When you arrive in Bolzano and do the check-in you will receive the skipasses for the following days. Non-skiers will also receive a skipass for the third day in order to reach the basecamp. From the moment you receive the skipass/es you are fully responsible for them. In case of loss you will have to buy a new one on your own.
If you are renting any material or equipment, you agree to return all equipment in the same condition as received, reasonable wear and tear excepted. If the equipment is not returned in good condition at the end of the event or if repairs or replacements are required, you agree to pay all labor, material and shipping charges to replace any equipment which is lost, stolen or damaged beyond repair.
There may be an official photographer present at our event. By attending you consent and authorize the use and production of the photographs/videos by Snowdays on our website and social media. These same photographs/video may be used for any purpose including, but not limited to, promotion, advertising and public relations without further compensation or consent.
Snowdays does not accept responsibility and expressly excludes liability to the fullest extent permitted by law for any loss, theft, damage or destruction to any personal property in whole or in part for any reason whatsoever, even if left in the care of the staff and/or helpers of the event.
In consideration of your participation at Snowdays, you acknowledge that you are aware of the possible risks, dangers and hazards associated with your participation in the event, including the possible risk of severe or fatal injury to yourself or others. These risks include but are not limited to the following: The risks associated with travel to and from locations to be visited during the event, including transportation provided by commercial, private and/or public motor vehicles; Intoxication and/or alcohol poisoning from the alcohol you consume whether voluntarily or through coercion. You acknowledge that your participation to Snowdays entail known and unknown risks that could result in physical or emotional injury, pregnancy, paralysis, death, or damage to yourself, to property or to third parties. You expressly agree and promise to accept and assume all of the risks existing the event. Your participation to the event is purely voluntary, and you elect to participate despite the risks. You expressly renounce any future claim or legal action against Snowdays and its staff.
For every damage (including vomit) that occurs to the buses caused by yourself, you will pay a fee of 100€ or the amount necessary to cover the damages caused, as agreed with the bus company.
You are liable for any damage caused to the student dorm/gym building or property caused by you or any persons in your party (whether or not staying at the student dorm/gym during your stay). Snowdays reserves the right to debit such amounts as it shall in its sole discretion to compensate or make good the loss, damage, costs or expenses incurred or suffered by Snowdays as a result of the aforesaid. Regardless, Snowdays further reserves the right to commence legal proceedings against you without notice. Snowdays has a strict NO SMOKING policy in all the student dorms and the gyms. Smoking is prohibited in any part of the building. Failure to comply with these policies shall entitles us to terminate your stay at the student dorm/gym at our sole discretion and you must leave the building immediately without compensation or reimbursement. You shall be liable for any costs, loss or damage to the student dorm/gym arising from your failure to comply with these policies and Snowdays reserves the right to charge you for any such costs, loss or damage incurred by the student dorm/gym, and therefore retain the deposit of €50 or a part of it to cover any reasonable losses and expenses.
You may not bring the following into the student dorms:
Snowdays makes every effort to accommodate the various dietary requirements of the participants and handles food allergies seriously. Every effort is made to instruct our staff regarding the potential severity of food allergies and to minimize allergic reactions. Please be advised that every effort will be made to have no allergic reactions, food may come in contact with items containing allergens, and there is always a risk of contamination or cross contamination. Participants with concerns need to be aware of these risks. Snowdays will assume no liability for any adverse reactions that may occur during the event.
The personal information requested on this form will only be used for the purpose of implementing this waiver and will not be shared with any other entity.
You acknowledge that you have read this agreement in all its parts and that you have executed this agreement voluntarily.
{{#if isExternal}}
I accept to follow the house rules of the student dorms and the instructions of my host.
I accept
to be excluded from Snowdays in case of violation of house rules, host’s instructions and
common rules of behavior aimed at ensuring a pleasant environment.
If I cause any damage to the
student dorm and/or I lose the key, SCUB reserves the right of keeping a deposit of 50€, which
will not be returned to me after the event.


| Advantages | Disadvantages |
|---|---|
| "Prepaid" resource | Not scalable (beyond 3 physical hosts) |
| No data transfer | |
| Full control |
| Advantages | Disadvantages |
|---|---|
| "Free" resource | Unknown queue time |
| Highly scalable | Contention with other researchers |
| Software setup non-repeatable |
| Advantages | Disadvantages |
|---|---|
| Horizontally scalable | Non-zero cost |
| Contemporary solution | New system to learn |
| Zero committment | Data transfer time |
| Complicated orchestration (all at once) |


{% include 'web/header.html' %}
By registering & attending, you agree to the following policies:
MLH's Data Sharing Notice
MLH's Privacy Policy
MLH's Contest Terms and Conditions
MLH's Code of Conduct


Polk County Fire Rescue responds to mulch, debris fire
by WFTS Digital StaffPOLK COUNTY, Fla. — Polk County Fire Rescue responded to a mulch and brush fire Saturday night.
Officials said a mulch and debris fire was ongoing at Southern Softwoods at 2425 Lasso Road in Lakeland. The fire was dispatched at 10:55 p.m. on Saturday.
POLK NEWS | The latest headlines from Polk County
There were six units on scene as the fire was active. They are spanning parts of the 40-acre site.
Mulch, debris and pallets were burning in the fire. Firefighters were allowing the fire to burn itself out.
Officials said it should smolder all night and into Monday morning. There are still hot spots and smoke in the area.
No structures are in danger and there have been no reported injuries.


public
class
Material
extends Object
| java.lang.Object | |
| ↳ | com.viro.core.Material |
Materials are the set of shading attributes that define the appearance of a geometry's surfaces
when rendered. Each Geometry
in a scene can be assigned one or more materials. All UI
elements, and most basic 3D models, utilize only one material. Complex 3D objects, represented by
Object3D
, typically have multiple materials, one for each defined mesh surface in the 3D
object.
Whereas a Geometry
defines the structure of a 3D Object, Material defines the
appearance of each surface. The final color of each pixel on a surface is determined by both the
Material attributes and the parameters of each Light
in the Scene
.
For an extended discussion on Material properties, refer to the Lighting and Materials Guide.
Nested classes | |
|---|---|
enum |
Material.BlendMode
BlendMode determines how a pixel's color, as it is being rendered, interacts with the color of the pixel already in the framebuffer. |
enum |
Material.ColorWriteMask
ColorWriteMask indicates what colors should be written to the screen when rendering a Material. |
enum |
Material.CullMode
CullMode determines whether we render front faces, back faces, or both. |
enum |
Material.LightingModel
LightingModel defines a formula for combining a material’s diffuse, specular, and other properties with the Lights in the Scene, and the point of view, to create the color of each rendered pixel. |
class |
Material.MaterialBuilder
Builder for creating |
enum |
Material.ShadowMode
ShadowMode defines in what form a |
enum |
Material.TransparencyMode
TransparencyMode determines how the opacity of pixels is computed. |
Public constructors | |
|---|---|
Material()
Construct a new Material. |
Public methods | |
|---|---|
static
Material.MaterialBuilder
|
builder()
Builder for creating |
void
|
dispose()
Release native resources associated with this Material. |
void
|
disposeAll()
Release native resources used by this Material and release the resources used by all of this Material's textures. |
Texture
|
getAmbientOcclusionMap()
Get the ambient occlusion |
Material.BlendMode
|
getBlendMode()
Get the |
float
|
getBloomThreshold()
Get the bloom threshold, the brightness at which this Material will begin to bloom. |
int
|
getChromaKeyFilteringColor()
Returns the chroma key filtering color. |
EnumSet<Material.ColorWriteMask>
|
getColorWriteMask()
Get the color channels to which this Material is writing. |
Material.CullMode
|
getCullMode()
Get the |
int
|
getDiffuseColor()
Get the diffuse |
Texture
|
getDiffuseTexture()
Get the diffuse |
Material.LightingModel
|
getLightingModel()
Get the |
float
|
getMetalness()
Set a uniform metalness value to use for this Material. |
Texture
|
getMetalnessMap()
Get the metalness |
String
|
getName()
Get the (non-unique) name that can be optionally used to represent this Material. |
Texture
|
getNormalMap()
Get the normap map |
boolean
|
getReadsFromDepthBuffer()
Return true if this Material reads from the depth buffer. |
float
|
getRoughness()
Set a uniform roughness value to use for this Material. |
Texture
|
getRoughnessMap()
Set the roughness |
Material.ShadowMode
|
getShadowMode()
Get the |
float
|
getShininess()
Get the shininess value, which defines the sharpness of specular highlights. |
Texture
|
getSpecularTexture()
Get the specular |
Material.TransparencyMode
|
getTransparencyMode()
Get the |
boolean
|
getWritesToDepthBuffer()
Return true if this Material writes to the depth buffer. |
boolean
|
isChromaKeyFilteringEnabled()
Returns true if chroma key filtering is enabled. |
void
|
setAmbientOcclusionMap(Texture ambientOcclusionMap)
Set the ambient occlusion |
void
|
setBlendMode(Material.BlendMode blendMode)
Set the |
void
|
setBloomThreshold(float bloomThreshold)
Set the brightness value at which this Material will begin to bloom. |
void
|
setChromaKeyFilteringColor(int color)
Set the color to remove from all surfaces rendering with this material, via chroma key filtering. |
void
|
setChromaKeyFilteringEnabled(boolean enabled)
Enable chroma key filtering for this material. |
void
|
setColorWriteMask(EnumSet<Material.ColorWriteMask> mask)
Set what color channels this Material will write to when rendered. |
void
|
setCullMode(Material.CullMode cullMode)
Set the |
void
|
setDiffuseColor(int color)
Set the diffuse |
void
|
setDiffuseTexture(Texture texture)
Set the diffuse |
void
|
setLightingModel(Material.LightingModel lightingModel)
Set the |
void
|
setMetalness(float metalness)
Set a uniform metalness value to use for this Material. |
void
|
setMetalnessMap(Texture metalnessMap)
Set the metalness |
void
|
setName(String name)
Sets a (non-unique) name to represent this Material object. |
void
|
setNormalMap(Texture normalMap)
Set the normal map |
void
|
setReadsFromDepthBuffer(boolean readsFromDepthBuffer)
Set whether this Material reads from the depth buffer. |
void
|
setRoughness(float roughness)
Set a uniform roughness value to use for this Material. |
void
|
setRoughnessMap(Texture roughnessMap)
Set the roughness |
void
|
setShadowMode(Material.ShadowMode shadowMode)
Set the |
void
|
setShininess(float shininess)
Set the sharpness of specular highlights. |
void
|
setSpecularTexture(Texture texture)
Set the specular |
void
|
setTransparencyMode(Material.TransparencyMode transparencyMode)
Set the |
void
|
setWritesToDepthBuffer(boolean writesToDepthBuffer)
Set whether this Material writes to the depth buffer. |
Material ()
Construct a new Material. The material defaults to a flat white color with a constant lighting model.
Material.MaterialBuilder builder ()
Builder for creating Material
objects.
| Returns | |
|---|---|
Material.MaterialBuilder |
void dispose ()
Release native resources associated with this Material. Note this will not release the
resources used by this Material's textures; to do that as well, use disposeAll()
.
void disposeAll ()
Release native resources used by this Material and release the resources used by all of this Material's textures.
Texture getAmbientOcclusionMap ()
Get the ambient occlusion Texture
used by this Material. The ambient occlusion map
approximates how exposed the surface is to ambient lighting, at each texel.
This property is only used under PHYSICALLY_BASED
lighting.
| Returns | |
|---|---|
Texture |
ambientOcclusionMap The ambient occlusion map used by this Material. Null if no ambient occlusion map is installed. |
Material.BlendMode getBlendMode ()
Get the Material.BlendMode
used by this Material. See Material.BlendMode
for more details.
| Returns | |
|---|---|
Material.BlendMode |
The BlendMode used by this Material. |
float getBloomThreshold ()
Get the bloom threshold, the brightness at which this Material will begin to bloom. See
setBloomThreshold(float)
for more details.
| Returns | |
|---|---|
float |
The bloom threshold. |
int getChromaKeyFilteringColor ()
Returns the chroma key filtering color. Hues within an epsilon range about this color are removed (made transparent) when chroma key filtering is enabled.
| Returns | |
|---|---|
int |
The chroma key filtering color. |
EnumSet<Material.ColorWriteMask> getColorWriteMask ()
Get the color channels to which this Material is writing. See setColorWriteMask(EnumSet)
for more details.
| Returns | |
|---|---|
EnumSet<Material.ColorWriteMask> |
The color channels to which this Material is writing. |
Material.CullMode getCullMode ()
Get the Material.CullMode
used by this Material. See Material.CullMode
for more details.
| Returns | |
|---|---|
Material.CullMode |
The CullMode used by this Material. |
int getDiffuseColor ()
Get the diffuse Color
used by this Material, which defines its base color. See setDiffuseColor(int)
for more details.
| Returns | |
|---|---|
int |
The diffuse |
Texture getDiffuseTexture ()
Get the diffuse Texture
used by this Material, which defines its base color. See
setDiffuseTexture(Texture)
for more details.
| Returns | |
|---|---|
Texture |
The diffuse Texture used by this Material.
|
Material.LightingModel getLightingModel ()
Get the Material.LightingModel
used by this Material. See Material.LightingModel
for more details.
| Returns | |
|---|---|
Material.LightingModel |
The LightingModel used by this Material. |
float getMetalness ()
Set a uniform metalness value to use for this Material. Metalness defines how "metallic" the surface is at each pixel, which influences the degree to which light reflects off the surface, the sharpness of the reflections, and more.
This property is only used under PHYSICALLY_BASED
lighting. If a
metalness map is set (by setMetalnessMap(Texture)
, then this value is ignored, and
the values derived from the metalness map are used instead.
| Returns | |
|---|---|
float |
metalness The uniform metalness value used by this Material. |
Texture getMetalnessMap ()
Get the metalness Texture
used by this Material. The metalness map defines how
"metallic" the surface is at each texel, which influences the degree to which light
reflects off the surface, the sharpness of the reflections, and more.
This property is only used under PHYSICALLY_BASED
lighting.
| Returns | |
|---|---|
Texture |
The metalness map used by this Material. Null if no metalness map is installed. |
String getName ()
Get the (non-unique) name that can be optionally used to represent this Material. Material
names are either set by setName(String)
, or they are automatically set when
loading OBJ or FBX files. Null if no name is set.
| Returns | |
|---|---|
String |
name The string value representing the name used by this Material. |
Texture getNormalMap ()
Get the normap map Texture
used by this Material. The normal map defines a normal
vector for each point on the surface.
| Returns | |
|---|---|
Texture |
The normal map Texture used by this material. |
boolean getReadsFromDepthBuffer ()
Return true if this Material reads from the depth buffer. See setReadsFromDepthBuffer(boolean)
for discussion.
| Returns | |
|---|---|
boolean |
True if reading is enabled. |
float getRoughness ()
Set a uniform roughness value to use for this Material. Roughness defines the roughness of the surface's microfacets, at each pixel. The rougher a surface is (roughness approaching 1.0), the more light sill scatter along completely different directions, resulting in larger and more muted specular reflections. Smoother surfaces (roughness approaching 0.0), meanwhile, exhibit a sharper specular reflection as light rays are more likely to reflect in a uniform direction.
This property is only used under PHYSICALLY_BASED
lighting. If a
roughness map is set (by setRoughnessMap(Texture)
, then this value is ignored, and
the values derived from the roughness map are used instead.
| Returns | |
|---|---|
float |
The uniform roughness value used by this Material. |
Texture getRoughnessMap ()
Set the roughness Texture
to use for this Material. The roughness map defines the
roughness of the surface's microfacets at each texel. The rougher a surface is (roughness
approaching 1.0), the more light sill scatter along completely different directions,
resulting in larger and more muted specular reflections. Smoother surfaces (roughness
approaching 0.0), meanwhile, exhibit a sharper specular reflection as light rays are more
likely to reflect in a uniform direction.
This property is only used under PHYSICALLY_BASED
lighting.
| Returns | |
|---|---|
Texture |
The roughness map used by this Material. Null if no roughness map is used. |
Material.ShadowMode getShadowMode ()
Get the Material.ShadowMode
used by this Material, which defines how surfaces using
this material render shadows. See Material.ShadowMode
for details.
| Returns | |
|---|---|
Material.ShadowMode |
The Material.ShadowMode used by this Material.
|
float getShininess ()
Get the shininess value, which defines the sharpness of specular highlights.
| Returns | |
|---|---|
float |
The shininess value. |
Texture getSpecularTexture ()
Get the specular Texture
used by this Material. The specular Texture defines the
amount of light that is reflected by the Material toward the user. See setSpecularTexture(Texture)
for more details.
| Returns | |
|---|---|
Texture |
The specular Texture used by this Material. |
Material.TransparencyMode getTransparencyMode ()
Get the Material.TransparencyMode
to use for Material. See Material.TransparencyMode
for more
details.
| Returns | |
|---|---|
Material.TransparencyMode |
The TransparencyMode used by this Material. |
boolean getWritesToDepthBuffer ()
Return true if this Material writes to the depth buffer. See setWritesToDepthBuffer(boolean)
for discussion.
| Returns | |
|---|---|
boolean |
True if writing is enabled. |
boolean isChromaKeyFilteringEnabled ()
Returns true if chroma key filtering is enabled.
| Returns | |
|---|---|
boolean |
True if chroma key filtering is enabled. |
void setAmbientOcclusionMap (Texture ambientOcclusionMap)
Set the ambient occlusion Texture
to use for this Material. The ambient occlusion map
approximates how exposed the surface is to ambient lighting, at each texel. This has no
effect on direct lights (it does not result in clear shadows) but it darkens enclosed and
sheltered areas. These textures are typically authored using modeling tools along with
roughness and metalness.
This property is only used under PHYSICALLY_BASED
lighting.
| Parameters | |
|---|---|
ambientOcclusionMap |
Texture : The ambient occlusion map to use for this Material.
|
void setBlendMode (Material.BlendMode blendMode)
Set the Material.BlendMode
to use for this Material. BlendMode determines how a pixel's
color, as it is being rendered, interacts with the color of the pixel already in the
framebuffer.
| Parameters | |
|---|---|
blendMode |
Material.BlendMode : The BlendMode to use for this Material.
|
void setBloomThreshold (float bloomThreshold)
Set the brightness value at which this Material will begin to bloom.
Bloom is an effect that makes surfaces appear to glow by applying a Gaussian blur and additive blend.
This value specifies at what 'brightness' the pixels of the surfaces using this material should start to bloom. Brightness is effectively the magnitude of the final color of a pixel (modified for the human eye: specifically it is the dot product of the final color with (0.2126, 0.7152, 0.0722)).
For example, if this property is set to 0.0, then all surfaces using this material will bloom. If this property is set to 1.0, then only those pixels of the surface whose brightness exceeds 1.0 (after lights are applied) will bloom.
Default is -1.0, which disables bloom.
| Parameters | |
|---|---|
bloomThreshold |
float : The bloom threshold value to set. Set to less than zero to disable
bloom entirely.
|
void setChromaKeyFilteringColor (int color)
Set the color to remove from all surfaces rendering with this material, via chroma key
filtering. Chroma key filtering enables partially transparent ("alpha") videos. When chroma
key filtering is enabled, all colors within an epsilon range this color will be removed (made
transparent). This technique is useful when rendering "green screen" or "blue screen" videos,
as is commonly seen in newscasting and motion pictures. To enable chroma key filtering, you
must also call setChromaKeyFilteringEnabled(boolean)
.
| Parameters | |
|---|---|
color |
int : The Color to use for the filtering.
|
void setChromaKeyFilteringEnabled (boolean enabled)
Enable chroma key filtering for this material. Chroma key filtering enables partially
transparent ("alpha") videos. When chroma key filtering is enabled, all colors within an
epsilon range about the chroma key filtering color will be removed (made transparent). This
technique is useful when rendering "green screen" or "blue screen" videos, as is commonly
seen in newscasting and motion pictures. To set the color to be removed, use setChromaKeyFilteringColor(int)
.
| Parameters | |
|---|---|
enabled |
boolean : True to enable chroma key filtering.
|
void setColorWriteMask (EnumSet<Material.ColorWriteMask> mask)
Set what color channels this Material will write to when rendered. One use of this method is to filter out a base color (e.g. red), so that when this material is rendered, only its blue and green components will be rendered to the screen. The more common usage of this method, however, is to turn off all color writing for a Material, by using EnumSet.of(ColorMask.NONE).
By doing this, the Material will not be written to the color buffer. If getWritesToDepthBuffer() is true, then the Material will still be written to the depth buffer, so that surfaces rendered with this Material will occlude other geometry. This approach can be used to implement "transparent occlusion planes", or surfaces that occlude other geometry without themselves being visible to the user. This is particularly useful in AR, in cases where you want it to appear as though real-world features are occluding virtual objects. You can do this by creating surfaces that align with the real-world features and setting their material color masks to EnumSet.of(ColorMask.NONE). For example, the following code snippet creates a 5x5 Quad 4 meters away from the user, which will not be visible to the user but will occlude all objects behind it:
Quad quad = new Quad(5, 5);
Material material = new Material();
material.setColorWriteMask(EnumSet.of(Material.ColorWriteMask.NONE));
quad.setMaterials(Arrays.asList(material));
Node quadNode = new Node();
quadNode.setGeometry(quad);
quadNode.setRenderingOrder(-1); // Ensure the quad renders *before* other Nodes so that it can occlude them
quadNode.setPosition(new Vector(0, 0, -4));
| Parameters | |
|---|---|
mask |
EnumSet : The colors channels to which this Material should write.
|
void setCullMode (Material.CullMode cullMode)
Set the Material.CullMode
to use for this Material. CullMode determines whether we render
front faces, back faces, or both.
| Parameters | |
|---|---|
cullMode |
Material.CullMode : The CullMode to use for this Material.
|
void setDiffuseColor (int color)
Set the diffuse Color
to use for this Material. The diffuse color, if specified,
defines the "base" color of the surfaces using this Material. More specifically,
the diffuse color defines for each pixel the light that is reflected from the surface,
independent of point of view.
If a diffuse Texture
is also defined, it will be modulated (multiplied) by this
color.
Defaults to white.
| Parameters | |
|---|---|
color |
int : The diffuse Color to use for this Material.
|
void setDiffuseTexture (Texture texture)
Set the diffuse Texture
to use for this Material. The diffuse texture, if
specified, defines the "base" color of the surfaces using this Material. More specifically,
the diffuse Texture defines for each pixel the light that is reflected from the surface,
independent of point of view.
The color from the diffuse Texture will be modulated (multiplied) by the diffuse color.
| Parameters | |
|---|---|
texture |
Texture : The diffuse Texture to use for this Material.
|
void setLightingModel (Material.LightingModel lightingModel)
Set the Material.LightingModel
to use for this Material. LightingModel defines a formula for
combining a material’s diffuse, specular, and other properties with the Lights in the Scene,
and the point of view, to create the color of each rendered pixel.
Defaults to CONSTANT
.
| Parameters | |
|---|---|
lightingModel |
Material.LightingModel : The LightingModel to use for this Material.
|
void setMetalness (float metalness)
Set a uniform metalness value to use for this Material. Metalness defines how "metallic" the surface is at each pixel, which influences the degree to which light reflects off the surface, the sharpness of the reflections, and more.
This property is only used under PHYSICALLY_BASED
lighting. If a
metalness map is set (by setMetalnessMap(Texture)
, then this value is ignored, and
the values derived from the metalness map are used instead.
| Parameters | |
|---|---|
metalness |
float : The uniform metalness value to use for this Material.
|
void setMetalnessMap (Texture metalnessMap)
Set the metalness Texture
to use for this Material. The metalness map defines how
"metallic" the surface is at each texel, which influences the degree to which light
reflects off the surface, the sharpness of the reflections, and more.
This property is only used under PHYSICALLY_BASED
lighting.
| Parameters | |
|---|---|
metalnessMap |
Texture : The metalness map to use for this Material.
|
void setName (String name)
Sets a (non-unique) name to represent this Material object. Names may be automatically set when loaded from OBJ or FBX files.
| Parameters | |
|---|---|
name |
String |
void setNormalMap (Texture normalMap)
Set the normal map Texture
to use for this Material. Normal maps define the
orientation of the surface used by this Material for each pixel, thus enabling
the fine-grained responses to light that are necessary to simulate rough surfaces.
For each pixel of the normal map, the RGB colors are interpreted by the renderer as XYZ components of a surface normal vector.
| Parameters | |
|---|---|
normalMap |
Texture : The normal map to use for this Material.
|
void setReadsFromDepthBuffer (boolean readsFromDepthBuffer)
Set whether this Material reads from the depth buffer. Viro tracks the depth of each object in the scene with a depth buffer. This way the renderer can determine which surfaces occlude others from the point of view of the user.
Set this to true to read from the depth buffer. By doing so, the surface first checks if any other surface is closer to the user: if so, the surface will not appear (it is occluded).
Set to false for advanced usage only. Defaults to true.
| Parameters | |
|---|---|
readsFromDepthBuffer |
boolean : True to read from the depth buffer.
|
void setRoughness (float roughness)
Set a uniform roughness value to use for this Material. Roughness defines the roughness of the surface's microfacets, at each pixel. The rougher a surface is (roughness approaching 1.0), the more light sill scatter along completely different directions, resulting in larger and more muted specular reflections. Smoother surfaces (roughness approaching 0.0), meanwhile, exhibit a sharper specular reflection as light rays are more likely to reflect in a uniform direction.
This property is only used under PHYSICALLY_BASED
lighting. If a
roughness map is set (by setRoughnessMap(Texture)
, then this value is ignored, and
the values derived from the roughness map are used instead.
| Parameters | |
|---|---|
roughness |
float : The uniform roughness value to use for this Material.
|
void setRoughnessMap (Texture roughnessMap)
Set the roughness Texture
to use for this Material. The roughness map defines the
roughness of the surface's microfacets at each texel. The rougher a surface is (roughness
approaching 1.0), the more light sill scatter along completely different directions,
resulting in larger and more muted specular reflections. Smoother surfaces (roughness
approaching 0.0), meanwhile, exhibit a sharper specular reflection as light rays are more
likely to reflect in a uniform direction.
This property is only used under PHYSICALLY_BASED
lighting.
| Parameters | |
|---|---|
roughnessMap |
Texture : The roughness map to use for this Material.
|
void setShadowMode (Material.ShadowMode shadowMode)
Set the Material.ShadowMode
for this Material, which defines how surfaces using this
Material render shadows. See Material.ShadowMode
for details. The default value is
NORMAL
.
| Parameters | |
|---|---|
shadowMode |
Material.ShadowMode : The Material.ShadowMode to use for this Material.
|
void setShininess (float shininess)
Set the sharpness of specular highlights. This only applies if this Material has a specular
texture. See Material.LightingModel
for the specifics of how the shininess value is applied.
Defaults to 2.0.
This property is ignored if the Material is using PHYSICALLY_BASED
.
| Parameters | |
|---|---|
shininess |
float : The shininess value.
|
void setSpecularTexture (Texture texture)
Set the specular Texture
to use with this Material. The specular Texture defines
the amount of light that is reflected by the Material toward the user, resulting in a
bright, shiny highlight. Specular effects are point of view dependent, and only have an
effect when using the Blinn or Phong lighting models. See Material.LightingModel
for more
details on how the specular highlights are computed.
This property is ignored if the Material is using PHYSICALLY_BASED
.
| Parameters | |
|---|---|
texture |
Texture : The specular Texture to use for this Material.
|
void setTransparencyMode (Material.TransparencyMode transparencyMode)
Set the Material.TransparencyMode
to use for this Material. TransparencyMode determines how
the opacity of pixels is computed.
| Parameters | |
|---|---|
transparencyMode |
Material.TransparencyMode : The TransparencyMode used by this material.
|
void setWritesToDepthBuffer (boolean writesToDepthBuffer)
Set whether this Material writes to the depth buffer. Viro tracks the depth of each object in the scene with a depth buffer. This way the renderer can determine which surfaces occlude others from the point of view of the user.
Set this to true to write the depth buffer. By doing so, any surfaces that *read* from the depth buffer will only appear if they are at a shallower depth than this material (e.g. if they are closer to the user). Defaults to true.
Set to false for advanced usage only. Defaults to true.
| Parameters | |
|---|---|
writesToDepthBuffer |
boolean : True to write to the depth buffer.
|


18.2 Strategies for Parsing Text in Python
In
the grand scheme of things, there are a variety of ways to handle
text processing in Python:
Built-in string objects
String module (and method) utilities
Regular expression matching
Parser-generator integrations
Hand-coded parsers
Running Python code with eval and
exec built-ins
For simpler tasks, Python's built-in string object is often all
we really need. Python strings can be indexed, concatenated, sliced,
and processed both with built-in functions and with the
string module. Our emphasis in this chapter,
though, is on higher-level tools and techniques for analyzing textual
information. Let's briefly explore each of the other approaches
above with representative examples.
|


#{extends 'main.html' /} #{set title:'Upload' /}
Get from the URL or the uploaded file if it is not set


Good personal'm developing a project where I use 3 current sensors to make reading a photovoltaic system where one is used at the output of the other panels in batteries and another to the inverter output and am sending the values to a 20x4 LCD that intragir my idea is to see how these three sensors produce a day and so spared. . Now I am 2 am new to programming problems.
I put a button to change the LCD screen because the values do not all fit in a single, managed to make the button change but the lcd screen is always flashing to change the values. And I wanted to change the values without having to flash the lcd. as had previously without swich
The other problem is that I wanted compute power per hour and current hour and two of my sensors operating at 12Volts (batteries and panels) and the other to 230Volts (inverter) would appreciate the help if you need anything tell.
greetings
Re: Project photovoltaic hybrid
To solve your problem with the GLCD screen flashing, look at the sketch for the emonGLCD here. You write the new numbers to the display like this
char str[50]; //variable to store conversion
glcd.setFont(font_clR6x8);
strcpy(str,powerstr);
strcat(str," NOW:");
glcd.drawString(0,0,str);
then when all the strings have been drawn, refresh the display:
glcd.refresh();
If your problem is making the switch work, look at this sketch. You must remember the state of each switch and only change the display once each time you press the switch:
last_switch_state = switch_state;
switch_state = digitalRead(switch1);
if (!last_switch_state && switch_state)
{ // change to next page each time the switch is pressed
page += 1;
if (page>4)
page = 1;
}
if (page==1)
{
// Do page 1
}
else if (page==2)
{
// Do page 2
}
I do not know what you mean: "Power per hour". Power is the rate at which energy flows. Power = Energy / time.
You can use a current transformer to measure the alternating current out of your inverter. You must use a current shunt or a Hall effect sensor to measure the d.c. current from your batteries or P.V. panels.
When you measure battery current, you can calculate the battery charge = current × time.
Re: Project photovoltaic hybrid
My code is this function used the case and I have to do a refresh then the LCD will blink every second I enter the LCD below and would be grateful if someone could tell me how to use the tool if instead of the case so the LCD does not flicker or do is refresh.
Re: Project photovoltaic hybrid
I do not have a display like the one that I think you have, but I think I see what your problem is.
First you clear the display with lcd.clear(); then you do the function that writes the display one character at a time. That means that the display becomes cleared and the first character is written immediately, but the last character is written a long time later. You do this every 1 second. That is why the display is flashing.
Instead, I think you should only clear the display when you change from one page to the next. When you print a number that might change, for example corrente45, you do exactly the correct thing. You erase the old number by writing spaces, then you write the new number:
lcd.setCursor(9, 2); // Local no LCD onde se vi iniciar o resultado da corrente de AC
lcd.print(" "); // Limpeza do LCD dos resultados anteriores
lcd.setCursor(9, 2); // Local onde se vai iniciar no LCD o resultado da corrente em AC
lcd.print(corrente45); // Apresentação da corrente de AC no LCD
You have no need to clear the display every 1 second.
Here you remove these lines:
switch(var_menus%NUM_MENUS) {
case 0:
lcd.clear();vinstantaneo();
break;
case 1:
lcd.clear();vhora();
break;
}
And in loop( ) you clear the display:
if (digitalRead(SWITCH) == HIGH && encrava == 0)
{
var_menus++;
lcd.clear();
trata_lcd();
encrava = 1;
}
Re: Project photovoltaic hybrid
Thank you was tired of looking like they did and could not is optimal.
I wonder if you know how to calculate the cumulative value of each of the sensors and also the hourly rate of each mean to tell me if I make one for the other can not see how it's done.
Again thank you
greetings
Re: Project photovoltaic hybrid
For "cumulative value" you will be calculating battery charge in ampere-hours (Ah) or energy in watt-hours (Wh).
You are updating the display every second, but you only read the values when you display them. You must move the code that reads the values into trata_lcd() but outside switch( ) so that it is executed every second no matter which screen is showing. Also there you must have an accumulator that adds on the quantity every second. Remember that you will have ampere-seconds or watt-seconds so to display the value in ampere-hours or watt-hours, you must divide by 3600. Be careful that you choose the type of variable (long) that is big enough to hold the largest number.
For the average over an hour, you must store the cumulative value and the time , then one hour (3600,000 milliseconds) later, you read the value now and calculate the average, then store the cumulative value again ready for the next hour. You might have enough memory free to be able to store the value every 10 minutes in an array working as a circular buffer, then every 10 minutes you could see the average over the last hour.
Re: Project photovoltaic hybrid
(You are updating the screen every second, but you only read the values Them When You display. You must move the code that reads the values in trata_lcd () but the key off () so that it runs every second, matter what the screen is showing.) I do not understand this because I am newbie and am trying to learn the much as I can. I have to have a routine always read in the void loop () right on the screen is correct or not.
How do programming to calculate ampere hour and watt hour, my big problem is to move everything to the schedule. In relation to the Accumulated value I have a button that will reset the function and the idea is that every time I touch this button to start the Accumulated value of 0 my problem this whole idea is to insert the code already built.
greetings
Re: Project photovoltaic hybrid
but you only read the values Them When You display.
No, I am sorry, I was wrong there. When I looked very carefully at your sketch, you are reading the analogue inputs in both screens.
But that is not the best way. You should try not to do the same thing twice in different places - it will lead to mistakes. I will change your sketch to show you. I need a day to do that.
Re: Project photovoltaic hybrid
Here is your sketch. First, Mr Google would like to apologise for my Portuguese.
I am not certain that I have understood what you want with the accumulator. It is probably wrong, but it will help you.
I have also changed the 1 second timer because yours will fail after 49 days. "refresh" is now the time when the next refresh will happen, not when the last one happened.
I have also separated the unchanging parts of the display from the parts that might change every second, and the unchanging part is now written only when the page changes.
The analogue inputs are read in one place only, every 1 second - it does not matter which page is on the LCD.
I do not have your LCD display, therefore I cannot test this sketch. You must make some changes before it will work.


Online gambling: Police detain 98 suspects
by Agency ReportPolice in east China’s Zhejiang Province have apprehended 98 suspects for running online gambling involving a total of 290 million yuan (41.3 million U.S. dollars).
In 2018, police in the city of Zhoushan cracked down on several cases in which suspects organised gambling in group chats on social media platforms through a mahjong app.
After investigation, police found that Zhoushan had 220,000 registered users of the app by early 2018, with daily active users exceeding 20,000.
According to the police, the app was developed by a tech company in Shanghai, which had developed more than 30 kinds of gambling apps involving over 20 provinces and cities, including Shanghai, Shanxi, and Hebei.
The police received a tip off in June that partners of the company would meet in Shanghai on June 18.
Zhoushan police then cooperated with their counterparts in Shanghai and busted the gang.
The police said 46 of the suspects had been transferred for prosecution so far.
(Xinhua/NAN)


Dan Evans & Kyle Edmund send Great Britain into Davis Cup semi-finals
by Jonathan Jurejko| 2019 Davis Cup finals |
|---|
| Venue: Caja Magica, Madrid Dates: 18-24 November |
| Coverage: Listen on BBC Radio 5 Live Sports Extra from Wednesday, 20 November; Live text coverage on selected matches on the BBC Sport website and app. Click here or Live Guide. |
Dan Evans dug deep to send Great Britain into the semi-finals of the inaugural Davis Cup finals in Madrid with a thrilling win over Germany.
British number one Evans, who had lost his previous two matches, beat Jan-Lennard Struff 7-6 (8-6) 3-6 7-6 (7-2) to give GB an unassailable 2-0 lead.
Earlier, Kyle Edmund beat Philipp Kohlschreiber in straight sets as Andy Murray sat out again.
Britain face hosts Spain, led by world number one Rafael Nadal, on Saturday.
Evans' relief at pushing Britain over the line without needing Jamie Murray and Neal Skupski to win the doubles, and finally earning a vital victory himself, was clear as he threw his racquet high towards the roof of the indoor arena when Struff pushed a forehand wide on the first match point.
Sprinting over to his team, Evans then leapt into the arms of his jubilant captain Leon Smith before being mobbed by his delighted team-mates and their support staff.
"The last two days I came up short and the other guys got it done," Evans, 29, said. "But it's not about me - it is about everyone."
Britain's semi-final will take place on the same 12,500-seater Manolo Santana arena at 16:30 GMT on Saturday, with live text and radio coverage across the BBC Sport website and BBC Radio 5 Live Sports Extra.
By reaching the last four, Britain also assured themselves of a spot in next year's season-ending finals, which are the brainchild of Barcelona footballer Gerard Pique and have features 18 nations competing at the inaugural 'World Cup of tennis' in the Spanish capital.
It is the third time in five years that 2015 champions Britain have reached the semi-finals.
'Boy, did he step up' - Evans puts defeats behind him
Although British captain Smith had said whether to recall Andy Murray was likely to be one of his "most difficult" decisions, the absence of the three-time Grand Slam champion was still a major surprise when the team was announced an hour before the quarter-final tie.
Murray, 32, produced a laboured performance in his victory over Dutch world number 179 Tallon Griekspoor in the opening group match on Wednesday, admitting afterwards he was still a couple of kilograms heavier than he would like to be.
Whether down to a lack of sharpness or something else, his absence again meant Britain were relying on Edmund and Evans to deliver against the Germans.
Both men repaid the faith shown in them by Smith.
Evans' place had come under particular scrutiny after the British number one lost both of his group-stage matches, despite leading by a set against tricky opponents who upped their levels considerably to overpower him.
After edging the first-set tie-break against a powerful Struff, who is ranked 35th in the world, Evans could not sustain his level as the German won the final four games of the second to force a decider.
For the British fans, it was another sense of deja vu.
But, despite a stark physical disadvantage of seven inches in height and 17 kilograms in weight, Evans refused to be bullied off the court.
He showed remarkable mental strength to stave off two break points at 2-1, then reassert himself as he faced scoreboard pressure by serving when behind before dominating Struff in a one-sided tie-break.
"Dan felt down the past couple of days, but boy did he step up," Smith told Eurosport.
"He loves playing Davis Cup. We'll savour this one."
Edmund steps in to deliver again
Edmund, like he did against Kazakhstan's Mikhail Kukushkin in Thursday's must-win group tie, fulfilled his role spectacularly, producing one his finest matches of a year where he has struggled for victories on the ATP Tour.
Despite slipping to 69th in the world, Edmund has rediscovered his most potent weapon - blistering clean forehands - and improved his weaker backhand side at exactly the right time for his country.
The Yorkshireman hit 10 winners, compared to just six unforced errors, in a first set wrapped up in 32 minutes thanks to two breaks of serve and without facing a break point himself.
When 36-year-old Kohlschreiber did take his first chance at the third attempt in the fourth game of the second set, Edmund responded instantly to stop any momentum the German hoped to garner.
Showing a resilience and confidence often lacking this year, Edmund broke back with a forehand winner down the line, seconds after he chose the wrong side with a backhand which allowed the German to return at the net.
Two backhand winners down the line laid the platform for Edmund to break again for 6-5 and the opportunity to serve for the match, a chance he took with a hold to love sealed by a long Kohlschreiber return.
Edmund, usually so placid, revealed the emotions stirred by representing his nation in the Davis Cup by swinging a forearm high into the air after sealing a dominant win, embracing both Smith and Murray courtside before returning to the middle again to soak up the acclaim of the British fans.
While there appeared to be fewer Britons on a half-full court than at the two group ties against the Netherlands and Kazakhstan, those still in the Spanish capital provided sterling vocal support as they outnumbered their German counterparts.
"We have the best away fans here 100%, it feels like a home tie playing here," Edmund said.
"We appreciate the efforts and we really feel it."
Analysis
BBC tennis correspondent Russell Fuller
This was the finest performance of Dan Evans' Davis Cup career.
He was conceding seven inches in height, and a few weight divisions, to Jan-Lennard Struff, and knew only too well that he had lost his first two matches of the week having won the first set.
Evans had to absorb a lot of pressure early in the deciding set, but gradually subdued the previously free-wheeling Struff, and was by far the stronger in the tie-break.
Evans has now played nine sets of tennis over three days, but assuming there is no adverse reaction, he and Kyle Edmund are set to feature in the semi-final.
That would mean no Andy Murray for a third tie running. But as captain Leon Smith pointed out, Evans and Edmund are making a stronger claim right now.


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Zapper Gamepad Introduction
Before I explain anything I need to give a huge shoutout to Avamander for maintaing the Arduino TVout library and to beardypig for doing so much of the initial research into the Zapper.
I love novel controllers. It fascinates me to see and play around with methods of control that don’t follow the traditional style of gamepad that is designed to be held in two hands by a couple of nubs. One classic style of more novel controllers is the light gun. And no light gun is more iconic than Nintendo’s NES Zapper.
My Problem
Light guns aren’t designed to work on just any old pc game, and the NES zapper certainly doesn’t have that plug and playability that modern USB gamepads have. I plan to remedy that problem in this project.
Let me say right here that I have virtually no experience in any of the things that I plan to try to utilize for this project. My physical electrical knowledge is basically just poorly soldering big wires together. My programming knowledge is in rudimentary LabView and ladder logic, with some tiny splashing of c, c++, and java. All this to say, I don’t know anything. Alright, moving on to the project.
I’ve decided that I want to design an application of the Zapper that allows me to interface with a computer just like any old USB gamepad and provide meaningful input to any game that would accept a generic USB gamepad.
My Solution
The zapper will be plugged into an Arduino board with the 32u4 microprocessor chip. This chip will be able to process zapper inputs into generic USB gamepad outputs via the micro USB programming port on the board.
This processor will also produce a composite video signal to be sent to a CRT television. This video will primarily be a heads-up display, showing buttons that would normally be seen on a gamepad (such as directional arrows and labelled buttons).
The idea is that the user will point at the button that they wish to press and shoot. When the trigger is pulled on the zapper, the processor will see this and perform a hit detection routine. To not go into too many specifics, the routine will display a series of frames and watch the zapper’s response to each frame. At this point, the processor will have determined which button on the tv has been shot, and it will output that information over USB as a gamepad button press.
I think one of the most interesting things about how this project design ended up working out, is that the CRT tv is a part of the controller as much as the zapper is.
I know this won’t be a good controller, and it probably won’t even be a fun controller to use. But we can’t know until we try right?
A couple far out plans for this project will also be stuff like, different button display, and overlaying the buttons on top of the gameplay on the CRT so you’re not looking away from the action too much when you need to make a press.
Where We Are Now
I’ve been working on the project for a few weeks. Maybe a few months if you consider from when I started putting some semi-consistent effort into it, or maybe even a couple years if you consider from when I first did any work on this project. In these last few weeks (months/years) I managed to make a decent amount of progress, but I’m starting to get some very “drill down” and large scope type problems/tasks that it will help me greatly to write documentation, progress, and goals. Hence, this blog post.
Arduino TVout
I started this project by first focusing on generating the composite video signal using a 32u4 chip. To do this I found an Arduino library called Arduino TVout. Information about how to set up TVout and how it works can be found by googling. Primarily I use this GitHub repo, by Avamander, for most of my quick checks.
The important stuff we need to know is that TVout is an interrupt driven library and generating a composite video signal is highly timing dependent. This means two things for our project:
- First, we may need to be conservative with processing time being used outside of generating the video signal.
- And secondly, we need to be very careful about using more interrupts, so we don’t block out and essentially de-sync our video signal too much.
As a side note the library will output the video signal with a resolution of 196x98 pixels.
I originally set up this display by programming each object individually. This was very tedious to set up and was very tedious to make any changes. I then changed the system to have a class for different object types and to be able to choose between one of for positions for this object to be drawn in. This implementation is not down very well and is begging to be fixed but it works for now.
And here is a screenshot of the resulting video:
NES Zapper
After making the video signal work like I wanted, I began work on integrating the zapper. I found and referenced a very similar experiment performed by beardypig for much of this portion. The zapper has two signals, a trigger signal and a detect signal. Trigger is controlled by the zapper’s trigger and detect is controlled by a light sensor in the barrel. I wired the zapper to the Arduino following beardypig’s schematic:
I'm using a different processor than what beardypig used, so my schematic is just a little bit differnt:
Then I set up interrupts in my program similar to beardypig’s delay test experiment.
I set up a program that would, ideally, toddle the fill on the middle button when the zapper shot a white part of the screen. This program worked but with a caveat. Whenever the zapper was pointed at a white portion of the screen, the display under the point being target would be de-synced and jumpy. This was caused by the detect interrupt constantly being re-entered. This was then solved by detaching the detect interrupt inside of the detect interrupt routine and then reattaching it when the trigger was pulled. This means that the detect routine is only entered once per trigger pull.
One more problem occurring with the zapper integration is a bounce on the trigger switch. This is currently causing the detect routine to me entered two to three times per trigger pull. It doesn’t greatly affect the operation of the program, but it does cause inconsistency.
This section won’t be so long in the future as it will be incremental updates rather than the whole story. So sorry about the length this time around.
In Summary
The display is programmed such that it places arrows and buttons in four different positions each and a middle button. The positions and shapes can all be modified but the process is ridiculously unintuitive.
The processor can determine whether the zapper is or is not looking at a white portion on the CRT. It can intermittently toggle the middle button’s fill value when the trigger is pulled if it is looking at a white portion of the screen. This function is made erratic by a bounce on the trigger switch. This program works slightly but it is only a proof of concept. Detection will likely need to be reprogramed as we work towards a working hit detection routine.
Issues
New Issues
For the sake of this first introduction, all issues are effectively new issues.
- Trigger bounce causes more interrupt routine entrances than intended
- Display apppears to not be entirely symmetrical
Recurring Issues
No recurring issues on account of this beig the first iteration.
Fixed Issues
No fixed issues on account of this being the first iteration.
Goals
Short Term
- Improve
- Make it more intuitive to edit object postion/rotation
- Make any position/rotation possible
- Program hit detection to differentiate objects
- Fix trigger bounce
- Preferably find a solution that does not cost a delay
Long Term
- Add more displays and press options with a way to swap between them
- Add option to feed in a composite video signal for the button display to be overlaid on top of
- Create pc application wih graphical UI to create new button displays and automatically convert to code


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Choosing the correct data type for your variables can often be the only difference between a faulty solution and a correct one. Especially when there's some geometry around, precision problems often cause solutions to fail. To make matters even worse, there are many (often incorrect) rumors about the reasons of these problems and ways how to solve them.
Table 1: Integer data types in g++.
Notes:
Rumor: Signed integers are stored using a sign bit and "digit" bits. Validity: Only partially true. Most of the current computers, including those used at TC, store the integers in a so-called two's complement form. It is true that for non-negative integers the most significant bit is zero and for negative integers it is one. But this is not exactly a sign bit, we can't produce a "negative zero" by flipping it. Negative numbers are stored in a somewhat different way. The negative number -n is stored as a bitwise negation of the non-negative number (n-1). In Table 2 we present the bit patterns that arise when some small integers are stored in a (signed) char variable. The rightmost bit is the least significant one.
Table 2: Two's complement bit patterns for some integers.
Note that due to the way negative numbers are stored the set of representable numbers is not placed symmetrically around zero. The largest representable integer in b bits is 2b-1 - 1, the smallest (i.e., most negative) one is -2b-1. A neat way of looking at the two's complement form is that the bits correspond to digits in base 2 with the exception that the largest power of two is negative. E.g., the bit pattern 11010001 corresponds to 1 x (- 128) + 1 x 64 + 0 x 32 + 1 x 16 + 0 x 8 + 0 x 4 + 0 x 2 + 1 x 1 = - 128 + 81 = - 47 Rumor: Unsigned integers are just stored as binary digits of the number. Validity: True. In general, the bit pattern consists of base 2 digits of the represented number. E.g., the bit pattern 11010001 corresponds to 1 x 128 + 1 x 64 + 0 x 32 + 1 x 16 + 0 x 8 + 0 x 4 + 0 x 2 + 1 x 1 = 209. Thus, in a b-bit unsigned integer variable, the smallest representable number is zero and the largest is 2b - 1 (corresponding to an all-ones pattern). Note that if the leftmost (most significant) bit is zero, the pattern corresponds to the same value regardless of whether the variable is signed or unsigned. If we have a b-bit pattern with the leftmost bit set to one, and the represented unsigned integer is x, the same pattern in a signed variable represents the value x - 2b. In our previous examples, the pattern 11010001 can represent either 209 (in an unsigned variable) or -47 (in a signed variable). Rumor: In C++, the code "int A[1000]; memset(A,x,sizeof(A));" stores 1000 copies of x into A. Validity: False. The memset() function fills a part of the memory with chars, not ints. Thus for most values of x you would get unexpected results. However, this does work (and is often used) for two special values of x: 0 and -1. The first case is straightforward. By filling the entire array with zeroes, all the bits in each of the ints will be zero, thus representing the number 0. Actually, the second case is the same story: -1 stored in a char is 1111111, thus we fill the entire array with ones, getting an array containing -1s. (Note that most processors have a special set of instructions to fill a part of memory with a given value. Thus the memset() operation is usually much faster than filling the array in a cycle.) When you know what you are doing, memset() can be used to fill the array A with sufficiently large/small values, you just have to supply a suitable bit pattern as the second argument. E.g., use x = 63 to get really large values (1, 061, 109, 567) in A. Rumor: Bitwise operations can be useful. Validity: True. First, they are fast. Second, many useful tricks can be done using just a few bitwise operations. As an easy example, x is a power of 2 if and only if (x & (x-1) == 0). (Why? Think how does the bit pattern of a power of 2 look like.) Note that x=x & (x-1) clears the least significant set bit. By repeatedly doing this operation (until we get zero) we can easily count the number of ones in the binary representation of x. If you are interested in many more such tricks, download the free second chapter of the book Hacker's Delight and read The Aggregate Magic Algorithms. One important trick: unsigned ints can be used to encode subsets of {0, 1,..., 31} in a straightforward way - the i-th bit of a variable will be one if and only if the represented set contains the number i. For example, the number 18 (binary 10010 = 24 +21) represents the set {1, 4}. When manipulating the sets, bitwise "and" corresponds to their intersection, bitwise "or" gives their union. In C++, we may explicitly set the i-th bit of x using the command x |= (1<<i), clear it using x &= ~(1<<i) and check whether it is set using ((x & (1<<i)) != 0). Note that bitset and vector<bool> offer a similar functionality with arbitrarily large sets. This trick can be used when your program has to compute the answer for all subsets of a given set of things. This concept is quite often used in SRM problems. We won't go into more details here, the best way of getting it right is looking at an actual implementation (try looking at the best solutions for the problems below) and then trying to solve a few such problems on your own.
Rumor: Real numbers are represented using a floating point representation. Validity: True. The most common way to represent "real" numbers in computers is the floating point representation defined by the IEEE Standard 754.  Basically, the words "floating point" mean that the position of the decimal (or more exactly, binary) point is not fixed. This will allow us to store a large range of numbers than fixed point formats allow. The numbers will be represented in scientific notation, using a normalized number and an exponent. For example, in base 10 the number 123.456 could be represented as 1.23456 x 102. As a shorthand, we sometimes use the letter E to denote the phrase "times 10 to the power of". E.g., the previous expression can be rewritten as 1.23456e2. Of course, in computers we use binary numbers, thus the number 5.125 (binary 101.001) will be represented as 1.01001 x 22, and the number -0.125 (binary -0.001) will be represented as -1 x 2-3. Note that any (non-zero) real number x can be written in the form (- 1)s x m x 2e, where s ∈ {0, 1} represents the sign, m ∈ [1, 2) is the normalized number and e is the (integer) exponent. This is the general form we are going to use to store real numbers. What exactly do we need to store? The base is fixed, so the three things to store are the sign bit s, the normalized number (known as the mantissa) m and the exponent e. The IEEE Standard 754 defines four types of precision when storing floating point numbers. The two most commonly used are single and double precision. In most programming languages these are also the names of corresponding data types. You may encounter other data types (such as float) that are platform dependent and usually map to one of these types. If not sure, stick to these two types. Single precision floating point numbers use 32 bits (4 bytes) of storage, double precision numbers use 64 bits (8 bytes). These bits are used as shown in Table 3: Table 3: Organization of memory in singles and doubles.
(The bits are given in order. I.e., the sign bit is the most significant bit, 8 or 11 exponent bits and then 23 or 52 mantissa bits follow.) The sign bit The sign bit is as simple as it gets. 0 denotes a positive number; 1 denotes a negative number. Inverting this bit changes the sign of the number. The exponent The exponent field needs to represent both positive and negative exponents. To be able to do this, a bias is added to the actual exponent e. This bias is 127 for single precision and 1023 for double precision. The result is stored as an unsigned integer. (E.g., if e = - 13 and we use single precision, the actual value stored in memory will be -13 + 127 = 114.) This would imply that the range of available exponents is -127 to 128 for single and -1023 to 1024 for double precision. This is almost true. For reasons discussed later, both boundaries are reserved for special numbers. The actual range is then -126 to 127, and -1022 to 1023, respectively. The mantissa The mantissa represents the precision bits of the number. If we write the number in binary, these will be the first few digits, regardless of the position of the binary point. (Note that the position of the binary point is specified by the exponent.) The fact that we use base 2 allows us to do a simple optimization: We know that for any (non-zero) number the first digit is surely 1. Thus we don't have to store this digit. As a result, a b-bit mantissa can actually store the b + 1 most significant bits of a number. ...continue to Section 2
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( Myna IT Labs, Index.html public file ) https://opentext.wsu.edu/marketing/chapter/13-2-functions-of-the-marketing-plan/ Examples: https://netflix.github.io/


Challenges are current issues peer member face & that they would like to discuss with others. A little like the reason why you want a mentor. You can pick a challenge that you feel comfortable helping with and use it as a starting point for your peer mentoring relationship. Challenges are key to a great session. Find out how sessions work
{{item.topic}}
{{item.text}}
{{item['member-name']}}


{% extends 'emails/base_template.html' %} {% block content %} {% load humanize %}
Hello,
Your credit card ending in {{last_4}} was recently declined twice, leaving an outstanding balance of ${{payment.paid_amount|floatformat:2 | intcomma}} for usage of your oxd license.
This often happens when a credit or debit card has exceeded its spending limit. Please review your payment method and contact your card issuer to find out why the charge failed.
Your oxd license has been deactivated and all oxd installations associated with this license will not work until the balance is cleared.
In order to complete your payment and reactivate your oxd license, please reach out to<EMAIL_ADDRESS>Thank you,
Gluu


Police detain 2 FETÖ suspects on Turkey-Greece border
by ANADOLU AGENCYTurkish security forces apprehended two suspects with links to the Gülenist Terror Group (FETÖ) in northwestern Turkey's Edirne province Monday as the pair attempted to cross into Greece.
The FETÖ suspects, identified only by their initials, F.Ç. and A.B., were detained on the border by the anti-smuggling branch of the local security directorate, along with four others helping to organize their illegal crossing. Media reports said the organizers were identified as İ.A., M.A., S.A. and AA, and were members of the same family as the suspected terrorists. The suspects were later transferred to the courthouse after medical check-ups.
FETÖ and its U.S.-based leader Fetullah Gülen orchestrated the defeated coup of July 15, 2016, which left 250 people dead and nearly 2,200 injured. Ankara also accuses FETÖ of being behind a long-running campaign to overthrow the state through the infiltration of Turkish institutions, particularly the military, police and judiciary.


© Copyright 2013 David Wilkinson.
Little Image Printer first came to life at the Little Printer Hack Day hosted by BERG on 2nd March 2013. Put together in around five and a half hours, the first cut was a little rough around the edges, but was completed in time to demo at the end of the day. Since then, the app has been tidied, polished a little and made a little more presentable, ready for release to the world.
If you're a developer and want to take a look behind the scenes, all of the Little Image Printer source code can be found over on github at https://github.com/dopiaza/little-image-printer-ios.
Many thanks to the great people at BERG for bringing Little Printer into the world and putting the BERG Cloud together. Thanks too for organising the Hack Day that resulted in the creation of this app and, most importantly, for providing the beer and pizza that sustained us during the day.
This software makes use of the following third-party libraries:
Copyright (c) 2012, Brad Larson, Ben Cochran, Hugues Lismonde, Keitaroh Kobayashi, Alaric Cole, Matthew Clark, Jacob Gundersen, Chris Williams. All rights reserved.
https://github.com/BradLarson/GPUImage
Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:
Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
Neither the name of the GPUImage framework nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

Copyright (C) 2012 Charcoal Design
Distributed under the permissive zlib License
Get the latest version from here:
https://github.com/nicklockwood/Base64
This software is provided 'as-is', without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.
Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:
1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.
2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.
3. This notice may not be removed or altered from any source distribution.
Copyright (c) 2011-2013, Tony Million. All rights reserved.
https://github.com/tonymillion/Reachability
Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.


NIF Objects | Compound Types | Enum Types | Basic Types | File Versions
| Name | Type | Arg | Arr1 | Arr2 | Cond | Description | From | To |
|---|---|---|---|---|---|---|---|---|
| From NiObject | ||||||||
| From NiExtraData | ||||||||
| Name | string | Name of this object. | <IP_ADDRESS> | |||||
| Next Extra Data | Ref<NiExtraData> | Block number of the next extra data object. | <IP_ADDRESS> |


The Expat Journal
The Expat Journal allows you to store photos taken on your adventures
Keep your personal record of the stories and memories you created in each photo
Create a public profile to share your memories with anyone you choose


Created by Ippon Bordeaux
www.ippon.fr
Client requests the "current slide" endpoint : http://localhost/multiplex-http/currentpos
Server receives connection, keeps it opened
On "slide changed" notification (initiated by the master), sends value to the clients
$ git clone https://github.com/mleneveut/MondayTechPoint.git
In the repository, create your own branch, and switch to it :
$ git checkout -b "[presentation_name]"
Install dependencies :
$ npm install
$ git commit -am "Created my presentation..."
$ git push origin "[presentation_name]"
Slide 1
Slide 2
function linkify( selector ) {
if( supports3DTransforms ) {
var nodes = document.querySelectorAll( selector );
for( var i = 0, len = nodes.length; i < len; i++ ) {
var node = nodes[i];
if( !node.className ) {
node.className += ' roll';
}
}
}
}
Courtesy of highlight.js
$ grunt themes
Include it in your html
Master application : controls the show
Public presentation application : same project as the master except that it doesn't have secret
$ git clone https://github.com/hakimel/reveal.js.git
Install all needed dependencies :
$ npm install
Reveal.initialize({
// Other options
dependencies: [
// Other dependencies
{ src: 'plugin/multiplex-http/master.js', async: true },
]
});
Launch multiplex-http plugin
$ node plugin/multiplex-http
Grab a token :
multiplexHttp: {
secret: '13921084506082212166', // Used to grant master control
id: '6c33a488a7abd3df', // Obtained from multiplex-http server, create unique channel to communicate
url: 'http://localhost' // Location of multiplex-http server
},
Copy the master project
Delete secret :
secret: null
Replace this dependency :
{ src: 'plugin/multiplex-http/master.js', async: true },
By this :
{ src: 'plugin/multiplex-http/client.js', async: true },
Restart master server (into /reveal/master/ directory) :
Access master server and control the show :
$ node plugin/multiplex-http
Access client presentation :
http://localhost/master/
http://localhost/client/


Something went wrong. Please check the host and port, then try again.
Enter a host and port to connect to remote browser.
You are currently connected to a remote browser client!


FIRST NAME
LAST NAME
EMAIL ADDRESS
COUNTRY
Choose a country
France
Italy
Portugal
BIOGRAPHY
PHONE NUMBER
AFFILIATIONS
OCCUPATION
Choose an occupation
Ninja
Robot
Batman
CAT'S NAME
FAVORITE GADGET
TYPE OF TALENT
Choose a talent
Ninjitsu
Automation
Rampaging
FAVORITE DRINK
SPECIAL POWER
WEAPON OF CHOICE
COMMENTS


12; 12022 H.E.
I love watching anime. It hasn’t always been like this. I think the first time I got introduced to it was when I was around six or seven. I was living in Bulgaria at that time, I don’t think we even had Cartoon Network. A small TV somewhere on our backyard porch would run Pokémon: Indigo League on some unnamed channel, which I think is as far as you can go in terms of animated pokemon. I was waiting patiently for every "new" episode after coming back home from school. Then there was a long break.
I briefly came back to watching anime when my best friend in high school recommended I watch Steins;Gate. I liked the genre a lot. It was of course the time when I was super young and many concepts might have flown right past me. Right after, my second serious watch was Mirai Nikki. You are probably more familiar with it through this picture of a girl seductively looking at you.
As a 15-year-old high school boy, I loved the show. The things that happened in the show and scenes presented, I’ve never seen anything like it in movies or books. It was brash, suggestive, violent, and uncompromising. My friend from before scolded me a little bit, saying it’s a low-tier show that is just about a yandere girl running around and killing everyone. Finally, I finished that small high school era of anime with Kill la Kill. I was just obsessed with it, especially with Ryūko Matoi. I bored my other friend so much that she drew me Ryūko dressed in her transformed Kamui. Thank you, Meruel.
Now we’re here. Almost five years later, I re-sparked my love for the genre once again and oh boy, it came in blazing big time. Right around the last days of 2020, I started watching Darling in the Franxx. Flew back home and finished it thereby staying up till 3 am and grinding the episodes. It was something about the timing when the show came into my life and my state. It clicked so perfectly, I got hooked like an addict. Fell in love with Zero Two ❤. Since then, watched the hits of Gainax, all of the Trigger, and more. Now we are done with this exhaustive history. Let’s talk about anime.
There is so much that anime can do, which almost every single other genre is practically incapable of doing. A simple example would be the fight scenes and their dynamics. Think of books as media. The heat and action of it are almost entirely dependent on the author’s way of words and your imagination. Live-action films with real actors and no matter what amount of CGI you throw at it can never reach the heat an anime can, simply because they are still bound by how real-life looks. You can’t enlarge someone 10x and make it as intimidating as Ira Gamagōri looking down on students. It would just look goofy and unnatural.
Continuing comparing the genres, you might ask, but what about cartoons? Isn’t anime just a cartoon genre? Well, in a very very trivial sense, yes. However, "cartoons" usually refer to the Western animation style, while "anime" refers to hand-drawn and computer animation originating from Japan. Anime excels because it is cinematically shot as if by a camera, including panning, zooming, and more complex angle shots, which are hard in practice. Western cartoons are very much standardized in animation style, plot building, and their impact. They feel bland. Anime can overcome that by tackling topics and themes no regular cartoon would even come close to, while also employing a large array of over-the-top action and scenes.
Okay, okay, so what’s the actual appeal of anime to me? That is it. The absolute freedom in plots and characters. Want to see a half-naked girl fighting clothes with half a scissors? Kill la Kill. Want to see robots as big as the Observable Universe smash each other? Tengen Toppa Gurren Lagann. Is a man able to kill anyone with a single punch, even cosmos overlords? One Punch Man. Conductors using their batons to fight aliens with the power of Classical Music? Takt /Op. Destiny/. This list is pretty tame, just the first ones that came to my mind. In many ways, it’s so unrealistic and many times so much far and beyond our reality that it can make some viewers dizzy or brush off the entire genre as too phantasmagorical. I want to make a case that we need this too.
Let me give a little background into my experience with fine arts and media. I major in Classic Literature. The number of greatest and most "realist" works I’ve read and the amount of pages and analysis I wrote on them is something I’m still recovering from. It doesn’t get more real than Russian Literature from the 17-18th centuries, with the greats like Gogol, Dostoevsky, and Tolstoy. I loved the books so much that I decided to major in them. I adore realism and works that just crush your heart and shatter your soul. There is some painful blood-ridden personal and emotional growth in there. However, no matter how much I love it, it would be impossible and dangerous to the psyche to constantly immerse yourself in the greatest and hardest books ever written.
With this little background, I want to assure you that my point of view and love for Japanese animation is not driven just because I know nothing else or am stuck in it, as many people went to point that out. I am intimately acquainted with all different genres, this leads me to believe that what we need is the balance between them. We need the over-the-top-crazy-impossible-phantasmagorical world that anime brings and Russian-style-sad-real-dead-on realism. Only with understanding and appreciating both ends of the spectrum, can we refine our tastes and build more critical points of view on what we consume.
Anime gives a better breathing room, allowing you to abstract yourself from all the small swamp-like details and worries of life, project them onto a world, where giant robots fight aliens in dashingly choreographed ways. To the fullest sense, it inspires me. I drive out the energy and stimulation from those shows to find a new perspective to many situations in life and freshen up a bit, to dream. Anime is on the crazy side of the spectrum, hard literature is on the opposite side of crushing realism, we don’t need anything in between. Our day-to-day lives and routine already suffice for that.
Anime music is also incredible. Here is my playlist with the ones I like a lot
Thank you for reading! Take care ◼


{% load markup %}{# want to customize this? consider overloading tumblelog/post/base.html instead - that's what it's made for! #}


Based on criteria you specify, the Find Similar Locations tool measures the similarity of locations in your candidate search layer to one or more reference locations. This tool can answer questions such as
The point, line, or area layer containing the reference locations to match.
In addition to choosing a layer from your map, you can select Choose Living Atlas Analysis Layer found at the bottom of the drop-down list. This opens a gallery containing a collection of layers useful for many analyses.
Use the selection buttons to identify the reference locations, if necessary. For example, if the input layer contains all of the locations—the reference locations as well as the candidate search locations—you will need to use one of the selection tools to identify the reference locations. If you create two separate layers, one with the reference locations and the other with all candidate search locations, you do not need to make a selection.
If there is more than one reference location, a single location is created by averaging the values for each of the fields used to analyze similarity.
The candidate search locations in this layer will be ranked from most to least similar. Similarity is based on how closely each location matches the reference location across the fields you specify.
In addition to choosing a layer from your map, you can select Choose Living Atlas Analysis Layer found at the bottom of the drop-down list. This opens a gallery containing a collection of layers useful for many analyses.
The fields you select will be the criteria used to evaluate similarity. If you select a population and income field, for example, the candidate search locations with the lowest (best) rankings will be those that have similar population and income values to your reference locations.
You may either see all of the candidate search locations ranked from most similar to least similar, or you can specify the number of results you would like to see.
1
—you determine how many of the top most similar candidates should be included in the result layer.
Provide a name for the layer that will be created in My Content and added to the map. This result layer will contain the reference locations and the number of ranked candidate search locations you specified. If the result layer name already exists you will be asked to rename it.
Using the Save result in drop-down box, you can specify the name of a folder in My Content where the result will be saved.


Welcome to Charity Search! With so many options of charities to support, we are on a mission to find the organization that is right for you. Every donation, action, and service has the ability to make a difference is someone’s life and we hope to support you in this journey. You’re just a few steps away from making a difference!


No Cap
No Cap
“C’mon, Cap’, that’s ridiculous,” I said with a grunt as he turned the car’s radio back up to avoid further rebuttal.
He was trying to convince me that BLACKPINK was going to prevail over NewJeans and XG, and that revenue was the sole arbiter of success in this world — clearly a nonsensical argument.
“You don’t understand what you’re talking about. My ult biases are way more talented. They’re better singers, dancers; they have better producers. Everything. By every objective and meritocratic standard, they are simply superior.”
Rather than lower the volume, he instead raised his own:
“Bro, no offense, but when it comes to international pop and content-driven commerce, you’re out of your depth in a debate with me.”
The ruffage and rocks of upstate rushed by as we headed south back towards the city following our $2,000 meal at Blue Hill Farm. Beyond our windows the only sound the forest could hear was the Doppler-affected, honey-sweet harmony of “Coca-Cola Mashita”.
I reached over to lower the volume. I didn’t like that particular chorus much anyway. “Alright, explain it to me, smart guy.”
“It’s really quite simple,” he began. “Music today is an arms race. It’s all about distribution, and today, distribution costs are exponentially more complex than they previously were. While the physical act of pressing a record and shipping it is no longer relevant, the necessary expenditure to perfectly craft not just a one-off but repeated hits requires immense amounts of capital and quite frankly the use of creative talent as little more than human batteries to be exhausted and discarded as though of Matrix-like manufacture. That’s just the business of music, my dude.”
As though to celebrate, he chuckled, re-raised the volume, and lowered the gas pedal — the stream of music and scenery blurring into the background further.
“But no dude! That’s my whole point! I get it! This isn’t about the talent, even though XG and NewJeans are so obviously more talented. It’s also about the money. These are perfectly manufactured products!”
Cap smirked. “Oh?”, invited his pray tell.
“XG in particular represents a critical moment of East Asian unison. Think about it like this: why has America dominated for so long? Yes, there’s geography and the war and history as law being written by the winners, but there’s a bigger core reason why that power has remained. America’s biggest export, and in fact its biggest armament, actually isn’t weapons. Do you know what it is, smart guy?”
Cap’s smirk turned a full smile as the car’s speed further rose alongside the corners of his mouth.
 Culture! America is the greatest cultural appropriation, re-packaging, pricing, and distribution engine in the history of humanity. Christianity is straight shook for dropping to second place in driving worshipper acquisition at these conversion rates!”
 My argument followed.
“You see, America is always at its best when it has an ‘Other’ to fight. It’s only when there’s no clear Other that threatens our way of life that we turn our fight inwards. So too is true for the big three East Asian dominants: Korea, Japan, and mainland China.”
I continued, breathless and unaware.
“People think America has divide and racism, but few of us have been truly exposed to the level of hate that exists between Korea, Japan, and China — and that hate has history. The idea of those cultures joining forces is almost unheard of. That is, until now.”
“All this talk of recession and the war in Ukraine and the energy and climate crises and the shifting of world currency away from the US dollar — all of that pails in comparison to what’s really going on, and bro, for real, XG is at the center of it all.”
I was lost in my ego, the car’s pace increasing to keep pace with the delivery of my argument.
“The only way that China is going to truly win the coming war for the east is not through hard power but soft, and with XG, you have the first time in history that a Japanese-born, Korean-bred and trained, and Chinese-funded girl group is being deliberately manufactured to deliver a globally-appealing product. And their distribution is using all of Reels, Shorts, and TikTok to generate a type of manufactured virality that would put even the tinfoiler’s whole Covid conspiracy to shame!  You don’t understand.”
“You want to talk cultural content as commerce, distributed dominance, and soft politick genius?   That’s why they’re going to win. The game is rigged, bro. Deadass!”
Capitalism turned to me and looked me dead in the eye with an even more voracious grin. His satisfied eyes were smug with the truth of my obsession, and his gaze remained unbroken as the broken bridge rail splintered and disappeared above and behind us.
Even in the dark of cold river water, his sneer was static as our car and my soul sank one last time in realization of my curse, before and beyond.


| Acc w/ gravity | # | # | # |
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| Rotation | Interval | ||
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Frontal Area |
m² # |
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width # |
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x # |
y # |
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x # |
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x # |
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{% extends 'default.html' %} {% set title = 'Authentication Error' %} {% block pageHeading %}We're Sorry{% endblock %} {% block pageContent %} {% if errorCode === 'TOO_YOUNG' %}
Unfortunately, due to legal reasons, only people who are 18 or over on the day of the hackathon can attend 😞
But don't let that put you off! We look forward to seeing you at a later event!
{% endif %} {% endblock %}


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Figure 1
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Comparison of variations of vulnerability values and ranking ... |
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Figure 2
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Comparison of variations of vulnerability values and ranking ... |
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Figure 3
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The localization of the coastal 73 administrative districts ... |
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Figure 4
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Spatial distribution of the six proxy variables for the floo ... |
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Figure 5
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Comparison of the 73 administrative district ranking by the ... |


|
VSCP framework
v0.6.0
|
VSCP class 1 phone types. More...
Go to the source code of this file.
Macros | |
| #define | VSCP_TYPE_PHONE_UNDEFINED 0 |
| VSCP class 1 phone type: Undefined. | |
| #define | VSCP_TYPE_PHONE_INCOMING_CALL 1 |
| VSCP class 1 phone type: Incoming call. | |
| #define | VSCP_TYPE_PHONE_OUTGOING_CALL 2 |
| VSCP class 1 phone type: Outgoing call. | |
| #define | VSCP_TYPE_PHONE_RING 3 |
| VSCP class 1 phone type: Ring. | |
| #define | VSCP_TYPE_PHONE_ANSWER 4 |
| VSCP class 1 phone type: Answer. | |
| #define | VSCP_TYPE_PHONE_HANGUP 5 |
| VSCP class 1 phone type: Hangup. | |
| #define | VSCP_TYPE_PHONE_GIVEUP 6 |
| VSCP class 1 phone type: Giveup. | |
| #define | VSCP_TYPE_PHONE_TRANSFER 7 |
| VSCP class 1 phone type: Transfer. | |
| #define | VSCP_TYPE_PHONE_DATABASE_INFO 8 |
| VSCP class 1 phone type: Database info. | |


statsmodels.duration.survfunc.SurvfuncRight¶
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class
statsmodels.duration.survfunc.
SurvfuncRight
(time, status, entry=None, title=None, freq_weights=None, exog=None, bw_factor=1.0)[source]¶ Estimation and inference for a survival function.
The survival function S(t) = P(T > t) is the probability that an event time T is greater than t.
This class currently only supports right censoring.
Parameters: - time (array-like) – An array of times (censoring times or event times)
- status (array-like) – Status at the event time, status==1 is the ‘event’ (e.g. death, failure), meaning that the event occurs at the given value in time; status==0 indicates that censoring has occured, meaning that the event occurs after the given value in time.
- entry (array-like, optional An array of entry times for handling) – left truncation (the subject is not in the risk set on or before the entry time)
- title (string) – Optional title used for plots and summary output.
- freq_weights (array-like) – Optional frequency weights
- exog (array-like) – Optional, if present used to account for violation of independent censoring.
- bw_factor (float) – Band-width multiplier for kernel-based estimation. Only used if exog is provided.
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surv_prob
¶ array-like – The estimated value of the survivor function at each time point in surv_times.
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surv_prob_se
¶ array-like – The standard errors for the values in surv_prob. Not available if exog is provided.
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surv_times
¶ array-like – The points where the survival function changes.
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n_risk
¶ array-like – The number of subjects at risk just before each time value in surv_times. Not available if exog is provided.
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n_events
¶ array-like – The number of events (e.g. deaths) that occur at each point in surv_times. Not available if exog is provided.
Notes
If exog is None, the standard Kaplan-Meier estimator is used. If exog is not None, a local estimate of the marginal survival function around each point is constructed, and these are then averaged. This procedure gives an estimate of the marginal survival function that accounts for dependent censoring as long as the censoring becomes independent when conditioning on the covariates in exog. See Zeng et al. (2004) for details.
References
D. Zeng (2004). Estimating marginal survival function by adjusting for dependent censoring using many covariates. Annals of Statistics 32:4. http://arxiv.org/pdf/math/0409180.pdf
Methods
plot
([ax])Plot the survival function. quantile
(p)Estimated quantile of a survival distribution. quantile_ci
(p[, alpha, method])Returns a confidence interval for a survival quantile. simultaneous_cb
([alpha, method, transform])Returns a simultaneous confidence band for the survival function. summary
()Return a summary of the estimated survival function.