text (never null</code). | |
| 119 | * | |
| 120 | * @see #setLabel(String) | |
| 121 | */ | |
| 122 | public String getLabel() { | |
| 123 |
1
1. getLabel : mutated return of Object value for org/jfree/chart/plot/dial/DialTextAnnotation::getLabel to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return this.label; |
| 124 | } | |
| 125 | ||
| 126 | /** | |
| 127 | * Sets the label and sends a {@link DialLayerChangeEvent} to all | |
| 128 | * registered listeners. | |
| 129 | * | |
| 130 | * @param label the label (null not permitted). | |
| 131 | * | |
| 132 | * @see #getLabel() | |
| 133 | */ | |
| 134 | public void setLabel(String label) { | |
| 135 |
1
1. setLabel : negated conditional → KILLED |
if (label == null) { |
| 136 | throw new IllegalArgumentException("Null 'label' argument."); | |
| 137 | } | |
| 138 | this.label = label; | |
| 139 |
1
1. setLabel : removed call to org/jfree/chart/plot/dial/DialTextAnnotation::notifyListeners → SURVIVED |
notifyListeners(new DialLayerChangeEvent(this)); |
| 140 | } | |
| 141 | ||
| 142 | /** | |
| 143 | * Returns the font used to display the label. | |
| 144 | * | |
| 145 | * @return The font (never null). | |
| 146 | * | |
| 147 | * @see #setFont(Font) | |
| 148 | */ | |
| 149 | public Font getFont() { | |
| 150 |
1
1. getFont : mutated return of Object value for org/jfree/chart/plot/dial/DialTextAnnotation::getFont to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return this.font; |
| 151 | } | |
| 152 | ||
| 153 | /** | |
| 154 | * Sets the font used to display the label and sends a | |
| 155 | * {@link DialLayerChangeEvent} to all registered listeners. | |
| 156 | * | |
| 157 | * @param font the font (null not permitted). | |
| 158 | * | |
| 159 | * @see #getFont() | |
| 160 | */ | |
| 161 | public void setFont(Font font) { | |
| 162 |
1
1. setFont : negated conditional → KILLED |
if (font == null) { |
| 163 | throw new IllegalArgumentException("Null 'font' argument."); | |
| 164 | } | |
| 165 | this.font = font; | |
| 166 |
1
1. setFont : removed call to org/jfree/chart/plot/dial/DialTextAnnotation::notifyListeners → SURVIVED |
notifyListeners(new DialLayerChangeEvent(this)); |
| 167 | } | |
| 168 | ||
| 169 | /** | |
| 170 | * Returns the paint used to display the label. | |
| 171 | * | |
| 172 | * @return The paint (never null). | |
| 173 | * | |
| 174 | * @see #setPaint(Paint) | |
| 175 | */ | |
| 176 | public Paint getPaint() { | |
| 177 |
1
1. getPaint : mutated return of Object value for org/jfree/chart/plot/dial/DialTextAnnotation::getPaint to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return this.paint; |
| 178 | } | |
| 179 | ||
| 180 | /** | |
| 181 | * Sets the paint used to display the label and sends a | |
| 182 | * {@link DialLayerChangeEvent} to all registered listeners. | |
| 183 | * | |
| 184 | * @param paint the paint (null not permitted). | |
| 185 | * | |
| 186 | * @see #getPaint() | |
| 187 | */ | |
| 188 | public void setPaint(Paint paint) { | |
| 189 |
1
1. setPaint : negated conditional → KILLED |
if (paint == null) { |
| 190 | throw new IllegalArgumentException("Null 'paint' argument."); | |
| 191 | } | |
| 192 | this.paint = paint; | |
| 193 |
1
1. setPaint : removed call to org/jfree/chart/plot/dial/DialTextAnnotation::notifyListeners → SURVIVED |
notifyListeners(new DialLayerChangeEvent(this)); |
| 194 | } | |
| 195 | ||
| 196 | /** | |
| 197 | * Returns the angle used to calculate the anchor point. | |
| 198 | * | |
| 199 | * @return The angle (in degrees). | |
| 200 | * | |
| 201 | * @see #setAngle(double) | |
| 202 | * @see #getRadius() | |
| 203 | */ | |
| 204 | public double getAngle() { | |
| 205 |
1
1. getAngle : replaced return of double value with -(x + 1) for org/jfree/chart/plot/dial/DialTextAnnotation::getAngle → NO_COVERAGE |
return this.angle; |
| 206 | } | |
| 207 | ||
| 208 | /** | |
| 209 | * Sets the angle used to calculate the anchor point and sends a | |
| 210 | * {@link DialLayerChangeEvent} to all registered listeners. | |
| 211 | * | |
| 212 | * @param angle the angle (in degrees). | |
| 213 | * | |
| 214 | * @see #getAngle() | |
| 215 | * @see #setRadius(double) | |
| 216 | */ | |
| 217 | public void setAngle(double angle) { | |
| 218 | this.angle = angle; | |
| 219 |
1
1. setAngle : removed call to org/jfree/chart/plot/dial/DialTextAnnotation::notifyListeners → SURVIVED |
notifyListeners(new DialLayerChangeEvent(this)); |
| 220 | } | |
| 221 | ||
| 222 | /** | |
| 223 | * Returns the radius used to calculate the anchor point. This is | |
| 224 | * specified as a percentage relative to the dial's framing rectangle. | |
| 225 | * | |
| 226 | * @return The radius. | |
| 227 | * | |
| 228 | * @see #setRadius(double) | |
| 229 | * @see #getAngle() | |
| 230 | */ | |
| 231 | public double getRadius() { | |
| 232 |
1
1. getRadius : replaced return of double value with -(x + 1) for org/jfree/chart/plot/dial/DialTextAnnotation::getRadius → NO_COVERAGE |
return this.radius; |
| 233 | } | |
| 234 | ||
| 235 | /** | |
| 236 | * Sets the radius used to calculate the anchor point and sends a | |
| 237 | * {@link DialLayerChangeEvent} to all registered listeners. | |
| 238 | * | |
| 239 | * @param radius the radius (as a percentage of the dial's framing | |
| 240 | * rectangle). | |
| 241 | * | |
| 242 | * @see #getRadius() | |
| 243 | * @see #setAngle(double) | |
| 244 | */ | |
| 245 | public void setRadius(double radius) { | |
| 246 |
2
1. setRadius : changed conditional boundary → SURVIVED 2. setRadius : negated conditional → KILLED |
if (radius < 0.0) { |
| 247 | throw new IllegalArgumentException( | |
| 248 | "The 'radius' cannot be negative."); | |
| 249 | } | |
| 250 | this.radius = radius; | |
| 251 |
1
1. setRadius : removed call to org/jfree/chart/plot/dial/DialTextAnnotation::notifyListeners → SURVIVED |
notifyListeners(new DialLayerChangeEvent(this)); |
| 252 | } | |
| 253 | ||
| 254 | /** | |
| 255 | * Returns the text anchor point that will be aligned to the position | |
| 256 | * specified by {@link #getAngle()} and {@link #getRadius()}. | |
| 257 | * | |
| 258 | * @return The anchor point. | |
| 259 | * | |
| 260 | * @see #setAnchor(TextAnchor) | |
| 261 | */ | |
| 262 | public TextAnchor getAnchor() { | |
| 263 |
1
1. getAnchor : mutated return of Object value for org/jfree/chart/plot/dial/DialTextAnnotation::getAnchor to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return this.anchor; |
| 264 | } | |
| 265 | ||
| 266 | /** | |
| 267 | * Sets the text anchor point and sends a {@link DialLayerChangeEvent} to | |
| 268 | * all registered listeners. | |
| 269 | * | |
| 270 | * @param anchor the anchor point (null not permitted). | |
| 271 | * | |
| 272 | * @see #getAnchor() | |
| 273 | */ | |
| 274 | public void setAnchor(TextAnchor anchor) { | |
| 275 |
1
1. setAnchor : negated conditional → NO_COVERAGE |
if (anchor == null) { |
| 276 | throw new IllegalArgumentException("Null 'anchor' argument."); | |
| 277 | } | |
| 278 | this.anchor = anchor; | |
| 279 |
1
1. setAnchor : removed call to org/jfree/chart/plot/dial/DialTextAnnotation::notifyListeners → NO_COVERAGE |
notifyListeners(new DialLayerChangeEvent(this)); |
| 280 | } | |
| 281 | ||
| 282 | /** | |
| 283 | * Returns true to indicate that this layer should be | |
| 284 | * clipped within the dial window. | |
| 285 | * | |
| 286 | * @return true. | |
| 287 | */ | |
| 288 | public boolean isClippedToWindow() { | |
| 289 |
1
1. isClippedToWindow : replaced return of integer sized value with (x == 0 ? 1 : 0) → NO_COVERAGE |
return true; |
| 290 | } | |
| 291 | ||
| 292 | /** | |
| 293 | * Draws the background to the specified graphics device. If the dial | |
| 294 | * frame specifies a window, the clipping region will already have been | |
| 295 | * set to this window before this method is called. | |
| 296 | * | |
| 297 | * @param g2 the graphics device (null not permitted). | |
| 298 | * @param plot the plot (ignored here). | |
| 299 | * @param frame the dial frame (ignored here). | |
| 300 | * @param view the view rectangle (null not permitted). | |
| 301 | */ | |
| 302 | public void draw(Graphics2D g2, DialPlot plot, Rectangle2D frame, | |
| 303 | Rectangle2D view) { | |
| 304 | ||
| 305 | // work out the anchor point | |
| 306 | Rectangle2D f = DialPlot.rectangleByRadius(frame, this.radius, | |
| 307 | this.radius); | |
| 308 | Arc2D arc = new Arc2D.Double(f, this.angle, 0.0, Arc2D.OPEN); | |
| 309 | Point2D pt = arc.getStartPoint(); | |
| 310 |
1
1. draw : removed call to java/awt/Graphics2D::setPaint → NO_COVERAGE |
g2.setPaint(this.paint); |
| 311 |
1
1. draw : removed call to java/awt/Graphics2D::setFont → NO_COVERAGE |
g2.setFont(this.font); |
| 312 | TextUtilities.drawAlignedString(this.label, g2, (float) pt.getX(), | |
| 313 | (float) pt.getY(), this.anchor); | |
| 314 | ||
| 315 | } | |
| 316 | ||
| 317 | /** | |
| 318 | * Tests this instance for equality with an arbitrary object. | |
| 319 | * | |
| 320 | * @param obj the object (null permitted). | |
| 321 | * | |
| 322 | * @return A boolean. | |
| 323 | */ | |
| 324 | public boolean equals(Object obj) { | |
| 325 |
1
1. equals : negated conditional → KILLED |
if (obj == this) { |
| 326 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → NO_COVERAGE |
return true; |
| 327 | } | |
| 328 |
1
1. equals : negated conditional → KILLED |
if (!(obj instanceof DialTextAnnotation)) { |
| 329 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → NO_COVERAGE |
return false; |
| 330 | } | |
| 331 | DialTextAnnotation that = (DialTextAnnotation) obj; | |
| 332 |
1
1. equals : negated conditional → KILLED |
if (!this.label.equals(that.label)) { |
| 333 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → KILLED |
return false; |
| 334 | } | |
| 335 |
1
1. equals : negated conditional → KILLED |
if (!this.font.equals(that.font)) { |
| 336 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → KILLED |
return false; |
| 337 | } | |
| 338 |
1
1. equals : negated conditional → KILLED |
if (!PaintUtilities.equal(this.paint, that.paint)) { |
| 339 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → KILLED |
return false; |
| 340 | } | |
| 341 |
1
1. equals : negated conditional → KILLED |
if (this.radius != that.radius) { |
| 342 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → KILLED |
return false; |
| 343 | } | |
| 344 |
1
1. equals : negated conditional → KILLED |
if (this.angle != that.angle) { |
| 345 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → KILLED |
return false; |
| 346 | } | |
| 347 |
1
1. equals : negated conditional → KILLED |
if (!this.anchor.equals(that.anchor)) { |
| 348 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → NO_COVERAGE |
return false; |
| 349 | } | |
| 350 |
1
1. equals : replaced return of integer sized value with (x == 0 ? 1 : 0) → KILLED |
return super.equals(obj); |
| 351 | } | |
| 352 | ||
| 353 | /** | |
| 354 | * Returns a hash code for this instance. | |
| 355 | * | |
| 356 | * @return The hash code. | |
| 357 | */ | |
| 358 | public int hashCode() { | |
| 359 | int result = 193; | |
| 360 |
2
1. hashCode : Replaced integer multiplication with division → SURVIVED 2. hashCode : Replaced integer addition with subtraction → SURVIVED |
result = 37 * result + HashUtilities.hashCodeForPaint(this.paint); |
| 361 |
2
1. hashCode : Replaced integer multiplication with division → SURVIVED 2. hashCode : Replaced integer addition with subtraction → SURVIVED |
result = 37 * result + this.font.hashCode(); |
| 362 |
2
1. hashCode : Replaced integer multiplication with division → SURVIVED 2. hashCode : Replaced integer addition with subtraction → SURVIVED |
result = 37 * result + this.label.hashCode(); |
| 363 |
2
1. hashCode : Replaced integer multiplication with division → SURVIVED 2. hashCode : Replaced integer addition with subtraction → SURVIVED |
result = 37 * result + this.anchor.hashCode(); |
| 364 | long temp = Double.doubleToLongBits(this.angle); | |
| 365 |
4
1. hashCode : Replaced integer multiplication with division → SURVIVED 2. hashCode : Replaced Unsigned Shift Right with Shift Left → SURVIVED 3. hashCode : Replaced XOR with AND → SURVIVED 4. hashCode : Replaced integer addition with subtraction → SURVIVED |
result = 37 * result + (int) (temp ^ (temp >>> 32)); |
| 366 | temp = Double.doubleToLongBits(this.radius); | |
| 367 |
4
1. hashCode : Replaced integer multiplication with division → SURVIVED 2. hashCode : Replaced Unsigned Shift Right with Shift Left → SURVIVED 3. hashCode : Replaced XOR with AND → SURVIVED 4. hashCode : Replaced integer addition with subtraction → SURVIVED |
result = 37 * result + (int) (temp ^ (temp >>> 32)); |
| 368 |
1
1. hashCode : replaced return of integer sized value with (x == 0 ? 1 : 0) → SURVIVED |
return result; |
| 369 | } | |
| 370 | ||
| 371 | /** | |
| 372 | * Returns a clone of this instance. | |
| 373 | * | |
| 374 | * @return The clone. | |
| 375 | * | |
| 376 | * @throws CloneNotSupportedException if some attribute of this instance | |
| 377 | * cannot be cloned. | |
| 378 | */ | |
| 379 | public Object clone() throws CloneNotSupportedException { | |
| 380 |
1
1. clone : mutated return of Object value for org/jfree/chart/plot/dial/DialTextAnnotation::clone to ( if (x != null) null else throw new RuntimeException ) → KILLED |
return super.clone(); |
| 381 | } | |
| 382 | ||
| 383 | /** | |
| 384 | * Provides serialization support. | |
| 385 | * | |
| 386 | * @param stream the output stream. | |
| 387 | * | |
| 388 | * @throws IOException if there is an I/O error. | |
| 389 | */ | |
| 390 | private void writeObject(ObjectOutputStream stream) throws IOException { | |
| 391 |
1
1. writeObject : removed call to java/io/ObjectOutputStream::defaultWriteObject → KILLED |
stream.defaultWriteObject(); |
| 392 |
1
1. writeObject : removed call to org/jfree/chart/util/SerialUtilities::writePaint → KILLED |
SerialUtilities.writePaint(this.paint, stream); |
| 393 | } | |
| 394 | ||
| 395 | /** | |
| 396 | * Provides serialization support. | |
| 397 | * | |
| 398 | * @param stream the input stream. | |
| 399 | * | |
| 400 | * @throws IOException if there is an I/O error. | |
| 401 | * @throws ClassNotFoundException if there is a classpath problem. | |
| 402 | */ | |
| 403 | private void readObject(ObjectInputStream stream) | |
| 404 | throws IOException, ClassNotFoundException { | |
| 405 |
1
1. readObject : removed call to java/io/ObjectInputStream::defaultReadObject → KILLED |
stream.defaultReadObject(); |
| 406 | this.paint = SerialUtilities.readPaint(stream); | |
| 407 | } | |
| 408 | ||
| 409 | } | |
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|
BTK
0.3dev.0
Open-source library to visualize/process biomechanical data
|
Manage all the acquisition file IOs and detect if a file is readable or writable. More...
#include <btkAcquisitionFileIOFactory.h>
Public Types | |
| enum | OpenMode { ReadMode, WriteMode } |
Static Public Member Functions | |
| static bool | AddFileIO (AcquisitionFileIOHandle::Pointer infoIO) |
| static AcquisitionFileIO::Pointer | CreateAcquisitionIO (const std::string &filename, OpenMode mode) |
| static AcquisitionFileIO::Extensions | GetSupportedReadExtensions () |
| static AcquisitionFileIO::Extensions | GetSupportedWrittenExtensions () |
| static bool | RemoveFileIO (AcquisitionFileIOHandle::Pointer infoIO) |
Protected Member Functions | |
| AcquisitionFileIOFactory () | |
| virtual | ~AcquisitionFileIOFactory () |
Manage all the acquisition file IOs and detect if a file is readable or writable.
The goal of this factory is to return an AcquisitionFileIO object based on the given filename. For that, you need to call the method AcquisitionFileIOFactory::CreateAcquisitionIO. In this method, each AcquisitionFileIO object is tested to see if the file is supported or by file format managed.
If you want to add a new file format to this factory, you can use the method AcquisitionFileIOFactory::AddFileIO. Or you if you work directly into the source-code of BTK, you can register direclty the new file format using the file btkAcquisitionFileIOFactory_registration.cpp
|
protected |
Constructor.
|
inlineprotectedvirtual |
Empty destructor.
|
static |
Append a file IO if it is not already added.
Should not be used by developers. Internal purpose.
|
static |
Try to find the AcquisitionFileIO helper to read/write the file. This method has to be modified each time a new AcquisitionFileIO is added in this library. The order of the IO is important as the first AcquisitionFileIO which can read/write the file is returned.
|
static |
Returns the list of the file extensions than the factory could read.
Note: This list is directly created by the acquisition file IO registered with this factory.
|
static |
Returns the list of the file extensions than the factory could write.
Note: This list is directly created by the acquisition file IO registered with this factory.
|
static |
Remove a file IO if found.
Should not be used by developers. Internal purpose.


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MIDNIGHT IN THE GARDEN OF GOOD AND EVIL A film review by David N. Butterworth Copyright 1997 David N. Butterworth
Rating: *1/2 (Maltin scale)
Somewhere between this year's "Absolute Power" and his latest film, "Midnight in the Garden of Good and Evil," somewhere between good and evil itself, director Clint Eastwood forgot how to make a movie.
That in and of itself is hard to believe; Eastwood has had a successful career spanning four decades. What makes it all the more confounding is what Eastwood had to work with: "Midnight in the Garden of Good and Evil" is based on John Berendt's Pulitzer Prize-nominated novel, a work brimming with intrigue, murder, and colorful Southern characters. The setting is Savannah, Georgia--hard to make that town look dull--and Eastwood has both Kevin Spacey and John Cusack on board, two actors with more charm than the entire cast of "Fletch Lives."
The plot is a simple one: John Kelso (Cusack) is a New York City journalist who is hired to cover a swank Christmas party of Savannah's own Jim Williams (Spacey), a nouveau riche ("it's the riche that counts") antiques dealer. Kelso's assignment is to produce a 500 word "literary postcard" for "Town and Country" magazine but when Williams is suddenly and surprisingly accused of murdering his sometime lover Billy Hanson (Jude Law), Kelso's postcard evolves into an investigation that draws in the town's melting pot of eccentrics.
It's been a long time since someone snoring in a movie theater drowned out the actors' dialogue but the courtroom scenes are so stultifyingly somnambulistic you can soon understand why. The proceedings are snail-pacingly slow, the star witnesses all seem half asleep, and by verdict time you've forgotten what Alison Eastwood--who provides Cusack with some superfluous love interest--is even *doing* in this picture. Ah yes... She's the director's daughter.
In addition, the film surprises with some very shoddy editing (characters "jump" across the frame) and--something you don't see very often--an actor flubbing his lines. Spacey, as usual, is dapper and beguiling as the accused but the likable Cusack is nothing but jaw-dropping reaction shots.
Savannah, of course, looks lovely, a historical appreciation society's dream dripping with Spanish moss and Southern hospitality. It's a town that has its fair share of weirdos--imaginary dog walkers, voodoo priestesses, and overstuffed, heavily armed drunks. ""Gone With the Wind" on mescaline," as Kelso describes it.
Perhaps the most colorful character of them all is The Lady Chablis, a transvestite diva played by herself, whose increasingly annoying presence results in more open mouths from Cusack's character. For a New York writer, Kelso seems a teensy bit out of touch when he finally realizes that she is, in fact, a he. Chablis' antics at a debutante cotillion ball seemed designed solely as a showcase for her questionable talents; her nightclub act, if you can call it that, is a bust (no pun intended).
The film often seems too focused on The Lady Chablis and not enough on the motivations and ambiguities of its central characters. For two and a half "leisurely" hours, "Midnight in the Garden of Good and Evil" just sits there on the screen like an overbaked soufflé that has failed to rise.
-- David N. Butterworth<EMAIL_ADDRESS>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


31st January 2015
"The art & science of asking questions is the source of all knowledge" - Thomas Berger
"Ignorance is a temporary affliction, remedied only by asking the right questions" - Colin Wright
So I think we have all heard by now the oft repeated phrase "there are no stupid questions". Perhaps not - and I would always err on the side of asking questions rather than staying silent in ignorance. But are there ways to ask better questions? Can we think better of our questioning capacity - given how important asking for clarification is?
For me, I think that the key is in contextualizing and phrasing questions clearly - for only then can you get a great answer. In the context of a classroom environment like DBC reminding myself of some question guidelines is helpful!
So here's to 9 weeks of crazy learning & lots and lots of questions!
"When life gives you questions, Google has answers" - AJ Carpio


UNDER THE SAND A film review by David N. Butterworth Copyright 2001 David N. Butterworth
*** (out of ****)
Ask me to name a Charlotte Rampling film off the top of my head and I'd be hard pressed to come up with one, save for Liliana Cavani's controversial 1974 film "The Night Porter" (in which Rampling made a bit of a name for herself by playing a concentration camp survivor who resumes the sadomasochistic relationship with her former SS officer, played by Dirk Bogarde). But other titles do not as easily spring to mind. Strange really, since Rampling has made over 50 films in her 35-year film career.
One look at her latest film, Franšois Ozon's "Under the Sand" ("Sous le Sable"), and you'll be wondering why she's not more of a household name.
In the film, which pairs the oceanographics of Ozon's 1997 thriller "See the Sea" ("Regarde la Mer") with the emotional turbulence of Liv Ullman's recent marital drama "Faithless" ("Trol÷sa"), Rampling plays a woman, an English professor, struggling to come to grips with the (assumed) death of her husband.
Vacationing in the south of France, Marie Drillon (Rampling's given name as it so happens) and Jean (Bruno Cremer) head down to the beach one morning. While Marie remains sunbathing on the sand, Jean takes to the ocean, but the next time Marie looks up from her book, Jean cannot be found and is feared drowned.
Marie is so devastated by the loss that she quickly falls into a pattern of self-denial, acting as though her husband of 25 years were still alive. This makes life understandably awkward for her friends, her family, and her future lovers
Ozon positively dumps the emotional weight of the film on Rampling's delicate frame and she's more than up to the task. Often without words, the 56-year-old British actress (who's still not afraid to do nude scenes) is able to convey a woman simply unable to face the loss of her beloved husband. Strangely enough, although Rampling's performance is second to none, the character of Marie, while convincing, remains emotionally remote. By denying her husband's demise, she quickly puts up a wall around herself, making it hard for anyone--and especially the audience--to relate on an emotional level.
The director does, however, use an interesting technique in showing us Marie's inability to accept the truth: Jean appears as an entity, a living, breathing human being in Marie's lonely Paris apartment, even though it's clear he's merely a figment of his wife's hopeful imagination.
"Under the Sand" is an interesting film in that slow, talky, Mediterranean way, in which little happens in terms of plot development but a lot happens in the mind and motivations of its central character. It's cool and calculated and rather straightforward but every time Rampling's on display it seems better, somehow. "Under the Sand" may be the impetus she needs to stage a comeback, much like what Terence Stamp did with "The Limey," or what Ben Kingsley, another "forgotten" actor, seems to be shooting for with the upcoming "Sexy Beast."
Only time and talent (of which Ms. Rampling appears to have acres) will tell.
-- David N. Butterworth<EMAIL_ADDRESS>Got beef? Visit "La Movie Boeuf" online at http://members.dca.net/dnb
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@input
decorator@input
decorator should be imported in the components from @angular/core
<app-child [parentData]="name"><app-child>
import { Component, OnInit,Input } from '@angular/core'
@Input() parentData: string
parent name: {{parentData}}
@Input('parentData') userName : string
parentData
is the property name in the Parent ComponentuserName
is the alias we give to it
import { Component, OnInit } from '@angular/core';
@Component({
selector: 'app-parent',
template: `
parent component
`,
styleUrls:['./parent.component.css']
})
export class ParentComponent implements OnInit {
// the data which will be sent to Child as parentData property binding
public name="ParentComponent"
constructor() { }
ngOnInit() {
}
}
import { Component, OnInit,Input } from '@angular/core';
@Component({
selector: 'app-child',
template: `
child component
parent name: {{parentData}}
`,
styleUrls:['./child.component.css']
})
export class ChildComponent implements OnInit {
//mark parentData as input data
@Input() parentData: string
constructor() { }
ngOnInit() {
}
}
@Output()
decorator as instances of EventEmitter
class in the Child Component
import { Component, OnInit,Input,Output, EventEmitter } from '@angular/core';
@Output() childEvent=new EventEmitter()
<button (click)="this.childEvent.emit()">Emit Event</button>
$event
object for EventEmitter events stores the emitted value. In contrast to DOM events, where $event
stores the DOM event object
<app-child (childEvent)="respondToEvent($event)"></app-child>
respondToEvent(msg){
// do something with emmited event message
}
| Interface | Method | Description |
|---|---|---|
| OnChanges | ngOnChanges | Called when an input or output binding value changes |
| OnInit | ngOnInit | After the first ngOnChanges |
| DoCheck | ngDoCheck | Developer’s custom change detection |
| AfterContentInit | ngAfterContentInit | After component content initialized |
| AfterContentChecked | ngAfterContentChecked | After every check of component content |
| AfterViewInit | ngAfterViewInit | After component's view(s) are initialized |
| AfterViewChecked | ngAfterViewChecked | After every check of a component's view(s) |
| OnDestroy | ngOnDestroy | Just before the directive is destroyed |
productList
component which will display the list of productsproduct
component - responsible for one product of productList
products = [
{
"name": "apples",
"price": 2.50
},
{
"name": "oranges",
"price": 1.80
},
{
"name": "bananas",
"price": 2.00
}
]
These slides are based on
customised version of
framework


{% extends "templates/partials/base.html" %} {% block title %}{% parent %} - Camp{% endblock %} {% block content %}
{{ cms.camp.introduction }}
{{ box.copy }}
{{ cms.camp.brumhack_copy }}
Visit BrumHackRegardless of the capacity in which you would like to be involved, we know you’ve got thoughts on how to make Rebel Makers Camp great - and we’d love to hear them! We will read and respond to every piece of feedback given!


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@* * Copyright 2023 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import uk.gov.hmrc.gform.config.FrontendAppConfig @import uk.gov.hmrc.gform.sharedmodel.formtemplate._ @( formTemplate: FormTemplate, frontendAppConfig: FrontendAppConfig )( implicit request: Request[_], messages: Messages, l: LangADT ) @heading = @{messages("enrolment.error.conflict")} @uk.gov.hmrc.gform.views.html.main_template( title = heading, formTemplate = formTemplate, frontendAppConfig = frontendAppConfig ) {
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From Michael Branicky, your card has been declined:
Lucky you! You’ve won two gift cards, each loaded with 50 free drinks from your favorite coffee shop, Riddler Caffei-Nation. The cards look identical, and because you’re not one for record-keeping, you randomly pick one of the cards to pay with each time you get a drink. One day, the clerk tells you that he can’t accept the card you presented to him because it doesn’t have any drink credits left on it.
What is the probability that the other card still has free drinks on it? How many free drinks can you expect are still available?
The probability that the other card still has free drinks on it is the complement of the probability that both cards are empty – which is easier to count, so we'll start here!
If both of the cards loaded with 50 drinks are empty when we make our coffee run, this means we've already ordered exactly 100 coffees. 50 of these orders occurred on the card we tried using, and 50 occurred on the other card. The probability of this scenario happening is ((1/2) ^ (100)) * choose(100, 50)
‐ or just about 8%. So the probability that that the card we didn't has at least one drink remaining (i.e., that it's not the case that both cards are empty when we order the 101st drink) is about 92%.
Let's confirm with an R simulation.
First, a little housekeeping:
### ---- ###
### init ### ------------------------------------------------------------------
### ---- ###
rm(list=ls())
gc()
### --------- ###
### load libs ###
### --------- ###
library(progress)
library(tidyverse)
### ------ ###
### params ###
### ------ ###
set.seed <- 42
# init cards
cards <- list(card1 = 50,
card2 = 50)
We'll define a little helper function to randomly choose one of the cards as well as a recursive function to simulate buying coffee using our cards:
### ------------------------------ ###
### funs to simulate buying coffee ### ----------------------------------------
### ------------------------------ ###
### --------------------------------------- ###
### fun to randomly choose card from wallet ###
### --------------------------------------- ###
choose_card <- function(wallet) {
# randomly choose card from cards available in wallet
card_chosen_idx <- sample(x = length(wallet),
size = 1,
replace = F,
prob = NULL)
# return
return(card_chosen_idx)
}
### ----------------------------- ###
### fun to simulate buying coffee ###
### ----------------------------- ###
buy_coffee <- function(wallet) {
# randomly choose a card from the wallet to use
card_chosen_idx <- choose_card(wallet)
# break case = chosen card is empty
if(wallet[[card_chosen_idx]] == 0) {
return(wallet)
} else {
wallet[[card_chosen_idx]] <- wallet[[card_chosen_idx]] - 1
return(buy_coffee(wallet))
}
}
Then we'll simulate a hundred thousand scenarios:
### -------------------- ###
### simulate coffee runs ### --------------------------------------------------
### -------------------- ###
# init vector to hold number of drinks on other card
coffee_runs <- rep(NA,
1e5)
# init progress bar
pb <- progress_bar$new(
format = paste0('simulating coffee runs',
'(:spin) [:bar] :percent eta: :eta'),
total = length(coffee_runs), clear = FALSE, width= 80)
# simulate coffee runs
for(i in 1:length(coffee_runs)) {
# simulate coffee run
coffee_run <- buy_coffee(cards)
# store number of drinks on other card
coffee_runs[i] <- as.integer(coffee_run[which.max(coffee_run)])
# increment progress
pb$tick()
}
Let's what our simulation thinks the probability of the other card having drinks on it is:
### ----------------- ###
### check sim results ### -----------------------------------------------------
### ----------------- ###
# prob other card still has drinks
1 - sum(coffee_runs == 0) / length(coffee_runs)
[1] 0.92041
Just over 92% probability that the other card has drinks on it!
And how many drinks can we expect that card to have on it?
mean(coffee_runs)
[1] 7.03834


Functions and examples for 'Portfolio Management with R': backtesting investment and trading strategies, computing profit/loss and returns, analysing trades, handling lists of transactions, reporting, and more.
| Version: | 0.10-1 |
| Depends: | R (≥ 2.10) |
| Imports: | NMOF, crayon, datetimeutils, fastmatch, orgutils, parallel, textutils, utils, zoo |
| Suggests: | RUnit, rbenchmark |
| Published: | 2018-10-28 |
| Author: | Enrico Schumann [aut, cre] |
| Maintainer: | Enrico Schumann <es at enricoschumann.net> |
| License: | GPL-3 |
| URL: | http://enricoschumann.net/PMwR/ |
| NeedsCompilation: | no |
| Citation: | PMwR citation info |
| Materials: | NEWS ChangeLog |
| CRAN checks: | PMwR results |
| Reference manual: | PMwR.pdf |
| Vignettes: |
Overview of the PMwR package Computing Returns Drawdowns and Streaks FinTeX Profit/Loss for Open Positions Treasury Quotes with 1/32 Fractions |
| Package source: | PMwR_0.10-1.tar.gz |
| Windows binaries: | r-devel: PMwR_0.10-1.zip, r-release: PMwR_0.10-1.zip, r-oldrel: PMwR_0.10-1.zip |
| OS X binaries: | r-release: PMwR_0.10-1.tgz, r-oldrel: PMwR_0.10-1.tgz |
Please use the canonical form https://CRAN.R-project.org/package=PMwR to link to this page.


Using python, I developed a program to detect and show the motion across several images or frames of a video. As we feed each image, our program computes which pixels of the image have one of the 3 color channels that are outside the 𝜇±𝜅𝜎 interval, where 𝜇 is the average, 𝜎 is the standard deviation, and 𝜅 is a parameter; we will use 𝜅=4 in our experiments, thus detecting motion if values deviate from the average by more than 4 standard deviations. The result is a ℎ×𝑤×𝑐 boolean matrix filled with True/False values. If the motion detection contains more than 500 motion pixels, it puts the detection, and the index of the image, into a list of results.
2Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.
3Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.


生产者消费者模型, OpenGL既可以充当生产者，也可以是消费者。
android.graphics.Canvas
is a 2D graphics API and operations draw all the stock
and custom android.view.View
s in Android.
In addition to Canvas, the other main way that developers render graphics is by using OpenGL ES to directly render to a surface.
需要理解Surface, SurfaceHolder, EGLSurface, SurfaceView, GlSurfaceView, SurfaceTexture, TextureView, SurfaceFlinger, and Vulkan的含义。
Basic usage is straightforward: The producer requests a free buffer (dequeueBuffer()), specifying a set of characteristics including width, height, pixel format, and usage flags. The producer populates the buffer and returns it to the queue (queueBuffer()). Later, the consumer acquires the buffer (acquireBuffer()) and makes use of the buffer contents. When the consumer is done, it returns the buffer to the queue (releaseBuffer()).
详细的介绍在CameraRawActivity.java的注释中。
包好Stagefright框架，作用是集合第三方的编解码库，必须遵守OpenMax IL协议。
支持版权保护MediaDrm和数据加密MediaCrypto功能。
AAudio可以低延迟的音频通路，有EXCLUSIVE,和MMAP两种模式。


Don't be left guessing where your loved ones and valuable assets are when you're away. Know for sure with the STI GL300 real time GPS tracker from SpyTec.
At only 8 ounces and 3 inches in length, the GPS tracking device is small enough to fit almost anywhere. An available waterproof magnetic case lets you easily attach the GL300 to any vehicle or asset, and an available belt holster lets you easily track a person. Whether you want to track a suspicious spouse, a teenagers vehicle, an elderly parent, or valuable equipment at your company, this tracker is the perfect choice.
Cutting edge GPS satellite technology ensures a tight fix on the trackers location for top-class accuracy. The 3 axis accelerometer improves accuracy with motion detection. With available location updates every 5 seconds, you would not miss a thing. Access customizable tracking reports and Google Maps from any device (PC, Mac, laptop, tablet or smartphone). Get text or email alerts when the person or item you are tracking leaves a geographic area (geofencing).
Device stores data for up to a year and has a battery life of two weeks (longer when used periodically). No activation or cancellation fees. Subscriptions start at only USD 25/month.
| Quantity: | |
| Add to Cart |
| Location updates: | every 5 seconds |
| Product Dimensions: | 5.4 x 1.9 x 2.2 inches |
| Item Weight: | 8 ounces |
| Manufacturer: | Spy Tec Inc. |
| Item model number | STI_GL300 |


clisymbols: Unicode Symbols at the R Prompt
A small subset of Unicode symbols, that are useful
when building command line applications. They fall back to
alternatives on terminals that do not support Unicode.
Many symbols were taken from the 'figures' 'npm' package
(see <https://github.com/sindresorhus/figures>).
Downloads:
Reverse dependencies:
| Reverse imports: |
available, blorr, classyfireR, exampletestr, foghorn, goodpractice, olsrr, OptimClassifier, piggyback, prodigenr, RFishBC, rhub, sealr, TeXCheckR, tracer, usethis |
Linking:
Please use the canonical form
https://CRAN.R-project.org/package=clisymbols
to link to this page.


Good morning, FIRSTNAME
It was great to see you yesterday! I think you may have misunderstood the purpose of a potluck, though. You're supposed to bring a dish, not just a spatula!
Don't worry about it, though :). The important thing is that you were there. Getting to know your colleagues is important for both team-building and job satisfaction!
As for now, you should sign up for the onboarding event tomorrow morning. This is a great opportunity to meet the other recent employees and learn about the history of the company! You don't need to bring anything but a cheerful mood and a sunny disposition :).
Benedetto Tornincasa
Human Relations
Senior Consultant / Haka Leader


Tearful Shakhtar captain Taison sent off despite being racially abused
PARIS, Nov 11 — Shakhtar Donetsk captain Taison yesterday was sent off for kicking the ball at Dynamo Kiev fans after they targeted him with racist abuse.
Taison left the field in tears after his red card for “unsporting behaviour”, which came when he reacted to the insults from away supporters in the 74th minute of the Ukrainian Premier League clash, at the Metalist stadium in Kharkiv, by first giving them the finger before kicking the ball at them.
The Brazilian, who joined Shakhtar in 2013, was consoled by Dynamo players. Countryman and teammate Dentinho also broke down in tears.
The two teams briefly left the field before the match, eventually won 1-0 by Shakhtar, was restarted.
“Racism is a disgrace, we have to fight it together, every minute and every second,” said Shakhtar coach Luis Castro.
In a statement, Shakhtar said that it “categorically opposes any form of racism”, adding that “nothing can justify insulting people because of their skin colour, their religion or their political opinions”.
Shakhtar’s win ensured they stay top of the league, two points ahead of Zorya as they hunt their fourth straight title. — AFP


WITNESS LIST Appropriations Committee (SUBCOMMITTEE ON Interim Charge #6) July 6, 2004-10:00A Interim Charge #6 For: Baumer,M.D., Joane (John Peter Smith Hospital) Springfield, James G. (Self) Svadlenak, Steve (Texas Association of Public & Nonprofit Hospitals) On: Anderson, M.D., Ron J. (Self and Parkland Health and Hospital System) Bready, M.D., Lois (UTHSCSA) Flack, Teri (Texas Higher Education Coordinating Board) Nash, D.O., Lisa R. (TX Medical Association) Reasonover, Scott (Health & Human Svc Commission) Starke,M.D., Jeffrey R. (Self and Texas Childrens' Hospital) Stobo, M.D., John D. (University of Texas Medical Branch)


Setting up: if the link for upload has not appeared in a short time, please check that you have added your Globus user id to your "Account Settings" information (in pull-down menu from you name in the upper right on the navigation bar).
Your globus id is the email address you use to login to your globus account.
To upload a file or directory to your project '{{$ctrl.project.name}}': this
presents a 'one time use' Materials Commons globus endpoint to
the top level directory of your project in the globus transfer web app.
Click, set the source by browsing in your globus endpoint to the
desired directory or file,
and then transfer to the indicated destination.
one-time-use link to the Materials Commons destination endpoint
You may return to this dialog
to obtain additional upload links. Each link should only be used once.


Welcome to Cake shop
From Delhi to mumbai, we selling French style pastry, cup cakes, cake loafs. 7 inch cakes, cookies, macaroon, and etc drinks are different flavour hot chocolate, coffee. Take a moment to Browse our cakes and see which one cake are soon to arrive your door steps.


Weather App
Weather for {{weather.city}}
Temperature: {{weather.temperature}}
Cloud Description: {{weather.description}}


Home
About
Portfolio
Contact
A sunny day to build my castle
Hang in there , I'll make a new one!
"Alver Hothasi"


Are you currently selling security, managed network services or telecommunication services?
Are you frustrated with your current offer portfolio because it limits the amount of solutions you can sell to your customer? Are you eager to earn more commissions without limitations? Are you limited to selling to a particular geography?
If so, we want to talk to you immediately.
GLS is seeking a motivated Account Executive that wants to sell total solutions into accounts without geographic boundaries. The Account Executive represents GLS within the business community in the Small to Medium market segment. The AE sells all GLS products and services and carries a quota that directly impacts the revenue stream of the company.
This position is responsible for consistently achieving or exceeding the monthly quota for new net revenue bookings selling GLS services directly to end user customers in the SMB market segment. We will immediately hire a Sales Executive that will:
Additional Information:
GLS is located in Charlotte, NC. The compensation package for this position includes a base salary, monthly bonuses and residuals. GLS also offers a medical, dental and 401k plans for its employees and families along with paid time off.
Please send us a request via the "contact us" tab above!


<%- _t("Controls how is displayed the field. Hierarchy mode is a special usage for pseudo hierarchy, for which values are roughly shifted to give an illusion of parent/children. The shift depend of the level declared in the value0 while value1 contains the label. The first value contains something like 1 or 2 or 1.1, 1.2, 1.1.1...") %>


In SEO, most are self-taught by reading the great blogs at Moz, Blind Five Year old, Search Engine Land, etc.
That’s my story. I started on Moz’s SEO guide (doesn’t it bring back good memories):
I watched every Whiteboard Friday on Friday morning. I even tried to post it on Inbound before anyone else 🙂 I then graduated from only asking questions to giving answers in the forums.
Next, I started picking up content from others: Search Engine Land, SE Journal, Blind Five Year Old, SEER and hundreds of others. I followed all the big names.
I thought I was an expert in SEO. I had read every article on Moz (no exxageration). I was giving expert “answers” on forums. I consulted with sites, and even completed several projects with different IT teams and Project Managers:
I “thought” I was an SEO expert. I had built the specs, run the sprints, and lived 100% organic (a little SEO / IT humor).
So a few years ago, I took my expert SEO knowledge, resume, and applied to one of the top 50 websites in the world. I landed an interview.
- First interview was a HR screening (nailed it ).
- Second interview was with the Director of SEO (led a team of 30). We chatted about my interest in SEO – but nothing technical.
- Third interview was with a team member. We didn’t even talk SEO because we hit it off so well (things were looking great).
- The final round was to analyze a competitor website and give recommendations. Easy? I got this, right? I know everything Moz, SEER, and Blind Five Year old have ever written about SEO. I wrote down my best 20 page analysis.
- Failed it.
It was the best thing that ever happened to me.
The worst part about failing the analysis was when I asked what I could have improved, the director couldn’t tell me. I was in the dark. I didn’t know if it was because my analysis was so off that she didn’t know where to begin? Or was she afraid of giving away secrets (am I missing something crucial)?
Where was the transparency? Up until this point, everyone in SEO had been transparent: in conversations, tweets, and articles.
Not receiving an answer made me seek for answers ever more. What had I missed? How was I to take it to the next level? Was there another blog I was not reading? And then, it hit me:
Want to the best in SEO? Stop only reading the mainstream blogs, start reading job descriptions of the world’s largest sites, and implement the skills they require.
I Stopped Reading Only the Mainstream Blogs
Once I got the fundamentals down, I realized that my skillset was stagnant. I knew all of the terms, had grown sites to millions in organic traffic, but needed more.
How many of you recognize these names?
- Alan Bleiweiss
- Ross Hudgens
- Duane Forrester
- Rand Fiskin
- Larry Kim (PPC)
- Danny Sullivan
- Greg Boser
- Dr. Pete
- Cyrus Shepard
- Ian Lurie
- John Doherty
- Will Critchlow
These are great people (without much of their writing, I’d be deficient in my job). I could also name a hundred more that you would know. Why do we know these names? Because they publish, they are transparent about their success and failures (as much as they can be while maintaining a business advantage).
How many of you recognize these names?
The names above represent some of the greatest minds in SEO: Nike, TripAdvisor, Getty Images, and Amazon. For the most part (minus Kaitlin, while she worked for Portent), many of the names above are non-existent on the popular blog sites.
- Did Steve Bates write an article when Nike became the worlds largest shoe site? What about an article on how they used SQL + Visual mapping to make architectural changes that led to better crawling and more indexing?
- What about Peter – when Amazon became one of the most visited sites in the world? Did he write an article on architectural changes that led to better crawlability, which led to more indexing, and finally: better rankings.
Of course the examples above are false, because I can’t find any articles from them (and that’s okay – businesses do have to have secrets to succeed. They also probably signed non-disclosure agreements).
Better yet, TripAdvisor (one of the most respected in SEO – IMO) created Trip Advisor SEO University… yet it’s for employees only.
This is not a critique in a “lack of transparency” but figuring out a way around it.
If you are self-taught SEO, how do you keep learning? How do you continue to learn SEO when transparency stops?
I Started Reading Job Descriptions
That’s right: I read job descriptions 🙂
The best companies normally don’t give away their secrets – unless it’s in a job description.
Personally, I will read a Growth / SEO job description over a blog article on “9 Billions SEO hacks …” anyday. Why? Because you learn so much more. You also learn what the company is focusing on (you’re basically reading the rubric to their upcoming projects).
Think you’re an expert? Nothing more humbling than reading a job you aren’t qualified for. Take a look at Trip Advisor’s JD for a SEO Strategist:
When was the last time you saw an in-depth post on SEO and SQL on any mainstream blogs? What about HIVE and SEO? How many SEOs know what HIVE is? (a few years ago – I didn’t). Why? Because no one has covered it in the mainstream blogs:
How would you know that “The Best” SEOs need to know HIVE/SQL unless you read the job descriptions? Trip Advisor isn’t writing articles about “How they used HIVE in project X to grow their SEO traffic by Y%”.
Notice what is not mentioned in the JD?
Content. Nothing is mentioned about “Good Content”.
Let’s keep going: what about Amazon (SEO Manager):
Geez. Still think “Good Content is the best SEO” is a good enough answer to call yourself an expert SEO? I can’t remember the last article I read on Artificial Intelligence and SEO.
Just do it.
Reading job descriptions is humbling.
Sure, read the ones you are qualified and pat yourself on the back. But when you dig in and read the job descriptions like the ones above, you’re head will quickly start to deflate and you’ll have plenty to work on. It’s in this place you start to learn.
So what did I do after I failed? I went back – re-read the job description and quickly realized that I was no-where near qualified. I started thinking like:
- “What in the world is HIVE?”
- “How would an SEO use SQL to analyze data?”
- “It’s not illegal to crawl a portion of TripAdvisor – lets get a massive list of URLs and put them in Excel and analyze them.”
- “Oh wait… Excel crashes with that many URLs.”
- “Ahhh… That’s why they use SQL”
- “Let’s visualize that architecture”
It was asking those questions that led to a greater understanding of SEO. I quickly learned that large site / e-commerce SEO was less about reading the latest content or link-building piece, and more about solving problems with large data sets. It was about:
After being declined for the job, I stopped consuming every piece of content marketing. I stayed up to date with the major publications and am grateful to those blogs for having a solid understanding of SEO, but I spent my time reading job descriptions that I was not qualified for and started:
- Learning more technical skills. I’m not going to write C, but SQL, JS – yea, I can do that.
- Playing with large data sets and trying to find problems and patterns.
- Started reading over robots.txt files to analyze what sites were hiding (which by the way, has led to some of the greatest discounts available! That’s where most hide their promo pages).
- Started paying close attention to the structure of largers sites (crawlability = indexation = higher rankings).
I also started thinking about the problems they faced (and the skill-set they were seeking):
- “Are the worried about link-building?” Probably not in the way I think of it. One link from abc.com wouldn’t move the needle.
- “What if their bigger problem was the distribution of those backlinks among their key pages?”
It was thoughts like the above that trained my thinking to look for bigger the issues. I spent less time thinking content marketing, #SEO and more time thinking data analysis and hypothesis.
Did it work?
A few years later, I did end up getting a job offer from a larger commerce site in SEO (in fact, one listed above).
I turned it down.
However, the skills I had acquired from reading those job descriptions led to the type of job you dream of.


Logan Paul files official appeal in KSI loss, CSAC springs into action
by Jesse HollandCalifornia State Athletic Commission (CSAC) to the rescue!
Despite insisting his loss to KSI was water under the bridge, YouTube sensation Logan Paul has in fact appealed his split-decision defeat from their six-round celebrity boxing match earlier this month inside Staples Center in Los Angeles.
“My team and I have decided to file an official appeal for the fight because we just don’t believe that the outcome was right,” Paul said (via TMZ). “The two-point deduction was the reason I full out split decision lost the fight. By no means am I afraid of losing, but I truthfully 100-percent believe I did not lose this fight.”
Watch the fight video highlights here.
Paul was docked two points in the fourth round after scoring a knockdown for making illegal contact as KSI hit the canvas. Had the blonde bomber only lost one point for the controversial infraction, the adjusted scorecards would have altered the final outcome.
Rest easy, fight fans, CSAC is on the case!


Select a map on the left to view its mapID
| Country | mapID | Subregion | Region |
|---|---|---|---|
| Select a map on the left to view countries comprising it |
Select a map on the left to view its mapID
| Country | mapID | Subregion | Region |
|---|---|---|---|
| Select a map on the left to view countries comprising it |


Add Issuer Links
Add Accepting Issuer
Add Rejecting Issuer
Add WebAuth Issuer
Add Certificate Links
Add Accepting Certificate


- GEOCODER_DECODE_LOCATION - Static variable in class com.theif519.sakoverlay.Core.Misc.Globals.Keys
-
- GEOCODER_DECODED_LOCATION - Static variable in class com.theif519.sakoverlay.Core.Misc.Globals.Keys
-
- get() - Method in class com.theif519.utils.Misc.MutableObject
-
- getAllMask() - Static method in enum com.theif519.sakoverlay.Core.Services.RecorderService.RecorderState
-
Very convenient method to get all masks at once, which allows getting all but one or two
super easy to do.
- getContentView() - Method in class com.theif519.sakoverlay.Core.Fragments.Floating.FloatingFragment
-
A way for the subclasses to retrieve the Content View.
- getDescription() - Method in class com.theif519.sakoverlay.POD.VideoInfo
-
- getDescription() - Method in class com.theif519.sakoverlay.Core.Views.MenuChildItem
-
- getDimension(int) - Method in class com.theif519.sakoverlay.Core.Activities.MainActivity
-
Convenience method to retrieve a dimension.
- getDuration() - Method in class com.theif519.sakoverlay.POD.VideoInfo
-
- getFileName() - Method in class com.theif519.sakoverlay.POD.RecorderInfo
-
- getFilePath() - Method in class com.theif519.sakoverlay.POD.VideoInfo
-
- getFiles(String) - Static method in class com.theif519.utils.Misc.FileRetriever
-
- getFileSize() - Method in class com.theif519.sakoverlay.POD.VideoInfo
-
- getFragment(<any>) - Method in class com.theif519.sakoverlay.Core.Fragments.Floating.FloatingFragmentFactory
-
Obtain a FloatingFragment from a passed serialized attribute map.
- getHeight() - Method in class com.theif519.sakoverlay.POD.RecorderInfo
-
- getHeight() - Method in class com.theif519.sakoverlay.POD.ViewProperties
-
- getIcon() - Method in class com.theif519.sakoverlay.Core.Views.MenuChildItem
-
- getIdentifier() - Method in class com.theif519.sakoverlay.Core.Views.TouchInterceptorLayout
-
- getInstance() - Static method in class com.theif519.sakoverlay.Core.Fragments.Floating.FloatingFragmentFactory
-
- getIntent() - Method in class com.theif519.sakoverlay.POD.PermissionInfo
-
- getLineCount(File) - Static method in class com.theif519.utils.Misc.FileRetriever
-
Simple function to retrieve the maximum line count.
- getMask() - Method in enum com.theif519.sakoverlay.Core.Services.RecorderService.RecorderState
-
- getResultCode() - Method in class com.theif519.sakoverlay.POD.PermissionInfo
-
- getScaledCoordinates(View) - Static method in class com.theif519.sakoverlay.Core.Misc.MeasureTools
-
- getService() - Method in class com.theif519.sakoverlay.Core.Services.RecorderService.RecorderBinder
-
- getState() - Method in class com.theif519.sakoverlay.Core.Services.RecorderService
-
- getStyleableArr(Class, String) - Static method in class com.theif519.utils.Misc.AttributeRetriever
-
A helper-method, made public for if I need to use it outside of this class.
- getThumbnail() - Method in class com.theif519.sakoverlay.POD.VideoInfo
-
- getTimestamp() - Method in class com.theif519.sakoverlay.POD.VideoInfo
-
- getView(int, View, ViewGroup) - Method in class com.theif519.sakoverlay.Core.Adapters.VideoInfoAdapter
-
- getWidth() - Method in class com.theif519.sakoverlay.POD.RecorderInfo
-
- getWidth() - Method in class com.theif519.sakoverlay.POD.ViewProperties
-
- getX() - Method in class com.theif519.sakoverlay.POD.ViewProperties
-
- getY() - Method in class com.theif519.sakoverlay.POD.ViewProperties
-
- Globals - Class in com.theif519.sakoverlay.Core.Misc
-
Created by theif519 on 11/13/2015.
- Globals() - Constructor for class com.theif519.sakoverlay.Core.Misc.Globals
-
- Globals.Keys - Class in com.theif519.sakoverlay.Core.Misc
-
Used to keep track of various and/or generic keys.
- GoogleMapsFragment - Class in com.theif519.sakoverlay.Core.Fragments.Widgets
-
Created by theif519 on 11/4/2015.
- GoogleMapsFragment() - Constructor for class com.theif519.sakoverlay.Core.Fragments.Floating.GoogleMapsFragment
-


xStream detects outliers in feature-evolving data streams, where the full feature-space is unknown a-priori and evolves over time.
xStream is accurate in all three settings: (i) static data, (ii) row-streams, and (iii) feature-evolving streams, as demonstrated over multiple datasets in each setting.
xStream scales to over 1,000 point updates per-second (Intel Xeon® at 2.1GHz), while consuming bounded space.
Emaad Manzoor, Hemank Lamba, Leman Akoglu. Outlier Detection in Feature-Evolving Data Streams. In 24th ACM SIGKDD International Conference on Knowledge Discovery and Data mining (KDD). 2018.


Contents
This appendix contains a brief description of the changes in MNE software in each major release.
The manual has been significantly expanded and reorganized. Interactive analysis with mne_analyze describing mne_analyze has been added. The sample data set contains instructions for analyzing the sample data set provided with the software. Useful background material is listed in Related publications. Almost all utility programs are now covered in the manual.
The following overall changes have been made:
The following import utilities were added:
The output of the Matlab conversion utilities was changed to use structures.
Matlab tools to import and export w and stc files were added.
Output of decimated and filtered data is now available. mne_analyze now fully supports 32-bit integer data found in CTF and new Neuromag raw data files.
The following changes have been made in mne_analyze :
The only major change in mne_make_movie is the addition of support for curved and surface patches.
The MNE Matlab toolbox is now covered in a separate chapter. Change bars are employed to indicate changes in the chapters that existed in the previous version of the manual. Note that Matlab toolbox describing the Matlab toolbox is totally new and change bars have not been used there. Furthermore, Setup at the Martinos Center now contains all the information specific to the Martinos Center.
There are several improvements in the raw data processor mne_browse_raw/mne_process_raw :
This new utility extracts epochs from a raw data file, applies a bandpass filter to them and outputs them in a format convenient for processing in Matlab.
The following new features have been added:
--ico
option
to mne_setup_source_space.Correct errors in compensation channel information and compensation data output. The transformation between the CTF and Neuromag coordinate frames is now included in the output file.
Added the --labelverts
option.
Added the --shift
option to move surface vertices
outwards. Fixed some loopholes in topology checks. Also added the --innershift
option
to mne_setup_forward_model.
Added code to compute forward solutions for CTF data with software gradient compensation on.
The following changes have been made in mne_inverse_operator :
This utility is now documented in Computing inverse from raw and evoked data. The utility mne_make_raw_inverse_operator has been removed from the software.
The tools mne_compute_raw_inverse , mne_convert_mne_data , and mne_compute_mne no longer have command-line options to restrict the time range of evoked data input.
It is now possible to process all data sets in a file at once. All processed data are stored in a single output file.
Replacement for the Neuromag utility show_fiff . This utility conforms to the standard command-line option conventions in MNE software.
Replaces the functionality of the Neuromag utility create_mri_set_simple to create a fif format description file for the FreeSurfer MRI data. This utility is called by the mne_setup_mri script.
This utility applies or removes CTF software gradient compensation from evoked-response data.
This utility merges 4D Magnes compensation data from a text file and the main helmet sensor data from a fif file and creates a new fif file mne_insert_4D_comp.
This utility reads a text format Polhemus data file, transforms the data into the Neuromag head coordinate system, and outputs the data in fif or hpts format.
The purpose of this new utility is to import data from the KIT MEG system.
This new utility will take derivation data from a text file and convert it to fif format for use with mne_browse_raw.
All information concerning BEM mesh generation has been moved to Creating the BEM meshes. Utilities for BEM mesh generation using FLASH images have been added.
The MNE Matlab toolbox has been significantly enhanced. New features include:
The Matlab toolbox is documented in Matlab toolbox.
The mne_div_w utility has been removed because it is now easy to perform its function and much more using the Matlab Toolbox.
The changes described below briefly are documented in the relevant sections of the manual. Change bars are employed to indicate changes with respect to manual version 2.5. The forward solution now contains a comprehensive discussion of the various coordinate systems used in MEG/EEG data.
All compiled C programs now check that the command line does not contain any unknown options. Consequently, scripts that have inadvertently specified some options which are invalid will now fail.
--in
to --src
and --out
to --srcp
.--labeldir
option.New features include:
--digtrigmask
option.EEG forward solutions are now averaged as well.
Improvements in the raw data processor mne_browse_raw /mne_process_raw include:
-split
and --events
options was
added to mne_process_raw .--allowmaxshield
option was added to mne_browse_raw to allow
loading of unprocessed data with MaxShield in the Elekta-Neuromag
systems. These kind of data should never be used as an input for source
localization.--savehere
option was added.--cd
option.--keepsamplemean
option
to the covariance matrix computation files.--digtrigmask
option.Detailed information on these changes can be found in Browsing raw data with mne_browse_raw.
The --digtrig
, --extra
, --noextra
, --split
, --labeldir
, and --out
options
were added.
The functionality of mne_convert_dfs was integrated into mne_convert_surface . Text output as a triangle file and and file file containing the list of vertex points was added. The Matlab output option was removed. Consequently, mne_convert_dfs , mne_surface2mat , and mne_list_surface_nodes were deleted from the distribution.
This obsolete utility was deleted from the distribution.
The name of the digital trigger channel can be specified
with the MNE_TRIGGER_CH_NAME environment variable. Added
the --digtrigmask
option.
Added code to compute the derivatives of with respect to the dipole position coordinates.
The --surfno
option is replaced with the --id
option.
Include data from mgh/mgz files to the output automatically. Include the Talairach transformations from the FreeSurfer data to the output file if possible.
Added the --noscalebar
, --nocomments
, --morphgrade
, --rate
,
and --pickrange
options.
The --spacing
option is now implemented in this
program, which means mne_mris_trix is
now obsolete. The mne_setup_source_space script
was modified accordingly. Support for tri, dec, and dip files was dropped.
This utility is obsolete and was removed from the distribution.
This is utility is obsolete and was removed from the distribution. The functionality is included in mne_process_raw .
Added the --revert
option.
Added the --outershift
and --scalpshift
options.
Added source waveform expressions and the --raw
option.
Removed the --tomrivol
option.
Several new functions were added, see Matlab toolbox.
Note
The matlab function fiff_setup_read_raw has a significant change. The sample numbers now take into account possible initial skip in the file, i.e., the time between the start of the data acquisition and the start of saving the data to disk. The first_samp member of the returned structure indicates the initial skip in samples. If you want your own routines, which assume that initial skip has been removed, perform indentically with the previous version, subtract first_samp from the sample numbers you specify to fiff_read_raw_segment . Furthermore, fiff_setup_read_raw has an optional argument to allow reading of unprocessed MaxShield data acquired with the Elekta MEG systems.
This utility collects coordinate transformation information from several sources into a single file.
This new utility convertes digitization (Polhemus) data between different file formats.
This is a new utility to convert EEG data from EDF, EDF+, and BDF formats to the fif format.
This is a new utility to convert BrainVision EEG data to the fif format. This utility is also used by the mne_eximia_2fiff script to convert EEG data from the Nexstim eXimia EEG system to the fif format.
New utility to remove subject identifying information from measurement files.
New utility for testing the OpenGL graphics performance.
Convert data defined in a volume created with mne_volume_source_space to an MRI overlay.
Create a a grid of source points within a volume. mne_volume_source_space also optionally creates a trilinear interpolator matrix to facilitate converting values a distribution in the volume grid into an MRI overlay using mne_volume_data2mri.
This new utility copies the processing history block from one data file to another.
There have been two significant changes in the software engineering since MNE Version 2.6:
These changes have the effects on the distribution of the MNE software and setup for individual users:
The installation and user-level effects of the new software organization are discussed in Getting Started.
In addition, several minor bugs have been fixed in the source code. Most relevant changes visible to the user are listed below.
--allowmaxshield
option now works in the batch mode as well.--projevent
option to batch mode.mne_smooth --help
to
find the options.--his
option to remove the HIS ID of the subject.--bem
and --id
options to check surfaces from a BEM fif file.--orignames
option.--headcoord
option to mne_convert_dig_data.--talairach
option to mne_make_cor_set.--morph
option to mne_setup_source_space and mne_make_source_space.--prefix
option to mne_morph_labels.--blocks
and --indent
options to mne_show_fiff.--proj
option as well as map types 5 and 6 to mne_sensitivity_map.Added the capability to compute distances between source space vertices.
--shift
option to mne_convert_surface.--alpha
option to mne_make_movie.--noiserank
option to mne_inverse_operator and mne_do_inverse_operator.--noflash30
, --noconvert
, and --unwarp
options to mne_flash_bem.--mghmri
option in combination with --surfout
inserts
the volume geometry information to the output of mne_convert_surface.--replacegeom
option to mne_convert_surface.