--- layout: post title: "The Family Gathering" subtitle: "PEI 2019" date: 2019-10-07 00:00:00 -0500 categories: [Travels] tags: [PEI] background: 'https://hwmckenzie.github.io/img/posts/pei2019/header.jpg' ---
Friday
After a good sleep in Muchs' cottage, shared with John and Joanie, and a restorative breakfast to recover from our day of travel, Chris and I visited a bit and assisted with some of the preparations.
Leaving the kitchen a hive of activity, we headed into Charlottetown to pick up Sandy. We planned to spend some time showing him the sights of Charlottetown while we waited for Tammi to arrive at dinner. Unfortunately it was grey and rainy. But, we did have a tasty sandwich at Leonhards and got re-caffeinated at the Receiver. Then, having still more time to spare, we decided to drive to take a look at the Confederation Bridge. Very grey and windy, but it was still there, linking the island to the mainland as advertised! Tammi arrived on time and was very happy to see us, but I think we were even happier to see her!
Saturday
Everyone not already present arrived during the morning on Saturday. Bob got the washer toss set up and allowed for warm-up rounds, though these were closely supervised by the peanut gallery!
In between taking their turns at the washer toss, the tireless kitchen team, refreshed with new blood, were busy getting the kabobs ready for the grill for dinner.
When all the tosses were accounted for, the participants flocked inside for a tasty lunch of soup and sandwiches, and a bit of relaxing before the next activity.
After lunch, we all headed over to Jim and Bev’s garden to see what was ready to harvest. Even though the garden suffered some damage from the hurricane, with Jim’s help and direction, everyone left with bags full of carrots, potatoes, and turnips, among other veggies. Some of which travelled as far as Alberta before being eaten!
We all returned to Longview, and after a bit of a break reconvened for the medal presentations. Bob had arranged for real medals and Mary had sewn a cushion, which lent quite an air of celebration to the presentations!
While everyone received participant ribbons, medallists included Marlene, Chris, Josh, Sydney and Donnie, with Julia being the big winner!
After dinner there was a bonfire with s’mores, but after such a busy day, everyone disappeared to find their beds pretty quickly. Hard to believe we fit so much into one day!
Sunday
Sunday morning dawned bright and sunny, and found us enjoying yet another tasty meal and drawing for the “date night ideas” raffle prize baskets. While she was denied on the ring toss field this year, Cindy was big winner of the prize basket draw!
With lots of hugs and goodbyes, we brought to a close the 2019 PEI Family Gathering. It sure was quite the event, and I felt really happy to have the chance to catch up with family I knew and meet family I had not met yet. It was also really special to be able to have everyone meet Chris, Sandy, Marlene and Ron. A very big thanks to everyone who worked so hard to make it possible, certainly it will be talked about for years to come!
Chris & Hannah


Russia risks new ban after WADA panel ruling
MONTREAL: Russia faces a new international sporting ban after a key World Anti-Doping Agency panel recommended the Russian Anti-Doping Agency (RUSADA) be declared non-compliant, a statement said Friday (Nov 22).
WADA said its Compliance Review Committee (CRC) had recommended that RUSADA be suspended again when the global anti-doping watchdog's Executive Committee meets in Paris on Dec 9.
If the WADA leadership adopts the recommendation, Russia faces fresh sanctions including a likely ban from next year's Olympics in Tokyo.
The CRC issued its recommendation after asking Russia to explain "inconsistencies" in laboratory data handed over by Moscow to WADA investigators in January.
Full disclosure of data from the Moscow laboratory was a key condition of Russia's reinstatement by WADA in September 2018.
RUSADA had been suspended for nearly three years previously over revelations including a systematic conspiracy to switch tainted samples at the 2014 Sochi Winter Olympics.
WADA had previously warned Russia would face the "most stringent sanctions" if any of the data handed over was found to have been tampered with.
In an interview with AFP last month, RUSADA's chief Yuri Ganus said he expected Russia to receive a lengthy Olympic ban, blasting Moscow authorities who he accused of handing over falsified lab data.
"Russia's Olympic squad will be prevented from participating fully in the Olympic Games in Tokyo.... I think that this will also happen at the (Winter Olympic) Games in China," Ganus told AFP.
Ganus said he expected a range of other penalties too, including restrictions on holding international tournaments in Russia, exclusion of Russians from international sports federations and fines.
Ganus later said RUSADA officials had not been responsible for falsifying the data, insisting his staff "had nothing to do with the database and its transfer."
He instead blamed "forces outside RUSADA" for the incomplete data.
Russian Sports Minister Pavel Kolobkov earlier this month denied allegations that the data had been tampered with.
Kolobkov said Russian experts "consider nothing was removed" from the material handed over to WADA.
Addressing Ganus's claims directly, Kolobkov added: "There was not any manipulation as the head of Russia's anti-doping laboratory, Yuri Ganus, says. That's our position."


Acrobatic Romance
Aerial Straps
Miranda & the Valkyries fly out over the audience on straps as they do battle with Cali, suspended from a rotating set element high above them.
Teeterboard
Young men launch themselves high into the air, twisting and turning in a playful high-speed.
Cerceau & Waterbowl
Miranda plays in the waterbowl, discovering her own physicality and expressing her sinuous sexuality as she performs a challenging hand-balancing routine.


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| 903 | (A) | thare dyede that duke and diademe leuede |
| 909 | (C) | Thus dyedde þat prince . & þe lyfe lafte |
| 895 | (D) | And þer died þat duke the dyademe levyd |
| 872 | (E) | & than deyde þat duk . & dyademe lefte |
| (Ex) | ---- no text ---- | |
| 927 | (L) | & þo deyed þe duke & þe diademe lefte |
| 845 | (P) | þan dyed þat duke and dyademe leu?? |
| 881 | (U) | And there dyed the duke / and his diademe leued |
| (V) | ---- no text ---- |


Sprints
If you would like to run a Sprint or have an idea for a Sprint that you think that others would like to join, please add it below.
Please add your name to the table of participants for the Sprints that you would like to attend. You do not need to comitt to attend the Sprint for the whole time, you can drop in and out to take in the other elements of the conference. The attendance lists below will help us to plan which rooms to use for which Sprints.
What is a Sprint?
A Sprint is a get-together of people involved in a project or those that wish to get involved. It gives an opportunity for focused development on the project and is a great opportunity for people to immerse themselves in a project to a much greater level than a conventional talk.
Sprints are organized around the ideas of the Extreme Programming discipline of software development. The sprint is directed by the coach, who suggests tasks, tracks their progress and makes sure that no one is stuck. Most of the development happens in pairs.
We will provide rooms and communication support.


Super DETOX Green Cleansing Smoothie
If you're familiar with my site at all, you've probably heard me mention My Morning Smoothie about a dozen times at least.
It's a staple in my new whole foods lifestyle and the most important one at that. And for the past 8 months I haven't strayed from that recipe- until now.
I don't know why or really what came over me? but I just felt like I needed to go one step further with my morning smoothies. Get serious. Really dig deep into the potential cleansing power of green smoothies. I looked all over the blogosphere, taking bits and pieces from here and there until I finally came up with one that felt right with me. And what a powerful DETOX smoothie it ended up being!!
My original morning smoothie only had 6 ingredients. This one has 14.
You might be wondering why in the world I would trade-in such a simple recipe for such a complex one. Well, because the complexity of ingredients is what makes this new smoothie SO POWERFUL.
The changes I saw and felt once I swapped morning smoothie recipes was crazy! I thought I was doing great before, but I had no idea. My skin is spotless, I have SO much energy, and my under eye circles have virtually disappeared. I've notice dark spots on my skin, marks that just refuse to completely heal, that have just vanished. And I can't even begin to imagine how my body is benefiting internally!! There is no way I can deny the powerful affects these new detoxifying ingredients are having. Trust me, I am never going back to the beginners 6. From now on I am all in!
Just look what these ingredients can provide for you-
Spinach/Kale:These leafy greens are both great sources of amino acids (protein), calcium, beta carotene (vitamin A), vitamin K, iron, manganese, magnesium, zinc, folate, and selenium. All around super foods, spinach and kale are great for strengthening the body, creating beautiful skin, boosting the immune system, and providing important antioxidants. Also, each is full of fiber which is great for cleansing the colon!
Romaine:Contains vitamin C and beta carotene (vitamin A). These two nutrients work together in the body to prevent plaque from forming on artery walls. It is also a good source of potassium, folate, iron, vitamin K, manganese, vitamins B1 and B2, and chromium. Romaine helps to regulate blood pressure, build blood, and support body movement.
Cucumber:Highly hydrating, cucumbers are full of B vitamins, silica, and electrolytes that help build clearer, brighter skin. The vitamin C, caffeic acid, and electrolytes in cucumbers makes them great at fighting puffiness and bloating in the body, working as an anti-inflammatory team.
Celery:Very alkaline, full of calcium, magnesium, and potassium. Good source of B1, B2, B6, and C vitamins, folate, iron, and amino acids. Celery helps to lower high blood pressure and reduce puffiness. It contains compounds polyacetylene and pthalides which reduce inflammation and stress (causing blood vessels to dilate), respectively. Celery is a powerful detoxifier and colon cleanser.
Pear:Contains vitamins C, E, B, and K, copper, manganese, potassium, iron, magnesium, selenium, calcium, zinc, and folate. Pears are wonderful for the skin and supportive of both the lungs and the colon.
Banana:Contains vitamin B6 and magnesium which help promote better sleep. Bananas also have fiber, vitamin C, potassium, and vitamin A. They promote good digestion, prevent constipation, contribute to healthy blood pressure and cholesterol levels.
Lemon: Extremely alkaline, are high in vitamin C, and traces of calcium, potassium, and magnesium.  They support liver function, purify the blood, destroy free radicals and toxins, flush out bacteria, fight wrinkles and rejuvenate skin. Great for long-term weight loss.
Chia Seeds:These seeds swell 10 to 15 times their original size when placed in liquid, which makes them great for weight-loss. They also help stabilize blood sugar levels, providing you with longer lasting energy. Chia seeds are an excellent source of protein, calcium, anti-oxidants, and omega-3 fatty acids.
Mint:Great source of vitamin C and beta carotene (vitamin A), copper, iron, potassium, magnesium, and calcium. Mint aids in digestion, is helpful in relieving congestion of the respiratory tract, and lowers blood pressure.
Parsley:A powerful detoxifier, parsley aids digestion, removes toxins from the body, acts as a diuretic by flushing out the kidneys, and purifies the blood. It contains vitamin A, C, and E, folate, iron, and anti-oxidants.
Cinnamon: Studies have found that cinnamon helps lower blood sugar, have anti-oxidant effects, fight bacteria, and reduce inflammation.
Ginger:Helps ease nausea, maintain proper blood circulation, improve nutrient absorption in the body, is anti-inflammatory, strengthens immune system, and fights common respiratory problems.
Turmeric:Very high in anti-oxidants, turmeric is a great anti-cancer agent. It is also anti-inflammatory and works as a blood cleanser. Cleansed blood results in clearer, brighter skin.
Cayenne Pepper:An incredibly potent spice, cayenne pepper is often used to detoxify and cleanse the body (mostly due to capsaicin). It has anti-cold/flu properties, aids in digestion, has anti-fungal properties, helps discourage formation of blood clots, supports weight-loss, promotes heart health, and aids in joint-pain relief.
Credits to : thegreenfork


Governor Sonko is the problem in Nairobi, MCA reveals
by Rawlings Otieno, Josphat Thiong'oEmbattled Nairobi County Assembly Majority Leader Abdi Guyo (pictured) has now placed Nairobi Governor Mike Sonko at the centre of woes bedeviling the assembly.
Mr Guyo accused the governor of orchestrating division and using goons to intimidate Members of the County Assembly (MCAs) to sidestep oversight.
“The problem we have in Nairobi is the governor. The chaos in the county assembly is well choreographed so as not to have proper oversight. There are so many who feel intimidated, but I will not be intimidated,” he said.
SEE ALSO : Appeal to have South B road renamed Joe Kadenge
The Matopeni/Spring Valley MCA claimed that billions of shillings are being siphoned, adding that although the county has the capacity to increase revenue collection, it has backtracked from Sh11.5 billion to Sh7.8 billion.
Mr Guyo made the remarks when he appeared before the Senate Devolution and Intergovernmental Relations Committee yesterday.
The majority leader also claimed there are more than 6,000 casual workers, most of who are used as goons whenever they are required.
“It is in the public records that there is an issue of casuals. These same casuals are used to reign terror on you if you ask any question. I want to tell those who want to vie to be governors in Nairobi, you will not campaign,” said Guyo.
According to Guyo, his woes with the governor started when he sought to know why some 16 staff were suspended.
SEE ALSO : Ward reps vow to defy Elachi order on sittings
When Nairobi County Assembly Speaker Beatrice Elachi appeared before the committee, she blamed poor leadership at the assembly for the chaos recently witnessed.
Ms Elachi and County Public Service Board members Mark Ndungu (Jubilee) and Maurice Gari (ODM) accused the former board comprising Guyo and Elias Otieno of being in cahoots with clerk Jacob Ngwele to misappropriate county resources.
They also accused the three of using threats and intimidation to control MCAs.
Elachi observed that chaos at the assembly began last year when she started fighting corruption. However, Mr Ngwele denied the allegations, saying he was a public officer and was not involved in the assembly's daily politics.
Elachi also maintained that the clerk was not procedurally appointed to office, saying that the board which had allegedly confirmed him was not properly constituted.
SEE ALSO : Chaos as MCAs clash over fresh bid to kick out Elachi
“The president said that we must clean Nairobi and that's why I invited the authorities to investigate our operations at the time. I have, however, now formed four Ad hoc committees that will investigate the assembly operations so that if it gets to investigations there won't be any complaints from members,” she said.
Mr Gari, who is also the Nairobi West MCA, claimed the trio was favouring some MCAs when it came to foreign trips, with those loyal to them traveling more times than others. He said those who questioned the trio's decisions would be de-whipped from committees without any explanation.
“We have some MCAs who were traveling for a record 16 times in a year while others only traveled once. The members got tired of the discrimination and they (decided) to remove them from office but they resisted, which led to the recent chaos,” said Gari.
Mr Ndungu, who is also the Hamza Maringo MCA, accused the trio of orchestrating Elachi's impeachment last year.
Do not miss out on the latest news. Join the Standard Digital Telegram channel HERE.


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Dear Tess and Nigel
Thanks for the new issue of TEXT. I was interested to read Bill Manhire's
piece and agreed with much it said and especially the concept of opening
students to the concept of reaching into the dark. This ties in with the
article on the Prose Poem by Kevin Brophy and I would like to offer a
'response' to Kevin's piece.
THE PROSE POEM IN AUSTRALIA - AND ELSEWHERE
In his article The Prose Poem: A Short History, a Brief Reflection
and a Dose of the Real Thing Kevin Brophy gives a quick reading
of the history of this genre, beginning in France with Baudelaire and
finding, it would seem, some sort of fringe habitation in America. Brophy
then goes on to relate difficulties he has had in persuading his students
to attempt the forrn.
I believe his 'difficulties' possibly relate to two things. Firstly,
from his article he seems not to have taken account of any Australian
attempts to develop the form, and secondly, the sense of resistance he
notes might be aligned with attempts to persuade students to write poetry
at all.
This latter statement of mine is, perhaps, overstressing the point,
but I think many teaches of creative writing have found a certain resistance
among students to attempt poetry outside the old 'mainstream' formal
structures. This, in my experience, relates back to the general Australian
resistance to any forms of modernism in the 20th century and a suspicion
of experimentation as a self conscious literary device.
At the basic level, new students often have great difficulty in even
writing about their local environment. Something far off, fantastic
(or fantasy-ful) or glamorous is often the instinctive choice. How many
futuristic or Gothic or Neanderthal epics have we seen from beginners?
To harness writers down to naming specific streets or suburbs is an
early but major task. To make the leap beyond habitation and specific
perception into the subjective dislocations and leaps of association
implicit in the prose poem is a leap indeed.
Perhaps if we had an anthology of the Prose Poem in Australia the task
os teachers might be considerably lightened. And some very exciting possibilities
opened up.
In 1982 when I was writer-in-residence at Deakin University in Geelong
their magazine Mattoid published an interview with me on the
prose poem. This was reprinted in 1990 in my collection of essays, Biting
the Bullet (Simon & Schuster) and in that I gave not only a
run-down on the development of the form, from 19th century France to
modern English explorations of the genre, most notably in the U.S. (and
leaning on Latin American exemplars, which in the 1960s became suddenly
available in translation in the States). Kevin Brophy does not mention
the great rise of prose poems in the Latin America, nor Europe, but
these were pertinent phases. When Mark Strand and Charles Simic published
Another Republic in 1976 (Ecco NY) they made a major step in
introducing 17 contemporary poets in English translation. Of these,
no less than seven were represented with prose poems, several of them
entirely in this form: Francis Ponge, Henri Michaux, Zbigniew Herbert,
Julio Cortazar, Octavio Paz, Miroslav Holub and Italo Calvino. Most
of these names are now well know, even in Australia.
My interview article explored some of the reasons these took hold in
the creative minds of an important segment of American poets. What I did
not mention was that American poetry at that stage had already massively
broken with old formal traditions, and 'field poetry' offered an even
greater sense of flexibility and layout experiment than the prose poem.
Nevertheless, it can be said the prose poem did establish its place and
there are many more collections of great interest published than is hinted
at in Kevin Brophy's (admittedly concise) article.
The development of the form in Australia was outlined in my piece,
and it might be useful to re-print it at the end of this small response.
I had been interested - and still am - in the concept of an anthology
of prose poems from Australia, though to date I have not managed to
interest a publisher. Perhaps it is now time.
When I edited the UQP verse anthology The Moment Made Marvellous
in 1998 I included prose poems by Pamela Brown, Joanne Bums, Gary Catalano
and Judith Rodriguez (her Borges at 73 also invokes one of the
most influential of the influential Latin American experimenters in
the form, seen at its most expansive and flexible).
Certainly as a technique, the prose poem continues to attract Australian
poets and there are a considerable number of book-length collections
that have been published here. I could list, for instance, Andrew Taylor's
Parabolas (which as I mentioned in my Mattoid interview was
the first book of prose poems to be published in this country), two
books by Bruce Beaver (Headlands UQP 1986 and As It Was
UQP 1979), two by myself (Turning Full Circle New Poetry 1979
and Stump and Grape and Bopple-nut Bullion 1982), several stunning
books by Gary Catalano (including Fresh Linen, UQP 1988), Ania
Walwicz, Laurie Duggan (including the award-winning The Ash Range,
Picador 1987), Rodney Hall's The Most Beautiful World (UQP
1981), all of Philip Hammiell's books from 1976 to 1994, Rudi Krausmann's
From Another Shore (Wild & Woolley 1975), Gerard Lee's
Manual For a Garden Mechanic (1976), Alison Croggon's Nevigato
(Black Pepper 1996), and books by Pamela Brown, Joanne Bums and Anna
Couani. And that is only skimming the surface.
In addition, many Australian poets have published occasional prose
poems which are included in their general collections: Chris Wallace-Crabbe,
David Malouf and Kevin Hart, on to M.T.C.Cronin, Luke Davies, John Scott,
John Kinsella and Michael Sarabin, again to name only a few.
What these lists do suggest is that as a distinct genre, the prose
poem in Australia is alive and well. Probably in better health than
the Sestina, the Sonnet or the Haiku.
The advantage of an anthology, now, would be to suggest to teachers of
creative writing in Australia something of the Australian development
of the form. And it has taken, I think, specifically Australian resonances.
If it could be said to remain essentially lyrical in its preoccupation
with language (and even cadence), it is more gently satirical and sometimes
even rueful than its American counterparts. It has less anger, more stoicism.
Less extravagance, more essential caution. We are, let us remember, a
supremely cautious people. The Tampa affair has, most recently, all too
clearly illustrated that.
But the Australian evolution of the prose-poem is no merely pallid
thing, a sort of pale reflection of the wan English versions (and, as
with recent English art works which set out to shock, the English prose
poem has a terrible posing safety-pin-in-the-nostril and stud-in-the-penis
determination that merely chafes). It also has something of the Australian
laconic wit and defiance, and it can get under the skin of the more
conventional verse structures, which bear the ghostly train of the measured
cadence still. As Kevin Brophy says, the prose poem is subversive. That
is something Australians have always been good at, even if they are
outwardly cautious and conformist. If young readers could see something
of the range and scope that has evolved over the last generation of
our poets, they might be more able to see for themselves how and where
the adventure might take them.
THE 1982 INTERVIEW WITH MATTOID: ON PROSE POETRY
Mattoid: Could we start, Tom, by discussing the genre of the prose
poem? There seems perhaps a contradiction of terms here. Poetry and
prose are separate matters, how can you put them together and expect
them to be a 'real' form? What do you think a prose poem can do that
either a poem or prose can't do?
Tom Shapcott: Your statement that it seems a contradiction in terms
is the point at which the prose poem began. Most true prose poems
operate from a sense of contradiction or I'd prefer to say the tension
between certain sorts of claims being made upon language. The basic
claims are the demands of an innate lyricism and the demands of prose
realism. I think the genre as it has evolved in the last 120 or 130
years or so has tried to make use of the intrinsically dramatic conflict
involved. To place it in its historical perspective: the first sustained
attempts were by Charles Baudelaire - works written as a result of
heightened states through drug-taking. It was the urgency of getting
something down, I'm sure, that made him write these as prose. He was
a superb craftsman, and he discovered that something came through
which was different from what would have resulted had he attempted
it in a stanzaic form. There are precursors to that sort of discovery:
in the English language Walt Whitman used a non-stanzaic loping structure
at a time when it was a real innovation; this was based on the dynamics
of the Hebraic psalms, which involve a counterbalance in each sentence.
But Baudelaire's prose poems opened up further ways - they were celebratory,
in other words, lyrical, but they used the language of ordinary conversational
discourse. And it was through the conflict between these two forces
that something inherently different came out. The French tradition
ever since has explored this. In English, such experimentation was
much slower. Eliot's early attempts were quasi-translations of the
French, and he later abandoned the form. Then, in the 1920s and 1930s,
other (mainly American) writers made sporadic experiments...
M: Your summary of the prose poem's origins and relationships raises
several interesting points about the form. Just before we pursue those,
though, could you bring your survey up to date?
TS: American, English, even Australian poets had done the odd little
exercise. from the 1920s onward. But the form in English came to a
new stage of richness from the late 1950s when American poets started
using the prose poem in a serious and sustained way. This was through
their postwar interest in European and especially Spanish-language
poetry and translations. The Spanish-speaking countries had, as it
were, spontaneously fallen for the combination of vigour and violence
implicit in the structure. In Australia, Chris Wallace-Crabbe was
the first poet to tackle it seriously as a form. He was influenced,
though, by the French prose poem, which had become a much more elegant
and almost 'courtly' study in layers of irony. Through the last decade
the Americans have widely explored the possibilities of the clash
between the extrovert dynamism and greed and introverted idealism
and despair, and the prose poem allowed them to hit the raw nerve
of the subconscious - wham - in a way that had only been tentative
before - say, in the work of e e cummings...
M: To pursue that question of form and expectations: if the line-breaks
in a poem suggest how we should read it, what means does the prose
poem have of directing the expectations we bring to it?
TS: Very often the 'poetic' part of the prose poem is expressed through
an appeal to illogic: to states of receptivity which deny what we
have come to expect prose to offer - that is, rational discourse,
descriptive clarity, even rhetoric in its conventional sense of persuasion,
of using language to set certain cogs in motion. The prose poem creates
its lyrical frisson by pointing the reader's anticipatory glands in
that direction, and then somehow working a change ... Also, the prose
poem seems very much a present-tense form. It operates on a sense
of immediacy: I am doing this, this is happening to me. And that's
immediately conducive to a dream state, because a dream has exactly
that things-are-happening-to-me-now feeling. What's implicit is that
I am a passive receiver of certain things. Things flow around the
"I". This has become characteristic of a lot of prose poetry:
an observer is operated on by all sorts of things, some magical, some
absolutely mundane. Often the juxtaposition becomes the active force
- 'I am sitting in a car there is a blue pram being wheeled past by
a lady wearing a pink floral eiderdown...' The naming quality becomes
important.
M: So although some of your prose poems suggest a narrative, that's
not the important thing?
TS: No. But there's another interesting quality of the prose poem
apart from that surreal experience presented with the openness of
a passive dream state. This is the implicitly dramatic context of
a you-and-me. The poem becomes a dialogue between writer and reader.
Many of the more bizarre elements of a lot of prose poems attempt
to provoke the reader into participating in what the work offers.
Sometimes shock tactics are used. Sometimes coercive tactics.
M: I've noticed that in some of your prose poems there's also a dialogue
within yourself, or there's an implied interlocutor, and perhaps very
occasionally a dramatic impersonation.
TS: Yes, though that's less characteristic of the form than the use of
surrealism. This is a way in which surrealism has become legitimate, opening
up possibilities that seem not just jejune.
M: Are there other ways, then, in which voices, or points of view,
are important in the prose poem?
TS: I suggest that the best prose poems of the twentieth century
have all tended to be groups of poems which build up into sequences.
Octavia Paz, in his book-length Eagle of Sun (the first major
Latin-American essay in the form, by the way), uses the "I"
as an ordinary person full of practicalities, involved with ordinary
functions, who is also exploring what it is to be a Mexican, and as
well having a vision of the old Aztec gods in the present-day world.
All these things cohere because of the surrealism and typical Spanish
violence of the juxtapositions, the balance between flat prose and
highly florid colouration. It only works as a sequence: each small
piece builds upon the next and upon the next, like infinite variation.
M: So you get both the advantage of lyricism, which you mentioned
earlier, and the more extended scope of prose?
TS: This is where the prose poem can develop as a major form. It's
a way of creating a lyrical epic, if you like, without a narrative
but with an implied dramatic context, so that all those things we've
been talking about, tensions within even the essence of the word,
the words as they cling together in a sentence, are expanded and built
upon in this larger accretion. The most exciting and successful prose
poems of the last twenty years have taken this form - such as Italo
Calvino's Invisible Cities, Robert Bly has also done three
or four books of prose poems; they're small sequences because Bly
is always a miniaturist, but all explore that capacity for growth
through accretion. In Australia, Andrew Taylor's Parabolas was
a pivotal work, the first book-length collection of prose poems here.
To mention just a couple of other Australian writers: Anna Couani
attempts a form closer to the non-narrative short-story but with all
the lyricism of an eternally displaced present-tense I mentioned before.
Robert Kenny in Etcetera tries to recreate and explore his
childhood in the early 1950s: he uses short prose forms that list
just a few non-essential items suddenly isolated to give that strange
intensity like an unexpected photograph of a familiar scene. The book
itself might not 'live' more than a few years, but its importance
is greater than can be objectively measured: it's already given rise
to other collections of a similar sort ?? by Laurie Duggan and Denis
Gallagher, for instance.
M: Among the titles you mention Parabolas and your own
Turning Full Circle both use the image of the curve, of the
momentum that comes back to itself. Presumably recurrence is important
in those sequences of prose poems you're talking about?
TS: Yes, that hits very much to the centre. Finding what's within
the circle. The greatest of all French prose poets must be Francis
Ponge and his Soap is a great circular pattern of finding and
refinding...I hadn't previously traced that as an overriding formal
focus, though I'd been intrigued by the capacity of the prose poem
to work through extended groupings - and certainly the 'rondo' or
'variation' musical forms had seemed somehow parallel.
M: Yet in your own Turning Full Circle you do use the image
of music from time to time so you have that sense of development of
motif, its recurrence and variation.
TS: In my collection there were certain recurring motifs and a self-conscious
preoccupation with 'turning full circle', of ending up where you started
- but you never come back to where you started with exactly the same
perspective.
M: Yes, there's no sense of any contrived connections and yet they
obviously do relate to one another.
TS: One has preoccupations in any time of one's life. But others
which are much more basic come through. For the very last group I
looked back - and then I tried to do different things, partly because
I felt I'd been following a certain thread, seeing where it led, and
suddenly I thought: no, there are other things that can be done too
in this form. That was where I introduced the short-loin chops - to
create a compressed short-story resonance. I used a third person there
as a contrast. The temptation was to bust the form open, try something
wider...
Reading that interview again, these decades later, I am of course struck
with the extended book-length prose poem sequence that have been achieved
in Australia in more recent years. Certainly Laurie Duggan's The
Ash Range stands out, but also John Tranter's recent Different
Hands (Folio/Fremantle Arts Centre Press 1998), which calls itself
'seven stories', comes more truly into the genre of prose poem (and,
for that matter, some of David Brooks' stories similarly lean in that
direction rather than as straightforward 'prose'). I myself have always
considered my novel White Stag of Exile more truly a prose poem.
The thing is, I must maintain, we now have an achieved body of work
in this form. We should know more about it. Knowing it more closely,
we can teach it more ably. That is my belief.
Tom Shapcott
Professor of Creative Writing, University of Adelaide


--- layout: directory title: Aidan O'Gorman - Selected Skills dirname: Skills tagtype: skill --- {% for skill in site.skills %}


The proxy situation on Android is [an
embarrasment](http://code.google.com/p/android/issues/detail?id=1273). It's
scarcely credible, but Android didn't have a global proxy setting at all until
quite recently, and it's still not supported on many common Android versions.
In the meantime the app ecosystem has grown used to life without this basic
necessity, and many apps merrily ignore it even if it's there. This situation
is improving, but in many circumstances using [transparent
mode](@!urlTo("transparent.html")!@) is mandatory for testing Android apps.
We used both an Asus Transformer Prime TF201 (Android 4.0.3) and a Nexus 4
(Android 4.4.4) in the examples below - your device may differ, but the broad
process should be similar. On **emulated devices**, there are some [additional
quirks](https://github.com/mitmproxy/mitmproxy/issues/204#issuecomment-32837093)
to consider.
## Getting the certificate onto the device
The easiest way to get the certificate to the device is to use [the web
app](@!urlTo("webapp.html")!@). In the rare cases where the web app doesn't
work, you will need to get the __mitmproxy-ca-cert.cer__ file into the
__/sdcard__ folder on the device (/sdcard/Download on older devices). This can
be accomplished in a number of ways:
- If you have the Android Developer Tools installed, you can use [__adb
push__](http://developer.android.com/tools/help/adb.html).
- Using a file transfer program like wget (installed on the Android device) to
copy the file over.
- Transfer the file using external media like an SD Card.
Once we have the certificate on the local disk, we need to import it into the
list of trusted CAs. Go to Settings -> Security -> Credential Storage,
and select "Install from storage":
The certificate in /sdcard is automatically located and offered for
installation. Installing the cert will delete the download file from the local
disk.
## Installing the certificate
You should now see something like this (you may have to explicitly name the
certificate):
Click OK, and you should then see the certificate listed in the Trusted
Credentials store:


CJ Wilson
From Zero to Zen: Software Development is Practice
Arrays and Hashes
What's the Difference?
January 27, 2015
Arrays and hashes are crucial methods of information storage in Ruby. Both arrays and hashes store data in an list. Both accept iterators (.each, .times etc.) that can perform a certain action a specific number of times or to each item in the array or hash. It's easy to use the terms interchangeably, but there are subtle differences and advantages to each. The following code represents unlikely but very possible examples of an array and a hash:
array_of_things=[1,2,"hello",3,4.55] hash_of_things={foodtype: "Indian", 1=>"one", nineteen: 64}Arrays are lists of variables. They have an interesting numbering system because the first data point is stored at 0 instead of 1; if I wanted to know what the first value of the array is, I would want to look to the "zeroth" position ([0,1,2,3 etc.]). What position of an array do you think [-1] points to (hint: it's the last one)? We refer to this ordering system as an array's index. We can think of the integer of the index position as a key to a specific data point in an array. You can store any type of object (string, integer, float etc.) inside an array. To demonstrate this indexing system, check out the following code:
array_of_things[3] =>3 array_of_things[2] =>"Hello"Notice how entering the index position [3] yields the fourth item in the array? Don't forget about the "zeroth" position! Array's are more efficient for creating ordered list with defined numbers as the index position.
Hashes are similar to arrays because they also store data. This data can be stored as strings, numbers, floats etc. just like arrays. But instead of storing data in a list like an array with an integer as the index position indicator, a hash uses key/value pairs as a container (think of an array's index as comparable to a hash's key). A hash's key (index) can be any value, not just an integer like an array. A value is linked to a certain key. Inside a specific hash, a key must be unique, but a value may be repeated. For example, if I want to store animal names (in symbol object form to save memory) as my keys, and I want to list something that they produce as the values, I would type something like this:
animal_hash={cow: "milk", goat: "milk"} ==>{:cow=>"beef", :goat=>"milk"}If I were to try to assign two values to :cow, Ruby would assign the value of the second entry to the key:
animal_hash={cow: "milk", cow: "beef"} ==>{cow:=>"beef"}When would I want to use a hash? Hashes are flexible and easy to use for storing data. If I wanted to retrieve or store data with a key of my own choosing besides an integer, a hash would suit my needs well over an array.
My review only skims the surface of the powers of hashes and arrays. For more information I suggest checking out the Array Ruby Doc and Hash Ruby Doc links for more detailed information on these subjects.


- deleteAtHead() - Method in class com.cig.ds.SinglyLinkedList
-
deleteAtHead() method deletes the first node at the beginning of the list
- deleteAtHead() - Method in class com.cig.ds.SinglyLinkedList2
-
deleteAtHead() method deletes the first node at the beginning of the list
- deleteAtTail() - Method in class com.cig.ds.SinglyLinkedList
-
deleteAtTail() method deletes the last node at the end of the list
- deleteAtTail() - Method in class com.cig.ds.SinglyLinkedList2
-
deleteAtTail() method deletes the last node at the end of the list
- deleteFirstOccurance(T) - Method in class com.cig.ds.SinglyLinkedList
-
deleteFirstOccurance() method deletes the first node which matches the value
- deleteFirstOccurance(T) - Method in class com.cig.ds.SinglyLinkedList2
-
deleteFirstOccurance() method deletes the first node which matches the value
- display() - Method in class com.cig.ds.SinglyLinkedList
-
display() method displays all the nodes in the list along with the head and tail nodes and the number of nodes
- display() - Method in class com.cig.ds.SinglyLinkedList2
-
display() method displays all the nodes in the list along with the head and tail nodes and the number of nodes


---
layout: default
title: References
bodyclass: listing
---
Those references are in a chronological order, and only represent the work I do in my spare time.
See also my projects for some other work by me.
{% for post in site.categories.references %}
{% include reference.html %}
{% endfor %}


Turkey: 17 hurt in explosions at ammunition depot
by The Associated PressANKARA, Turkey (AP) — Turkish officials say two explosions at an ammunition depot in southeast Turkey have injured 16 military personnel and one civilian.
Gov. Abdullah Erin of Sanliurfa province has told reporters that the explosions occurred late Wednesday at the command of a mechanized brigade in the province, which borders Syria.
He says the first explosion triggered the second. A fire that ensued was quickly brought under control.
The governor says a civilian who was on the balcony of his home near the site of the blast was among the injured. One of the injured military personnel was in serious condition, he said.
Erin says the cause of the explosions is under investigation, adding that authorities believe a “technical” fault may have triggered them.
The Associated Press


Warning
College
Harvard
Location
Cambridge, MA 02138
Tuition
Tuition fees raise each semester such as a full total of $41,632 as of last semester of the previous year.
Desired Major
Business Management


Full-Stack Web Dev
I am an aspiring Full Stack Web developer. I live in Fort Worth Texas, but I call home anywhere that I can take my laptop. I love creating, designing and working hard to design big picture projects. I currently have knowledge of HTML, CSS, & JavaScript. I am working towards expanding my horizon, and learning much more...
Projects, Assignments, Freelance


Tim is very confident in their
technological abilities, and they blame
the software vendor if they run into problems with features.
Tim is very confident in their
abilities with technology, and thinks theyare better than the average person at learning about new features.
Tim doesn't give up easily when computers or technology present a
challenge to them. Tim will spend hours
reading the manual so they can configure
something to do exactly what they want to do.
If they can’t fix the problem,
they blame it on the software vendor;
it’s not their fault if
they can’t get it to work.


Spellbook Seller Elena:
The damned old lady sent you?
Did you come here knowing the relation between the old lady and me?
Yes, we were really close in the past. So I said that I will help to find the method of getting forbidden force from the old documents.
And finally I found the clue for the force. But the old lady complained about my food!
We fought for that reason and never met again.
Sometimes, people like you are deceived by the old lady's trick, and come to me to get some information but never pass my test and go back empty-handed.
"What is the test?"


All talk recordings are now available. You can find the links below.
Schedule
Saturday, 15 June 2019
Grand Ballroom B, Long Beach Convention Center
| 8:45 - 9:00 |
Opening remarks |
| 9:00 - 9:30 |
Invited talk: William L. Hamilton, McGill University. Graph Neural Networks and Graph Isomorphism [video] |
| 9:30 - 9:45 |
Contributed talk: Aynaz Taheri and Tanya Berger-Wolf. Evolutionary Representation Learning for Dynamic Graphs [video] |
| 9:45 - 10:00 |
Poster spotlights (Papers #1, #7, #9) [video] |
| 10:00 - 11:00 |
Coffee break and morning poster session (Papers #1 - #20) |
| 11:00 - 11:30 |
Invited talk: Marwin Segler, Benevolent AI. Reinforcement Learning with Graphs: Chemistry and Beyond [video] |
| 11:30 - 12:00 |
Invited talk: Yaron Lipman, Weizmann Institute of Science. Invariant Graph Networks [video] |
| 12:00 - 12:15 |
Contributed talk: Zheng Ma. PAN: Path Integral Based Convolution for Deep Graph Neural Networks [video] |
| 12:15 - 12:30 |
Poster spotlights (Papers #21, #24, #25) [video] |
| 12:30 - 14:00 |
Lunch break |
| 14:00 - 14:30 |
Invited talk: Alex Polozov, Microsoft Research. Program Understanding Synthesis, and Verification with Graph Neural Networks [video] |
| 14:30 - 15:00 |
Invited talk: Sanja Fidler, University of Toronto. Graph Nets for Content Creation [video] |
| 15:00 - 15:15 |
Contributed talk: Enxhell Luzhnica, Ben Day and Pietro Lió. On Graph Classification Networks, Datasets and Baselines [video] |
| 15:15 - 15:30 |
Poster spotlights (Papers #29, #31, #37) [video] |
| 15:30 - 16:30 |
Coffee break and afternoon poster session (Papers #21 - #40) |
| 16:30 - 17:00 |
Invited talk: Caroline Uhler, MIT. From Predictive to Causal Modeling: Bridging the Gap [video] |
| 17:00 - 17:30 |
Invited talk: Alexander Schwing, University of Illinois at Urbana-Champaign. Learning to Anticipate [video] |


Hamlet
by William Shakespeare
Act 1, Scene 5
Additional Information
- Year Published: 0
- Language: English
- Country of Origin: England
- Source: White, R.G. ed. The Complete Works of William Shakespeare. New York: Sully and Kleinteich.
-
Readability:
- Flesch–Kincaid Level: 11.0
- Word Count: 1,572
- Genre: Tragedy
- Keywords: betrayal, death, murder, revenge
- ✎ Cite This
Downloads
SCENE V. Another part of the platform.
(Enter GHOST and HAMLET)
HAMLET
Where wilt thou lead me? speak; I'll go no further.
Ghost
Mark me.
HAMLET
I will.
Ghost
My hour is almost come,
When I to sulphurous and tormenting flames
Must render up myself.
HAMLET
Alas, poor ghost!
Ghost
Pity me not, but lend thy serious hearing
To what I shall unfold.
HAMLET
Speak; I am bound to hear.
Ghost
So art thou to revenge, when thou shalt hear.
HAMLET
What?
Ghost
I am thy father's spirit,
Doom'd for a certain term to walk the night,
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
I could a tale unfold whose lightest word
Would harrow up thy soul, freeze thy young blood,
Make thy two eyes, like stars, start from their spheres,
Thy knotted and combined locks to part
And each particular hair to stand on end,
Like quills upon the fretful porpentine:
But this eternal blazon must not be
To ears of flesh and blood. List, list, O, list!
If thou didst ever thy dear father love—
HAMLET
O God!
Ghost
Revenge his foul and most unnatural murder.
HAMLET
Murder!
Ghost
Murder most foul, as in the best it is;
But this most foul, strange and unnatural.
HAMLET
Haste me to know't, that I, with wings as swift
As meditation or the thoughts of love,
May sweep to my revenge.
Ghost
I find thee apt;
And duller shouldst thou be than the fat weed
That roots itself in ease on Lethe wharf,
Wouldst thou not stir in this. Now, Hamlet, hear:
'Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown.
HAMLET
O my prophetic soul! My uncle!

From me, whose love was of that dignity
That it went hand in hand even with the vow
I made to her in marriage, and to decline
Upon a wretch whose natural gifts were poor
To those of mine!
But virtue, as it never will be moved,
Though lewdness court it in a shape of heaven,
So lust, though to a radiant angel link'd,
Will sate itself in a celestial bed,
And prey on garbage.
But, soft! methinks I scent the morning air;
Brief let me be. Sleeping within my orchard,
My custom always of the afternoon,
Upon my secure hour thy uncle stole,
With juice of cursed hebenon in a vial,
And in the porches of my ears did pour
The leperous distilment; whose effect
Holds such an enmity with blood of man
That swift as quicksilver it courses through
The natural gates and alleys of the body,
And with a sudden vigour doth posset
And curd, like eager droppings into milk,
The thin and wholesome blood: so did it mine;
And a most instant tetter bark'd about,
Most lazar-like, with vile and loathsome crust,
All my smooth body.
Thus was I, sleeping, by a brother's hand
Of life, of crown, of queen, at once dispatch'd:
Cut off even in the blossoms of my sin,
Unhousel'd, disappointed, unanel'd,
No reckoning made, but sent to my account
With all my imperfections on my head:
O, horrible! O, horrible! most horrible!
If thou hast nature in thee, bear it not;
Let not the royal bed of Denmark be
A couch for luxury and damned incest.
But, howsoever thou pursuest this act,
Taint not thy mind, nor let thy soul contrive
Against thy mother aught: leave her to heaven
And to those thorns that in her bosom lodge,
To prick and sting her. Fare thee well at once!
The glow-worm shows the matin to be near,
And 'gins to pale his uneffectual fire:
Adieu, adieu! Hamlet, remember me.
(Exit)
HAMLET
O all you host of heaven! O earth! what else?
And shall I couple hell? O, fie!  Remember thee!
Ay, thou poor ghost, while memory holds a seat
In this distracted globe. Remember thee!
Yea, from the table of my memory
I'll wipe away all trivial fond records,
All saws of books, all forms, all pressures past,
That youth and observation copied there;
And thy commandment all alone shall live
Within the book and volume of my brain,
Unmix'd with baser matter: yes, by heaven!
O most pernicious woman!
O villain, villain, smiling, damned villain!
My tables,—meet it is I set it down,
That one may smile, and smile, and be a villain;
At least I'm sure it may be so in Denmark:
(Writing)
So, uncle, there you are. Now to my word;
It is 'Adieu, adieu! remember me.'
I have sworn 't.
MARCELLUS HORATIO
[Within] My lord, my lord,—
MARCELLUS
[Within] Lord Hamlet,—
HORATIO
[Within] Heaven secure him!
HAMLET
So be it!
HORATIO
[Within] Hillo, ho, ho, my lord!
HAMLET
Hillo, ho, ho, boy! come, bird, come.
(Enter HORATIO and MARCELLUS)
MARCELLUS
How is't, my noble lord?
HORATIO
What news, my lord?
HAMLET
O, wonderful!
HORATIO
Good my lord, tell it.
HAMLET
No; you'll reveal it.
HORATIO
Not I, my lord, by heaven.
MARCELLUS
Nor I, my lord.
HAMLET
How say you, then; would heart of man once think it?
But you'll be secret?
HORATIO MARCELLUS
Ay, by heaven, my lord.
HAMLET
There's ne'er a villain dwelling in all Denmark
But he's an arrant knave.
HORATIO
There needs no ghost, my lord, come from the grave
To tell us this.
HAMLET
Why, right; you are i' the right;
And so, without more circumstance at all,
I hold it fit that we shake hands and part:
You, as your business and desire shall point you;
For every man has business and desire,
Such as it is; and for mine own poor part,
Look you, I'll go pray.
HORATIO
These are but wild and whirling words, my lord.
HAMLET
I'm sorry they offend you, heartily;
Yes, 'faith heartily.
HORATIO
There's no offence, my lord.
HAMLET
Yes, by Saint Patrick, but there is, Horatio,
And much offence too. Touching this vision here,
It is an honest ghost, that let me tell you:
For your desire to know what is between us,
O'ermaster 't as you may. And now, good friends,
As you are friends, scholars and soldiers,
Give me one poor request.
HORATIO
What is't, my lord? we will.
HAMLET
Never make known what you have seen to-night.
HORATIO MARCELLUS
My lord, we will not.
HAMLET
Nay, but swear't.
HORATIO
In faith,
My lord, not I.
MARCELLUS
Nor I, my lord, in faith.
HAMLET
Upon my sword.
MARCELLUS
We have sworn, my lord, already.
HAMLET
Indeed, upon my sword, indeed.
Ghost
[Beneath] Swear.
HAMLET
Ah, ha, boy! say'st thou so? art thou there,
truepenny?
Come on—you hear this fellow in the cellarage—
Consent to swear.
HORATIO
Propose the oath, my lord.
HAMLET
Never to speak of this that you have seen,
Swear by my sword.
Ghost
[Beneath] Swear.
HAMLET
Hic et ubique? then we'll shift our ground.
Come hither, gentlemen,
And lay your hands again upon my sword:
Never to speak of this that you have heard,
Swear by my sword.
Ghost
[Beneath] Swear.
HAMLET
Well said, old mole! canst work i' the earth so fast?
A worthy pioner! Once more remove, good friends.
HORATIO
O day and night, but this is wondrous strange!
HAMLET
And therefore as a stranger give it welcome.
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy. But come;
Here, as before, never, so help you mercy,
How strange or odd soe'er I bear myself,
As I perchance hereafter shall think meet
To put an antic disposition on,
That you, at such times seeing me, never shall,
With arms encumber'd thus, or this headshake,
Or by pronouncing of some doubtful phrase,
As 'Well, well, we know,' or 'We could, an if we would,'
Or 'If we list to speak,' or 'There be, an if they might,'
Or such ambiguous giving out, to note
That you know aught of me: this not to do,
So grace and mercy at your most need help you, Swear.
Ghost
[Beneath] Swear.
HAMLET
Rest, rest, perturbed spirit!
(They swear)
So, gentlemen,
With all my love I do commend me to you:
And what so poor a man as Hamlet is
May do, to express his love and friending to you,
God willing, shall not lack.
The time is out of joint: O cursed spite,
That ever I was born to set it right!
Nay, come, let's go together.
(Exeunt)


WITNESS LIST Civil Practices Committee September 22, 1998-12:00P Class Action Litigation On: Besiner, John (Tx Civil Justice League) Carrell, Richard (Tx Civil Justice League) Hile, Richard (Tx Trial Lawyers Assn)


New CRAN release. All issues included in this release can be found here.
Main new features:
New method added for estimating spatial images of vertically integrated density and reflectivity (see Kranstauber et al. 2020, accessible through function integrate_to_ppi()
. This function produces an image (as a ppi
object) showing the density of animals on the earth’s surface, corrected for the changing overlap between the radar beams and animal layer with distance from the radar. Read the paper and check out the vignette for examples.
Implementation of the convolution neural network MistNet for separating biological and meteorological signals in radar images (#262) (see Lin et al. 2019). MistNet is now a segmentation option in function calculate_vp()
. New function apply_mistnet()
reads segmentation results, which can be readily visualized with plot.ppi
and plot.scan
functions.
Support for more data formats. bioRad now reads Vaisala IRIS RAW format directly, helpful for countries like 🇨🇦 🇫🇮🇨🇴🇵🇹 (#222). bioRad also reads files containing single elevation scans, and profiles can be calculate using calculate_vp
from multiple files containing single elevation scans (#221)
New and faster conversion functions:
new function calculate_param()
for calculating new scan parameters from existing scan parameters, e.g. linear reflectivity eta
from reflectivity factor DBZH
(#287)
scan_to_raster()
to convert a scan
into a RasterBrick
compatible with package raster (#238)
scan_to_spatial()
to convert a scan
into a SpatialPointsDataFrame
compatible with package sp (#238)
project_as_ppi()
function is now much faster (e420e5d), and accounts for earth’s curvature (820e85f)
New functions describing the radar beam geometry:
new functions beam_distance()
, beam_range()
to relate range (i.e. slant range), distance (i.e. down range) and height of the radar beam.
new function beam_profile()
to calculate for a set of beam elevations the altitudinal normalized distribution of radiated energy by those beams.
new function beam_profile_overlap()
to calculate the distribution overlap (in terms of Bhattacharyya distance) between a vertical profile (vp
) and the vertical radiation profile of a set of emitted radar beams (given by beam_profile()
)
Additional features and changes:
new function nyquist_velocity()
to calculate the unambiguous velocity of Doppler radar from its pulse repetition frequency/frequencies (#208)
new function filter_vpts()
, simplifying the selection of time ranges and instances in vertical profile time series objects (vpts
) (#241)
corrected the definition of height-integrated velocity (issues #232, #233, 72be6d1)
improved documentation of how mtr can be calculated from vid, u, v (6dce625)
read_pvolfile()
now also reads quantities DBZ, TH, T, because these often occur in European data and are relevant for biological analysis (note that DBZ and T are not ODIM-complient names) (5db08bd)
fix in plot.scan()
, correcting the ordering of rays (#285)
fixes to position and rounding of speed barbs in plot.vpts()
(#277, #244)
default unit of interval argument in integrate_profile()
changed to seconds (#234)
default projection of project_as_ppi()
is now onto earth’s surface (#280)
avoid mixing up of quantity and param arguments with informative message (#267)
height
is now the default quantity denoting height above mean sea level. HGHT
is deprecated (#273)
The plots for both plot.vpts
and plot.vp
got shifted up by half the height interval to reflect that height
refers to the bottom of the height interval (#277, #198)
in calculate_vp()
the default sd_vvp_threshold
parameter value at S-band is now 1 m/s (#93)
and many small bug fixes and documentation improvements.
First release on CRAN! All issues included in this release can be found here.


The Rose Valley (Bulgaria) is located just south of the Balkan Mountains (Kazanlak).The most common oil-bearing rose found in the valley is the pink-petaled Damask rose (Rosa damascena Mill).


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All Classes
| Class | Description |
|---|---|
| Backend |
Backend for the intermediate proxy.
|
| BadRequest |
A bad request object.
|
| Client |
Sends requests and prints the response.
|
| Config |
The configuration file loader.
|
| EndState |
The state for when parsing is done, ignoring all remaining bytes.
|
| FilenameState |
The state for decoding the filename.
|
| Frontend |
The front half of the intermediate proxy.
|
| InitialState |
The initial state of the parser.
|
| LoadBalancer |
Round robin load balancer for the intermediate proxy.
|
| Main |
Methods to group the entire intermediate proxy in one call.
|
| Main |
A main class to run all the actors.
|
| ModeState |
The state for decoding the mode.
|
| Packet |
A UDP packet, a simpler version DatagramPacket.
|
| Request |
The request object sent by client containing information specified in the
outline.
|
| Request.Builder |
The builder for request objects.
|
| Response |
The response object sent by the server.
|
| Server |
Receives requests and responses to them.
|
| State |
Abstract state class for a object orientated parser.
|
| StringState |
Abstract class for parsing a string ending a 0 byte.
|
| TypeState |
Decode if the request is read or write.
|


--- layout: post title: "The Business of Ed-Tech: July 2017 Funding Data" date: 2017-08-01 13:00:00 +0000 tags: image: https://s3.amazonaws.com/hackedu/2017-03-01-money.jpg imagecredits: https://www.flickr.com/photos/chrisdlugosz/3403776466 ---
Here is the latest data on “the business of ed-tech” for July 2017:
The amount of money invested so far this year remains higher than at the same time in 2016 and 2015. But the number of investment deals has fallen. That is to say, the funding total for the year is being driven by a small number of very large investments – there have been seven of $100 million or more.
Acquisitions are also down from previous years – and down rather dramatically: only 46 so far this year compared to 68 this time last year and 64 the year before.
The types of companies that seem popular with investors include:
The companies that have raised the most money so far this year:
Over the past few weeks, I’ve been updating how I track and manage this funding data. You can now find separate GitHub repositories for all areas of funding that I monitor:
These sites include human- and machine-readable versions of this funding data.
If you see an error or omission, please file a GitHub issue. You’re welcome to fork or download the repositories too, of course.


Step 1: Accept & Store Genuine Signature Image: Take actual signature scanned image of the onboarding
customer and store it in a database against a unique Customer ID
* Required Field are to filled
Step 2: Accept & Compare Signature Images: Accept inputs of Customer ID and corresponding signature
image.
Compare with the signature stored in DB against the given Customer ID, and return a Confidence Match Score
between
the two signature images.
* Required Field are to filled


Datetime - Min/Max
Value inside Bounds
Value Outside Bounds
AM/PM Min/Max
h23 Min
locale: en-GB
Min with year/month/day


Your Order History
Placeholder
Order
Macros
Carbs: 52g
Protein: 25g
Calories: 500
Fat: 15g
Price
$11.70
Date Ordered
27/11/2020


--- categories: [] date: 2013-04-03T09:01:47Z status: publish tags: [] title: Joe's breakfast layout: post url: /2013/04/03/joes-breakfast/ ---
Plus guy who keeps calling out the time and pointing at his toe telling it off.


I m a Postdoctoral researcher at UPSC (Sweden).
I did my PhD from 2018 to 2022 at UCLouvain (Belgium), where I delved into the fascinating "in silico" realm of root hydraulic anatomy under Guillaume guidance. My curiosity led me to explore further the hidden half, as I embarked on two short post-doc at UCLouvain.
In August 2023, I began an new chapter in my research journey, joining forces with the two teams of Stéphanie and Stéphane, within the Umeå Plant Science Centre. Building upon my previous experiences, my current project centers around unraveling the intricate relationship between epidermal cells and their superstructures in response to various mechanical stressors.
Anatomical functions are quite surprising and to unravel their mysteries I mostly use computational models. As a results, I hope that a better understanding at the anatomical level will probably improve the ways we grow plants.
Overview of the few project I have been working on.
The influence of heterogeneous soil water potential on root growth, modeling root plastic response
A. Heymans, T. Wei, M. Laurent, X. Draye and M. Javaux.
Combining cross-section images and modeling tools to create high-resolution root system hydraulic atlases in Zea mays
A. Heymans, V. Couvreur, and G. Lobet.
Radial water fluxes in a generated root cross section
A. Heymans, and V. Couvreur
Virtual phenotyping pipeline for root hydraulic traits.
A. Heymans, V. Couvreur, F. Meunier, M. Javaux, X. Draye, and G. Lobet.
From root system scans to a 3D models of your plant in few steps.
Plant models - Image analysis software tools - Image dataset
quantitative-plant.org . A website presenting image analysis software tools and models for plants
Doing Sciences with R
R for Data Science. This book will teach you how to do data science with R
Data to Viz. From Data to Viz leads you to the most appropriate graph for your data. It links to the code to build it and lists common caveats you should avoid.


Cypressy
Phone:
111 222 3333
E-mail:
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Street address – Cordoba, Argentina
Opening times:
8 - 20 hs
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Grow up and get a life Tshirt
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SNATCH
Reviewed by Harvey Karten Screen Gems Director: Guy Ritchie Writer: Guy Ritchie Cast: Benicio Del Toro, Dennis Farina, Mike Reid, Rade Serbedzija, Robbie Gee, Lennie James, Ade, Jason Statham, Stephen Graham, Alan Ford, Brad Pitt
I've heard said that young people don't give much of a fig for stories anymore. What they want to see on the screen is special effects along with their explosions and car crashes-- which accounts for box office takes for "The Cell," "Vertical Limit," and "Proof of Life." If they can't get special effects or explosions, then give the principal target audience lots of visuals, actions galore to keep their minds distracted from the fact that the movie has no plot worth thinking about. "Snatch," written and directed by Guy Ritchie--who gave us "Lock, Stock and Two Smoking Barrels" but does not consider this a sequel--is mayhem posing as hip; motion aspiring to chic. While this bit of convuluted, disconnected mayhem may simply be the sort of thing I just don't "get," I suspect that "Snatch" is the picture that will be praised by people who are eager to patronize the lovers of story lines--the folks they consider plain too old-fashioned to go for postmodern gibberish.
While we may be tempted to think that the title is a double entendre, "Snatch" seems to refer exclusively to the aim of some London and NY underworld characters to seize an 83- carat diamond, but this is no "Topkapi" by a long shot.
The commotion begins when a quartet of diamond bandits disguised as Hasidim including Franky Four Fingers (Benicio Del Toro) rip off a wholesale jeweler to deliver the 83 carat diamond to Franky's employer, Avi (Dennis Farina). Franky, a compulsive gambler, bets with the Russian Boris The Blade (Rade Serbedjija) on an illegal boxing bout, unaware that he is being set up for a robbery at the hands of Vinny (Robbie Gee), Sol (Lennie James), and Tyrone (Ade). (Ade, the getaway driver, is so fat that he can barely get out of the getaway car...that's the level of humor you'll find in various parts of the movie.) Turkish (Jason Statham) hooks up with top criminal and pig farm owner (the pigs are used to eat bodies, thereby disposing of evidence) Brick Top (Alan Ford) to fix a fight, but Mikey O'Neil (Brad Pitt), an Irish gypsy who speaks an almost impenetrable language, refuses to take a fall and knocks out all opponents.
The one catchy visual in this picture can be missed if you blink and will remind cineastes of a similar run-through of sorts in "Requiem for a Dream." Avi, the only attractive and interesting human being in the movie, catches a Concorde to London: Ritchie shows the entire booking, the flight and the movement through British passport control in four seconds.
Though the violence is largely an illusion, instances of solid editing by Jon Harris, the suggestion is as brutal as that found in "Fight Club," including the mostly off-screen poking of a caged pit bull and the sending of a couple of killer dogs after a frightened rabbit for sport. The film is about a succession of double crosses, indicating that there really is no honesty among thieves and rascals, but to get back to my theory, I think the film will be used by the chic set to look down on fuddy-duddies who prefer movies to have a point.
Rated R. Running time: 105 minutes. (C) 2000 by Harvey Karten<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


Former koevoet and SWATF members demonstrate over payment by government
Traffic was again brought to a standstill in the Independence Avenue in Katutura, by former koevoet and SWATF members, when they blocked the street in protest over the payment by the government which they claimed the then apartheid South African government gave to them.
More than 700 Namvet members took to the streets, demanding that the government must give them feedback on their long overdue demands.


--- layout: post title: "Life in 35mm" subtitle: "Do Kina" date: 2020-02-10 background: '/img/posts/06.jpg' ---
Long before the malls with their multiplexes came to the city, Prague had its own cinema halls or better known as Kino. Littered across the city you can find single screen and/ or multi screen halls to suit your liking and timing.
Marking its absence from the list will be your favourite neighbourhood multiplex.
Within Prague chances of finding a Kino are the highest in and around the city center. In fact some of the best venues for film viewing in Europe are in Prague’s city center. Almost all cinema halls have a bar and no film has an interval. With that being said , these are the top three places to go for a film.
Saying that this place is popular among the locals would be an understatement. The place has a connection with Vaclav Havel. If you do not know the guy, it's OK. If you are planning on flying to Prague, you will get to hear his name once again. If you live here, you know him. And if you are from Prague chances are you love him.
Kino Lucerna participates regularly in cultural events and shows films from around the world. Located at Wenceslas Square on a street called Spalena, you cannot miss this place. The cinema itself has three viewing halls and a restaurant. The place reeks of old world charm. If you end up watching a film from that era in this cinema, you will feel like you have time travelled. English films are also shown here. The closest tram stop is Vaclavske Namesti and the closest Metro station is Mustek.
This place is for film connoisseurs. In a lane near Narodni Trida this nondescript cinema is magic for film lovers. They often have international films. A small bar is present as there as well, one where you can sample local brew. We had a brew called Kocour, not bad at all.
So where is the magic ? The magic is when they show certain films in 35mm. It's a completely different movie experience, one that you would possibly not have experienced yet. It won't be a life changing one, don't expect to come out and turn water into wine. But you will hopefully come out with a smile. Do check the place out. The tram and metro station would be Narodni Trida on the Yellow Line. If you are lucky they just might be having a free screening ! Yes, it happens - sometimes.
This cinema hall is located in Holesovice and is popular amongst the art film going crowd. It regularly hosts film festivals and is frequented by students. This is a single screen cinema hall and the film watching experience is good. The seats are not your super soft plush chairs, they are good enough to hold your weight comfortably. More importantly chances are high that you will be lost in the images you see on the curtain. The best way to reach this place is by tram. The closest tram stop would either be Strossmayerovo Namesti.
That's the list for now. We hope you liked it. Please click on the mail icon at the end of the page to share your feedback or visit our contact page to drop us a line.
We look forward to hearing from you !
Photographs by Unsplash.


| id | {{group._id}} |
|---|---|
| name | {{group.name}} |
| uri | {{group.uri}} |
| tier | {{group.tier}} |
| schoolId | {{group.schoolId}} |
| courseId | {{group.courseId}} |
| Public Description | {{group.descriptionPublic}} |
| Member Description | {{group.descriptionForMembers}} |
| Hidden | {{group.isHidden}} |
| Open to Parent | {{group.isOpenToParent}} |
| Open to All | {{group.isOpenToAll}} |
| Admins | [list of admins] |
| Number of Members | {{ group.members.length }} |
| Sub Groups | [list of subgroups] |


#include "includes.h"
Defines | |
| #define | null '\0' |
Functions | |
| void | capture_image (char *) |
| void | vectorGeneration (char *, IplImage *, list< point >) |
| void | sample (char *, IplImage *) |
| void | show_vector_image (list< point >) |
| void | show_vector_image (list< point > path, char *imgfile, IplImage *img1) |
| list< double > | moveToNextEnd (list< double > moves, point prev_endCur, point endCur, point startNext, point next_startNext) |
| int | main () |
Variables | |
| char ** | mat |
| Global variable to maintain the image matrix. |
cs684 course project. The project duplicates a black and white image read through the camera and redraws it on a chart paper/surface. This piece of code, captures the image from the camera and generates the vector path to be traversed.
This program is free software; you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation; either version 2 of the License, or (at your option) any later version. This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details at http://www.gnu.org/copyleft/gpl.html
Open the vc++ project and build the solution
Run the executable or run the debug inside visual studio
| void capture_image | ( | char * | filemane | ) |
Capture image from webcam
| int main | ( | ) |
Main Function
| list<double> moveToNextEnd | ( | list< double > | moves, | |
| point | prev_endCur, | |||
| point | endCur, | |||
| point | startNext, | |||
| point | next_startNext | |||
| ) |
Moves the BOT to the next end point
| void show_vector_image | ( | list< point > | path, | |
| char * | imgfile, | |||
| IplImage * | img1 | |||
| ) |
Show the vector image drawn
| void vectorGeneration | ( | char * | filename, | |
| IplImage * | img, | |||
| list< point > | endPoints | |||
| ) |
Generates vectors from the image


Detailed Description
The System APIs retrieve chipset information such as vendor/device name and IDs, and CPU information such as processor type, speed, embedded CPU name, etc.
Define Documentation
Enumeration Type Documentation
Function Documentation
This function returns information about the system's chipset.
SUPPORTED OS: Windows XP and higher
- Since:
- Release: 95
- Return values:
-
| NVAPI_INVALID_ARGUMENT | pChipSetInfo is NULL. |
| NVAPI_OK | *pChipSetInfo is now set. |
| NVAPI_INCOMPATIBLE_STRUCT_VERSION | NV_CHIPSET_INFO version not compatible with driver. |
DESCRIPTION: This API converts a Physical GPU handle and output ID to a display ID.
SUPPORTED OS: Windows XP and higher
- Parameters:
-
| [in] | hPhysicalGpu | Handle to the physical GPU |
| [in] | outputId | Connected display output ID on the target GPU - must only have one bit set |
| [out] | displayId | Pointer to an NvU32 which contains the display ID |
- Return values:
-
DESCRIPTION: This API converts a display ID to a Physical GPU handle and output ID.
SUPPORTED OS: Windows XP and higher
- Parameters:
-
| [in] | displayId | Display ID of display to retrieve GPU and outputId for |
| [out] | hPhysicalGpu | Handle to the physical GPU |
| [out] | outputId | ) Connected display output ID on the target GPU will only have one bit set. |
- Return values:
-
DESCRIPTION: This function returns the current lid and dock information.
SUPPORTED OS: Windows XP and higher
- Since:
- Release: 177
- Return values:
-
DESCRIPTION: This API retrieves the Physical GPU handle of the connected display
\since Release: 313
SUPPORTED OS: Windows Vista and higher
PARAMETERS: displayId(IN) - Display ID of display to retrieve
GPU handle
hPhysicalGpu(OUT) - Handle to the physical GPU
RETURN STATUS:
NVAPI_OK - completed request
NVAPI_API_NOT_INTIALIZED - NVAPI not initialized
NVAPI_ERROR - miscellaneous error occurred
NVAPI_INVALID_ARGUMENT - Invalid input parameter.


Ajax Data Interaction
Ajax basic get/post
username:
password:
native Ajax get :
Ajax form data to upload file
Drag file to upload


who v0.0.1 Who.ProPublicaAPI.Chamber
This module defines methods for querying the ProPublica API based on chamber of Congress (i.e. House or Senate)
Link to this section Summary
Functions
Get a list of committees and subcommitees by Chamber
Get a list of current members in either the House or Senate
Get a list of recent floor actions by chamber
Link to this section Functions
Get a list of committees and subcommitees by Chamber.
EX: Who.ProPublicaAPI.Chamber.get_commitee_info(“house”)
Get a list of current members in either the House or Senate
EX:
get_members_by_chamber("house")
get_members_by_chamber("senate")
Link to this function
get_recent_chamber_actions(chamber)
get_recent_chamber_actions(String.t) :: map
Get a list of recent floor actions by chamber
EX:
Who.ProPublicaAPI.Chamber.get_recent_chamber_actions("house")
Who.ProPublicaAPI.Chamber.get_recent_chamber_actions("senate")


Web design is a profession where a person designs a web page or a web site. [1] The web page can have graphics, music, animations, and many other things on it. Some web design is done for businesses, and some is done for individual people. Some web designs are used a lot and have standard templates that are free for people to use (such as these) People who design web pages are called web designers.[1] Web designers use HTML or Dynamic HTML (DHTML), Cascading Style Sheets (CSS), JavaScript, and many other technologies to make their pages.[2] Web designers can make their pages on the Internet using website building software, or offline on their computer. Web designers in the United States of America can earn between $31,650 and $69,510 a year, with a median salary of $46,327.[3] Web design includes layouts, colors, graphics, fonts, and content.
HTML
Introduction
First developed by Tim Berners-Lee in 1990, HTML is short for Hypertext Markup Language. HTML is used to create electronic documents (called pages) that are displayed on the World Wide Web. Each page contains a series of connections to other pages called hyperlinks. Every web page you see on the Internet is written using one version of HTML code or another. HTML code ensures the proper formatting of text and images so that your Internet browser may display them as they are intended to look. Without HTML, a browser would not know how to display text as elements or load images or other elements. HTML also provides a basic structure of the page, upon which Cascading Style Sheets are overlaid to change its appearance. One could think of HTML as the bones (structure) of a web page, and CSS as its skin (appearance). What does an HTML tag look like?What does HTML look like?
What is HTML5?
What does HTML5 look like?
How to create and view HTML
Which file extensions are used with HTML?
How to pronounce HTML.
Related HTML pages.
HTML and web design questions and answers
What does an HTML tag look like?
HTML tag
As can be seen in the HTML tag example above, there are not many components. Almost all HTML tags have an opening tag that contains the name with any attributes, a close tag that contains a forward slash, and the name of the tag that is being closed. For tags that do not have a closing tag like <img>, it is best practice to end the tag with a forward slash. Each tag is contained within a less than and greater than angle brackets, and everything between the opening and closing tag is displayed or affected by the tag. In the example above, the <a> tag is creating a link called "Computer Hope" that is pointing to the hope.html file. Tip: See our HTML and Web Design Help page for a full listing of HTML tags. What does HTML look like? The following is an example of a basic web page written in HTML as well as a description of each section and its function.This is a heading
This is an example of a basic HTML page.
CSS
Introduction
Short for cascading style sheets, CSS is a language used to describe reusable styles for presenting documents written in a markup language. Its concept was originated by Håkon Wium Lie in 1994. In December 1996, CSS was made a specification by the W3C and today allows web developers to alter the layout and appearance of their web pages. For example, CSS may be used to change the font used in certain HTML element, as well as its size and color. A single CSS file may be linked to multiple pages, which allows a developer to change the appearance of all the pages at the same time. The following box contains a basic example of using CSS code to define fonts, the color of hyperlinks, and the color of a link when the mouse cursor hovers over it. In this specific example, we are only changing the HTML tags <a> and <body>, rather than creating any new class or id selectors.JavaScript
Introduction
Developed by Brendan Eich and originally known as LiveScript, the programming language JavaScript was renamed in 1995. JavaScript is an interpreted client-side scripting language that allows a web designer the ability to insert code into their web page. JavaScript is commonly placed into an HTML or ASP file and runs directly from the web page. It is utilized to perform tasks such as printing the time and date, create a calendar, or other tasks that are not possible through plain HTML. What is required to run JavaScript?Is JavaScript safe?
Are Java and JavaScript the same thing?
Hello, World! in JavaScript.
Live example of JavaScript.
List of JavaScript example scripts.
Related pages.
What is required to run JavaScript?
JavaScript only requires an Internet browser with JavaScript enabled.
All browsers by default will have JavaScript enabled.
Example
The below source code will change the background color of a page depending on the color of the day. As you can see in this example, the page will be a different color reflecting the time of day. This code should be placed in the tags of HTML your code.Bootstrap
Introduction
Bootstrap is a free and open source front end development framework for the creation of websites and web apps. The Bootstrap framework is built on HTML, CSS, and JavaScript (JS) to facilitate the development of responsive, mobile-first sites and apps.
Responsive design makes it possible for a web page or app to detect the visitor’s screen size and orientation and automatically adapt the display accordingly; the mobile first approach assumes that smartphones, tablets and task-specific mobile apps are employees' primary tools for getting work done and addresses the requirements of those technologies in design. Bootstrap includes user interface components, layouts and JS tools along with the framework for implementation. The software is available precompiled or as source code. Mark Otto and Jacob Thornton developed Bootstrap at Twitter as a means of improving the consistency of tools used on the site and reducing maintenance. The software was formerly known as Twitter Blueprint and is sometimes referred to as Twitter Bootstrap.
Example
Below example produce a responsive page to different devices:My First Bootstrap Page
Resize this responsive page to see the effect!
Column 1
Lorem ipsum dolor sit amet, consectetur adipisicing elit...
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris...
Column 2
Lorem ipsum dolor sit amet, consectetur adipisicing elit...
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris...
Column 3
Lorem ipsum dolor sit amet, consectetur adipisicing elit...
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris...
About
Services
- Training/Education
- Web Design
- CCNA(Networking)
- Data Analysis
- Project Management
- Publishing
- Computer TextBooks for Schools
- Different ICT Materials
- IT Solutions Development & Services
Client
Contact
Kano Centre
Al-Usabs House, No 15/17,Zaria Road, Kano Phone: 0803-2030-202, 0803-292-2059. Email<EMAIL_ADDRESS>Lagos Centre
27 Obafemi Awolowo Way, Beside Obafemi Awolowo House, Ikeja, Lagos. Phone: 0816-1660-043, 0802-270-5992 Email: Enquiries@hiitplc.com


I am a Lecturer IV in the School of Information at the University of Michigan. I focus on the introductory programming courses such as Data-Oriented Programming (SI 206) and the Web Design Courses (SI 339 and SI 539).
My previous jobs include Associate Professor at California State University and positions at NASA JPL, the Naval Research Lab, and the NSA. I received my BS from Kent State UniversityHonors College in Computer Science, and an MS and PhD from the University of Pittsburgh, also in Computer Science. My thesis was on Artificial Intelligence applications on the Nursebot Project, a robotic assistant for the elderly.


{% extends 'layout.html' %} {% block headertext %} Dashboard access {% endblock %} {% block content %}
Let us know your email address and we'll create a dashboard user for you and email you the details.


Located in /models/line_item.php (line 2)
AppModel | --LineItem
Documentation generated on Fri, 06 Nov 2009 10:53:59 +0900 by phpDocumentor 1.4.3


Paragraph, with anchor (no href) element.
Paragraph, with link element.
Paragraph, with visited link element.
Paragraph, with abbreviation element.
Paragraph, with abbreviation (with title) element.
Paragraph, with bold element.
Paragraph, with bi-directional isolation element.
Paragraph, with bi-directional override (left-to-right) element (bdo element direction left-to-right).
Paragraph, with bi-directional override (right-to-left) element (bdo element direction right-to-left).
Paragraph, with citation element.
Paragraph, with deleted element.
Paragraph, with definition element.
Paragraph, with definition (with title) element.
Paragraph, with italic element.
Paragraph, with inserted element.
Paragraph, with highlight element.
Paragraph, with inline quotation
element.
Paragraph, with incorrect, inaccurate or irrelevant text element.
Paragraph, with strong (important) element.
Paragraph, with superscript2 element.
Paragraph, with subscript2 element.
Paragraph, with subscript element.
Paragraph, with misspelled underlined element.
Paragraph – Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Donec elementum ligula eu sapien consequat eleifend.
Preformatted – Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.
For 50 years, WWF has been protecting the future of nature. The world's leading conservation organization, WWF works in 100 countries and is supported by 1.2 million members in the United States and close to 5 million globally.Written by Jon Doe.
- by Refsnes Data. All Rights Reserved.
All content and graphics on this web site are the property of the company Refsnes Data.
The <dialog>
tag defines a dialog box or window.
This paragraph contains an open and a closed dialogue box. The
<dialog>
element makes it easy to create popup
dialogs and modals on a web page.
| Month | Savings |
|---|---|
| January | $100 |
| ISBN | Title | Price |
|---|---|---|
| 3476896 | My first HTML | $53 |
| January | February | March |
|---|---|---|
| 31 | 28 | 31 |
| Month | Savings |
|---|---|
| Sum | $180 |
| January | $100 |
| February | $80 |


| Home | Trees | Indices | Help |
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Pilot Compute (PC).
This is the object that is returned by the PilotComputeService when a new PilotCompute is created based on a PilotComputeDescription.
The PilotCompute object can be used by the application to keep track of active pilots.
A ComputePilot has state, can be queried and cancelled.
Properties:
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Inherited from |
| Properties | |
| callback (Inherited from pilot.api.compute.api.PilotCompute) | |
| context (Inherited from pilot.api.compute.api.PilotCompute) | |
| description (Inherited from pilot.api.compute.api.PilotCompute) | |
| id (Inherited from pilot.api.compute.api.PilotCompute) | |
| pj_type (Inherited from pilot.api.compute.api.PilotCompute) | |
| rm (Inherited from pilot.api.compute.api.PilotCompute) | |
| state (Inherited from pilot.api.compute.api.PilotCompute) | |
| state_detail (Inherited from pilot.api.compute.api.PilotCompute) | |
| wall_time_left (Inherited from pilot.api.compute.api.PilotCompute) | |
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Inherited from |
| Method Details |
Create/reconnect to a Pilot Compute. Keyword arguments: pilot_url -- restore from cp_id The implementation will attempt to reconnect to the PC instance referenced by the pilot_url.
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Terminates the pilot
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Returns the state of the pilot
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Wait until Pilot Compute to enter a final state (Done, Cancel or Failed) It is not an error to call wait() in a final state -- the call simply returns immediately. |
list managed ComputeUnits. Return value: A list of ComputeUnit IDs The returned list can include units which have been submitted to this pilot. |
returns a dict that contains the details of the Pilot Compute,
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Submit a CU to this pilot.
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repr(x)
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| Generated by Epydoc 3.0.1 on Sat Jan 26 22:29:06 2013 | http://epydoc.sourceforge.net |


GET https://apis.wso2.com/api/am/admin/v0.15/applications
This operation can be used to retrieve list of applications that is belonged to the given user, If no user is provided then the application for the user associated with the provided access token will be returned.
apim:app_owner_change
i
GET https://localhost:9443/api/am/admin/v0.15/applications
Authorization: Bearer ae4eae22-3f65-387b-a171-d37eaa366fa8
HTTP/1.1 200 OK
Content-Type: application/json
{
"previous": "",
"list": [
{
"groupId": "",
"owner": "admin",
"applicationId": "367a2361-8db5-4140-8133-c6c8dc7fa0c4",
"status": "APPROVED",
"name": "app1"
},
{
"groupId": "",
"owner": "admin",
"applicationId": "896658a0-b4ee-4535-bbfa-806c894a4015",
"status": "APPROVED",
"name": "DefaultApplication"
}
],
"count": 2,
"next": ""
}
curl -k -H "Authorization: Bearer ae4eae22-3f65-387b-a171-d37eaa366fa8" "https://localhost:9443/api/am/admin/v0.15/applications"
| Type | Name | Description | Schema | Default |
|---|---|---|---|---|
| Query |
user optional |
username of the application creator |
String | |
| Query |
limit optional |
Maximum size of resource array to return. |
Integer |
25 |
| Query |
offset optional |
Starting point within the complete list of items qualified. |
Integer |
0 |
| Header |
Accept optional |
Media types acceptable for the response. Default is application/json. |
String |
application/json |
| Header |
If-None-Match optional |
Validator for conditional requests; based on the ETag of the formerly retrieved variant of the resource (Will be supported in future). |
String |
| HTTP Code | Description | Schema |
|---|---|---|
200 |
OK. Application list returned. |
ApplicationList |
304 |
Not Modified. Empty body because the client has already the latest version of the requested resource (Will be supported in future). |
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400 |
Bad Request. Invalid request or validation error. |
Error |
406 |
Not Acceptable. The requested media type is not supported. |
Error |


|
tesseract
5.0.0-alpha-619-ge9db
|
#include <ccstruct.h>
Public Member Functions | |
| CCStruct ()=default | |
| ~CCStruct () override | |
| Public Member Functions inherited from tesseract::CCUtil | |
| CCUtil () | |
| virtual | ~CCUtil () |
| void | main_setup (const char *argv0, const char *basename) |
| CCUtil::main_setup - set location of tessdata and name of image. More... | |
| ParamsVectors * | params () |
Static Public Attributes | |
| static const double | kDescenderFraction = 0.25 |
| static const double | kXHeightFraction = 0.5 |
| static const double | kAscenderFraction = 0.25 |
| static const double | kXHeightCapRatio |
Additional Inherited Members | |
| Public Attributes inherited from tesseract::CCUtil | |
| STRING | datadir |
| STRING | imagebasename |
| STRING | lang |
| STRING | language_data_path_prefix |
| UNICHARSET | unicharset |
| UnicharAmbigs | unichar_ambigs |
| STRING | imagefile |
| STRING | directory |
| int | ambigs_debug_level = 0 |
| bool | use_ambigs_for_adaption = false |
Definition at line 25 of file ccstruct.h.
|
default |
|
overridedefault |
|
static |
Definition at line 35 of file ccstruct.h.
|
static |
Definition at line 33 of file ccstruct.h.
|
static |
Definition at line 37 of file ccstruct.h.
|
static |
Definition at line 34 of file ccstruct.h.