Date of Last Revision: November 7, 2012
Rev.com, Inc. ("Rev," "we," "us," "our") provides its services (described below) to you through its websites (collectively, the "Site") and through its related services (collectively, such services, including any new features and applications, and the Site, the "Service(s)"), subject to the following Terms of Service (as amended from time to time, the "Terms of Service"). We reserve the right, at our sole discretion, to change or modify portions of these Terms of Service at any time. If we do this, we will post the changes on this page and will indicate at the top of this page the date these terms were last revised. We will also notify you, either through the Services user interface, in an email notification or through other reasonable means. Any such changes will become effective no earlier than fourteen (14) days after they are posted, except that changes addressing new functions of the Services or changes made for legal reasons will be effective immediately. Your continued use of the Service after the date any such changes become effective constitutes your acceptance of the new Terms of Service. If you do not agree to abide by these or any future Terms of Service, do not use or access (or continue to use or access) the Service.
In addition, when using certain services, you will be subject to any additional terms applicable to such services that may be posted on the Service from time to time, including, without limitation, the Privacy Policy located at http://www.rev.com/voicerecorder/privacy. All such terms are hereby incorporated by reference into these Terms of Service.
Services Description: The Service is designed to provide simple and efficient translation, transcription and other related document services.
Your Registration Obligations: You may be required to register with Rev in order to access and use certain features of the Service. If you choose to register for the Service, you agree to provide and maintain true, accurate, current and complete information about yourself as prompted by the Service's registration form. Registration data and certain other information about you are governed by our Privacy Policy. If you are under 13 years of age, you are not authorized to use the Service, with or without registering. In addition, if you are under 18 years old, you may use the Service, with or without registering, only with the approval of your parent or guardian.
Member Account, Password and Security: You are responsible for maintaining the confidentiality of your password and account, if any, and are fully responsible for any and all activities that occur under your password or account. You agree to (a) immediately notify Rev of any unauthorized use of your password or account or any other breach of security, and (b) ensure that you exit from your account at the end of each session when accessing the Service. Rev will not be liable for any loss or damage arising from your failure to comply with this Section.
Modifications to Service: Rev reserves the right to modify or discontinue, temporarily or permanently, the Service (or any part thereof) with or without notice. You agree that Rev will not be liable to you or to any third party for any modification, suspension or discontinuance of the Service.
General Practices Regarding Use and Storage: You acknowledge that Rev may establish general practices and limits concerning use of the Service, including without limitation the maximum period of time that documents, data or other content will be retained by the Service and the maximum storage space that will be allotted on Rev's servers on your behalf. You agree that Rev has no responsibility or liability for the deletion or failure to store any documents, data or other content maintained or uploaded by the Service. You acknowledge that Rev reserves the right to terminate accounts that are inactive for an extended period of time. You further acknowledge that Rev reserves the right to change these general practices and limits at any time, in its sole discretion, with or without notice.
User Conduct: You are solely responsible for all documents, information, data, text, images, software, music, videos, sound, photographs, graphics, messages or other materials ("content") that you upload, post, publish or display (hereinafter, "upload") or email or otherwise use via the Service. The following are examples of the kind of content and/or use that is illegal or prohibited by Rev. Rev reserves the right to investigate and take appropriate legal action against anyone who, in Rev's sole discretion, violates this provision, including without limitation, removing the offending content from the Service, suspending or terminating the account of such violators and reporting you to the law enforcement authorities. You agree to not use the Service to:
Fees: To use the Services, you will be required to make one or more payments and provide Rev information regarding your credit card or other payment instrument. You represent and warrant to Rev that such information is true and that you are authorized to use the payment instrument. You will promptly update your account information with any changes (for example, a change in your billing address or credit card expiration date) that may occur. You agree to pay Rev the amount that is specified in the Service in accordance with the terms therein and this Terms of Service. Rev may choose to bill through an invoice, in which case, full payment for invoices issued in any given month must be received by Rev thirty (30) days after the mailing date of the invoice, or the Services may be suspended. Unpaid invoices are subject to a finance charge of 1.5% per month on any outstanding balance, or the maximum permitted by law, whichever is lower, plus all expenses of collection. If you dispute any charges you must let Rev know within sixty (60) days after the date that Rev invoices you. We reserve the right to change Rev's prices. If Rev does change prices, Rev will provide notice of the change on the Site or in email to you, at Rev's option. Your continued use of the Service after the price change becomes effective constitutes your agreement to pay the changed amount. You shall be responsible for all taxes associated with Services other than U.S. taxes based on Rev's net income.
Special Notice for International Use: Recognizing the global nature of the Internet, you agree to comply with all local rules and laws regarding your use of the Service, including as it concerns online conduct and acceptable content.
Commercial Use: Unless otherwise expressly authorized herein or in the Service, you agree not to display, distribute, license, perform, publish, reproduce, duplicate, copy, create derivative works from, modify, sell, resell, exploit, transfer or upload for any commercial purposes, any portion of the Service, use of the Service, or access to the Service.
Service Content, Software and Trademarks: You acknowledge and agree that the Service may contain content or features ("Service Content") that are protected by copyright, patent, trademark, trade secret or other proprietary rights and laws. Except as expressly authorized by Rev, you agree not to modify, copy, frame, scrape, rent, lease, loan, sell, distribute or create derivative works based on the Service or the Service Content, in whole or in part, except that the foregoing does not apply to your own User Content (as defined below) that you legally upload to the Service. In connection with your use of the Service you will not engage in or use any data mining, robots, scraping or similar data gathering or extraction methods. Any use of the Service or the Service Content other than as specifically authorized herein is strictly prohibited. The technology and software underlying the Service or distributed in connection therewith is the property of Rev, our affiliates and our partners (the "Software"). You agree not to copy, modify, create a derivative work of, reverse engineer, reverse assemble or otherwise attempt to discover any source code, sell, assign, sublicense, or otherwise transfer any right in the Software. Any rights not expressly granted herein are reserved by Rev.
The Rev name and logos are trademarks and service marks of Rev (collectively the "Rev Trademarks"). Other company, product, and service names and logos used and displayed via the Service may be trademarks or service marks of their respective owners who may or may not endorse or be affiliated with or connected to Rev. Nothing in this Terms of Service or the Service should be construed as granting, by implication, estoppel, or otherwise, any license or right to use any of Rev Trademarks displayed on the Service, without our prior written permission in each instance. All goodwill generated from the use of Rev Trademarks will inure to our exclusive benefit.
Third Party Material: Under no circumstances will Rev be liable in any way for any content or materials of any third parties (including users), including, but not limited to, for any errors or omissions in any content, or for any loss or damage of any kind incurred as a result of the use of any such content. You acknowledge that Rev does not pre-screen content, but that Rev and its designees will have the right (but not the obligation) in their sole discretion to refuse or remove any content that is available via the Service. Without limiting the foregoing, Rev and its designees will have the right to remove any content that violates these Terms of Service or is deemed by Rev, in its sole discretion, to be otherwise objectionable. You agree that you must evaluate, and bear all risks associated with, the use of any content, including any reliance on the accuracy, completeness, or usefulness of such content.
User Content Transmitted Through the Service: With respect to content or other materials you upload through the Service or share with other users or recipients (collectively, "User Content"), you represent and warrant that you own (or have sufficient rights to) all right, title and interest in and to such User Content, including, without limitation, all copyright and rights of publicity contained therein. By uploading any User Content you hereby grant and will grant Rev and its affiliated companies a nonexclusive, worldwide, royalty free, fully paid up, transferable, sublicenseable, perpetual, irrevocable license to copy, display, upload, perform, distribute, store, modify and otherwise use your User Content in connection with the operation of the Service on your behalf, in any form, medium or technology now known or later developed.
You acknowledge and agree that any questions, comments, suggestions, ideas, feedback or other information about the Service ("Submissions"), provided by you to Rev are non-confidential and Rev will be entitled to the unrestricted use and dissemination of these Submissions for any purpose, commercial or otherwise, without acknowledgment or compensation to you.
You acknowledge and agree that Rev may preserve content and may also disclose content if required to do so by law or in the good faith belief that such preservation or disclosure is reasonably necessary to: (a) comply with legal process, applicable laws or government requests; (b) enforce these Terms of Service; (c) respond to claims that any content violates the rights of third parties; or (d) protect the rights, property, or personal safety of Rev, its users and the public. You understand that the technical processing and transmission of the Service, including your content, may involve (a) transmissions over various networks; and (b) changes to conform and adapt to technical requirements of connecting networks or devices.
Confidentiality: Any documents or other text that you provide to Rev for the purpose of providing the Services will be your "Confidential Information," except to the extent such documents (a) are known to Rev prior to receipt from you from a source other than one having an obligation of confidentiality to you; (b) become known (independently of disclosure by you) to Rev directly or indirectly from a source other than one having an obligation of confidentiality to you; or (c) become publicly known or otherwise cease to be secret or confidential, except through a breach of this Section by Rev. Rev will use the Confidential Information solely for the purpose of providing the Services to you (the "Permitted Purpose"). Rev will not, without your prior consent, disclose to any third party your Confidential Information, other than furnishing such Confidential Information to our directors, officers, employees, agents, consultants, contractors, representatives or affiliated entities (collectively, "Associated Persons") who need to have access to such Confidential Information in connection with the Permitted Purpose. Rev will use at least reasonable care to protect the confidentiality of your Confidential Information. In the event that Rev is required by law to make any disclosure of any of your Confidential Information, by subpoena, judicial or administrative order or otherwise, Rev will use commercially reasonable efforts to give you notice of such requirement (to the extent legally permissible) and will permit you to intervene in any relevant proceedings to protect your interests in your Confidential Information.
Copyright Complaints: Rev respects the intellectual property of others, and we ask our users to do the same. If you believe that your work has been copied in a way that constitutes copyright infringement, or that your intellectual property rights have been otherwise violated, you should notify Rev of your infringement claim in accordance with the procedure set forth below.
Rev will process and investigate notices of alleged infringement and will take appropriate actions under the Digital Millennium Copyright Act ("DMCA") and other applicable intellectual property laws with respect to any alleged or actual infringement. A notification of claimed copyright infringement should be emailed to Rev's Copyright Agent at<EMAIL_ADDRESS>(Subject line: "DMCA Takedown Request"). You may also contact us by mail or facsimile at:
Rev.comTo be effective, the notification must be in writing and contain the following information:
Counter-Notice: If you believe that your User Content that was removed (or to which access was disabled) is not infringing, or that you have the authorization from the copyright owner, the copyright owner's agent, or pursuant to the law, to upload and use the content in your User Content, you may send a written counter-notice containing the following information to the Copyright Agent:
If a counter-notice is received by the Copyright Agent, Rev will send a copy of the counter-notice to the original complaining party informing that person that it may replace the removed content or cease disabling it in 10 business days. Unless the copyright owner files an action seeking a court order against the content provider, member or user, the removed content may be replaced, or access to it restored, in 10 to 14 business days or more after receipt of the counter-notice, at our sole discretion.
Repeat Infringer Policy: In accordance with the DMCA and other applicable law, Rev has adopted a policy of terminating, in appropriate circumstances and at Rev's sole discretion, users who are deemed to be repeat infringers. Rev may also at its sole discretion limit access to the Service and/or terminate the memberships of any users who infringe any intellectual property rights of others, whether or not there is any repeat infringement.
The Service may provide, or third parties may provide, links or other access to other sites and resources on the Internet. Rev has no control over such sites and resources and Rev is not responsible for and does not endorse such sites and resources. You further acknowledge and agree that Rev will not be responsible or liable, directly or indirectly, for any damage or loss caused or alleged to be caused by or in connection with use of or reliance on any content, events, goods or services available on or through any such site or resource. Any dealings you have with third parties found while using the Service are between you and the third party, and you agree that Rev is not liable for any loss or claim that you may have against any such third party.
You agree to release, indemnify and hold Rev and its affiliates and their officers, employees, directors and agent harmless from any from any and all losses, damages, expenses, including reasonable attorneys' fees, rights, claims, actions of any kind and injury (including death) arising out of or relating to your use of the Service, any User Content, your connection to the Service, your violation of these Terms of Service or your violation of any rights of another. If you are a California resident, you waive California Civil Code Section 1542, which says: "A general release does not extend to claims which the creditor does not know or suspect to exist in his favor at the time of executing the release, which if known by him must have materially affected his settlement with the debtor." If you are a resident of another jurisdiction, you waive any comparable statute or doctrine.
 THE SERVICE IS PROVIDED ON AN "AS IS" AND "AS AVAILABLE" BASIS.

SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF CERTAIN WARRANTIES OR THE LIMITATION OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES. ACCORDINGLY, SOME OF THE ABOVE LIMITATIONS SET FORTH ABOVE MAY NOT APPLY TO YOU.
At Rev's or your election, all disputes, claims, or controversies arising out of or relating to the Terms of Service or the Service that are not resolved by mutual agreement may be resolved by binding arbitration to be conducted before JAMS, or its successor. Unless otherwise agreed by the parties, arbitration will be held in San Francisco, California before a single arbitrator mutually agreed upon by the parties, or if the parties cannot mutually agree, a single arbitrator appointed by JAMS, and will be conducted in accordance with the rules and regulations promulgated by JAMS unless specifically modified in the Terms of Service. The arbitration must commence within forty-five (45) days of the date on which a written demand for arbitration is filed by either party. The arbitrator's decision and award will be made and delivered within sixty (60) days of the conclusion of the arbitration and within six (6) months of the selection of the arbitrator. The arbitrator will not have the power to award damages in excess of the limitation on actual compensatory, direct damages set forth in the Terms of Service and may not multiply actual damages or award punitive damages or any other damages that are specifically excluded under the Terms of Service, and each party hereby irrevocably waives any claim to such damages. The arbitrator may, in his or her discretion, assess costs and expenses (including the reasonable legal fees and expenses of the prevailing part) against any party to a proceeding. Any party refusing to comply with an order of the arbitrators will be liable for costs and expenses, including attorneys' fees, incurred by the other party in enforcing the award. Notwithstanding the foregoing, in the case of temporary or preliminary injunctive relief, any party may proceed in court without prior arbitration for the purpose of avoiding immediate and irreparable harm. The provisions of this arbitration section will be enforceable in any court of competent jurisdiction.
You agree that Rev, in its sole discretion, may suspend or terminate your account (or any part thereof) or use of the Service and remove and discard any content within the Service, for any reason, including, without limitation, for lack of use or if Rev believes that you have violated or acted inconsistently with the letter or spirit of these Terms of Service. Any suspected fraudulent, abusive or illegal activity that may be grounds for termination of your use of Service, may be referred to appropriate law enforcement authorities. Rev may also in its sole discretion and at any time discontinue providing the Service, or any part thereof, with or without notice. You agree that any termination of your access to the Service under any provision of this Terms of Service may be effected without prior notice, and acknowledge and agree that Rev may immediately deactivate or delete your account and all related information and files in your account and/or bar any further access to such files or the Service. Further, you agree that Rev will not be liable to you or any third-party for any termination of your access to the Service.
You agree that you are solely responsible for your interactions with any other user in connection with the Service and Rev will have no liability or responsibility with respect thereto. Rev reserves the right, but has no obligation, to become involved in any way with disputes between you and any other user of the Service.
These Terms of Service constitute the entire agreement between you and Rev and govern your use of the Service, superseding any prior agreements between you and Rev with respect to the Service. You also may be subject to additional terms and conditions that may apply when you use affiliate or third-party services, third-party content or third-party software. These Terms of Service will be governed by the laws of the State of California without regard to its conflict of law provisions. With respect to any disputes or claims not subject to arbitration, as set forth above, you and Rev agree to submit to the personal and exclusive jurisdiction of the state and federal courts located within San Francisco County, California. The failure of Rev to exercise or enforce any right or provision of these Terms of Service will not constitute a waiver of such right or provision. If any provision of these Terms of Service is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of these Terms of Service remain in full force and effect. You agree that regardless of any statute or law to the contrary, any claim or cause of action arising out of or related to use of the Service or these Terms of Service must be filed within one (1) year after such claim or cause of action arose or be forever barred. A printed version of this agreement and of any notice given in electronic form will be admissible in judicial or administrative proceedings based upon or relating to this agreement to the same extent and subject to the same conditions as other business documents and records originally generated and maintained in printed form. You may not assign this Terms of Service without the prior written consent of Rev, but Rev may assign or transfer this Terms of Service, in whole or in part, without restriction. The section titles in these Terms of Service are for convenience only and have no legal or contractual effect. Notices to you may be made via either email or regular mail. The Service may also provide notices to you of changes to these Terms of Service or other matters by displaying notices or links to notices generally on the Service.
At Rev, we respect the privacy of our users. For details please see our Privacy Policy. By using the Service, you consent to our collection and use of personal data as outlined therein.
Under California Civil Code Section 1789.3, users of the Service from California are entitled to the following specific consumer rights notice: The Complaint Assistance Unit of the Division of Consumer Services of the California Department of Consumer Affairs may be contacted in writing at 1625 North Market Blvd., Suite N 112, Sacramento, CA 95834, or by telephone at<PHONE_NUMBER> or<PHONE_NUMBER>. You may contact us at Rev.com 461 Bush St FL 4 San Francisco, CA 94108 or<PHONE_NUMBER>.
Please contact us at<EMAIL_ADDRESS>to report any violations of these Terms of Service or to pose any questions regarding this Terms of Service or the Service.


Congress will sweep bypolls: Siddaramaiah
by Special CorrespondentCongress leader and former Chief Minister Siddaramaiah claimed here on Sunday that the party was out to sweep the byelections slated to be held in the State on December 5.
Speaking to mediapersons, Mr. Siddaramaiah expressed confidence that the Congress would win 12 out of 15 seats and it was determined to inflict a crushing defeat on the disqualified MLAs.
“I was the one who ensured their disqualification and I will ensure their defeat,” he said.
‘Gimmick’
Referring to A.H. Vishwanath — disqualified MLA who is now contesting from Hunsur on BJP ticket — and his proposal to hive off Hunsur from Mysuru and create a new district, Mr. Siddaramaiah dismissed it as a gimmick. “He has never raised the issue in the past nor has he undertaken development works in the region. He is talking of a new district for Hunsur in the run-up to the elections,” said Mr. Siddaramaiah.


Getting Started
All of our code jams happen on GitLab. If you don't have an account there, you'll need to create one before you can join one of our code jams. Teams are required to fork the repository we have set up for the current code jam, commit their code to their fork, and then open a merge request with their project on the code jam repository.
Once the challenge task has been announced, head to the link provided to reach the challenge repository. In order to work on the task, you will need to fork the repository - this will create a copy of the repository under your account, which you will be able to work on with your teammates. To do so, log into GitLab and click on the "Fork" button on the repository page. Select your username from the dialogue, and it will be forked to your account.
Once this has been done, you should find yourself looking at your new copy of the repository. Next up, you'll need to give your teammates access to it! Click on the "Settings" tab, click on "Collaborators", enter your password if you're prompted for it, and add your teammates as collaborators.
Now that you've set up your repository, it's time to install Git. If you're on Linux, you can install Git using your system's package manager. Windows users can install Git for Windows, and Mac users can install Git using Homebrew. Once you're all installed, open up a terminal (or open Git Bash if you're on Windows). For the purpose of illustration we will be working on Windows, but this will work on any platform.
We will use Git to clone the repository to the machine. Simply type git clone <url>
and Git will download a copy of the repository. The URL is the same one you use to get to the
repository page on GitLab. Use cd project-name
to change directory to the repository.
Now, open the newly-cloned repository in your favourite editor and make some edits. We'll be using Visual Studio Code in this example, but use whatever you prefer. For example, let's create a file named "hello.py", and add a line of code to it.
Now that we've edited a file, we need to make Git aware of our changes. Head back over to your
terminal, and type git add hello.py
to add this file to our changeset.
Next up, we'll need to bundle up our changes into a commit, and push it to GitLab. To do that, we'll
use git commit -am "message"
. Make sure you use a descriptive message explaining why
you made your changes and what they are, but try to keep it to a single line of text if you can.
Following this, we can use git push origin master
to push our commit up to GitLab.
In order to pull the latest version of the code when the repository was cloned earlier, we can
simply use the git pull
command. In order to illustrate this, we will need to enlist
the help of our lovely assistant...
Oh boy.
Once you've pushed some code to the repository, you will notice a "Merge request" link. Click on that to create a merge request, which will let us know that you're working on the task and help us to keep track of things. Simply click on the "Create merge request" button on the next page, fill in the "Title" box with your team number - for example, "Team 1" - and click the big green button to finish.
Now that your merge request has been created, keep working on your project! Code that you push to GitLab will automatically be added to your merge request in real-time. As the code jam continues on, you may find review comments waiting from us. These are just suggestions to help you improve as a programmer - free advice from us. Feel free to incorporate our suggestions into your project if you wish.
That's all there is to it! Keep working at your task, do your best and you might just come out on top!


{% load i18n %} {% blocktrans trimmed with download_url=download_url %} Your export is ready and can be downloaded by clicking here. {% endblocktrans %}


Site identified to build National Manufacturing Institute Scotland
by Steve BushA planning application has been submitted for the development of the National Manufacturing Institute Scotland (NMIS), near Glasgow airport at the Advanced Manufacturing Innovation District Scotland (AMIDS).
NMIS is a £65m centre, led by Scottish Government (which contributed £48m) in partnership with:
- Scottish Enterprise
- Highlands and Islands Enterprise
- Skills Development Scotland
- Scottish Funding Council
- University of Strathclyde (contributed £8m)
- Renfrewshire Council
Operated by the University as a national facility for Scotland, the plan is for research, industry and the public sector to “work together to transform skills, productivity and innovation to attract investment and make Scotland a global leader in advanced manufacturing”, according to NMIS.
“Scotland has a vibrant manufacturing sector,” said Strathclyde University head Professor Sir Jim McDonald. “To achieve its fullest potential, it needs advanced facilities, resources and equipment, for use by highly qualified and skilled staff: NMIS will offer all of this.”
NMIS will include a skills academy, a ‘digitalised factory of the future’ and collaboration hub for manufacturers of all sizes and from all sectors to work together with research partners and the public sector, it said. It is also intended to be carbon-neutral.
Together with the the Medicines Manufacturing Innovation Centre, in which the University of Strathclyde is also lead research partner, NMIS will be the anchor institutions in AMIDS – the advanced manufacturing district mentioned above – which is getting £39m for infrastructure from the Glasgow City Region City Deal. The medicines centre is a collaboration between CPI (the UK Government’s Centre for Process Innovation), University of Strathclyde, UK Research and Innovation (UKRI), Scottish Enterprise, and founding industry partners AstraZeneca and GSK.
AMIDS is led by Renfrewshire Council in partnership with Scottish Enterprise and Scottish Government. At its heart is Netherton Campus, which is the 52-hectare site next to Glasgow Airport – with space for up to 1.6m square feet of commercial floor space – where NMIS and the medicines centre will be built.
Adjacent to the Netherton Campus (are you still with me dear reader?) are two established business parks:
- Westway – home to the Lightweight Manufacturing Centre (LMC)
- Inchinnan – home to Strathclyde’s Advanced Forming Research Centre (AFRC – a UK high-value manufacturing Catapult) which is a base for engineering, research and life science companies


| 009:071 Khan | : |
The believers, men and women, are Auliya' (helpers, supporters, friends, protectors) of one another, they enjoin (on the people) Al-Ma'ruf (i.e. Islamic Monotheism and all that Islam orders one to do), and forbid (people) from Al- Munkar (i.e. polytheism and disbelief of all kinds, and all that Islam has forbidden); they perform As-Salat (Iqamat-as-Salat) and give the Zakat, and obey Allah and His Messenger. Allah will have His Mercy on them. Surely Allah is All- Mighty, All-Wise. |
| 009:071 Maulana | : |
And the believers, men and women, are friends one of another. They enjoin good and forbid evil and keep up prayer and pay the poor-rate, and obey Allah and His Messenger. As for these, Allah will have mercy on them. Surely Allah is Mighty, Wise. |
| 009:071 Pickthal | : |
And the believers, men and women, are protecting friends one of another; they enjoin the right and forbid the wrong, and they establish worship and they pay the poor-due, and they obey Allah and His messenger. As for these, Allah will have mercy on them. Lo! Allah is Mighty, Wise. |
| 009:071 Rashad | : |
The believing men and women are allies of one another. They advocate righteousness and forbid evil, they observe the Contact Prayers (Salat) and give the obligatory charity (Zakat), and they obey GOD and His messenger. These will be showered by GOD's mercy. GOD is Almighty, Most Wise. |
| 009:071 Sarwar | : |
The believers, both male and female, are each other's guardians. They try to make others do good, prevent them from committing sins, perform their prayers, pay the religious tax, and obey God and His Messenger. God will have mercy on them; He is Majestic and All-wise. |
| 009:071 Shakir | : |
And (as for) the believing men and the believing women, they are guardians of each other; they enjoin good and forbid evil and keep up prayer and pay the poor-rate, and obey Allah and His Messenger; (as for) these, Allah will show mercy to them; surely Allah is Mighty, Wise. |
| 009:071 Sherali | : |
And the believers, men and women, are friends of another. They enjoined good and forbid evil and observe Prayer and pay the Zakaat and obey ALLAH and HIS Messenger. It is these on whom ALLAH will have mercy. Surely, ALLAH is Mighty and Wise. |
| 009:071 Yusufali | : |
The Believers, men and women, are protectors one of another: they enjoin what is just, and forbid what is evil: they observe regular prayers, practise regular charity, and obey Allah and His Messenger. On them will Allah pour His mercy: for Allah is Exalted in power, Wise. |
Concepts/Themes Covered: أركان الإسلام > الصلاة > أداء الصلاة > الحض عليها Pillars of Islam> The Prayers>Performing the Prayers> The Incitement to Pray أركان الإسلام > الزكاة والصدقات Pillars of Islam> Due Alms and Charities الإيمان > الإيمان بالله > النفاق Faith> Belief In Allah> Hypocrisy الإيمان > المؤمنون > صفات المؤمنين Faith> The Believers> The Believers' Characteristics الإيمان > المؤمنون > ما أعده الله لهم Faith> The Believers> What has Allah Prepared for them الإيمان > المؤمنون > وعده إياهم Faith> The Believers> His Promise to them الدعوة إلى الله > وجوبها > وجوبها على كل مسلم The Call for Allah> Its Necessity> Its Necessity by Every Moslem الجهاد > الغزوات > غزوة تبوك Jihad> The Holy Battles> Tabuk Battle العمل > العمل الصالح > إطاعة الله ورسوله وأولي الأمر Action(Work)> The Good Deeds>Obeying Allah, His Messenger and those Charged with Authority العمل > العمل الصالح > التعاون مع الآخرين Action(Work)> The Good Deeds>Co-operation with Others الإنسان والعلاقات الأخلاقية > الأخلاق الحميدة > التعاون Man and The Moral Relations> Good Morals>Co-operation الإنسان والعلاقات الأخلاقية > الأخلاق الحميدة > المودة Man and The Moral Relations> Good Morals>Intimacy الإنسان والعلاقات الاجتماعية > المجتمع > التعاون Man and The Social Relations>The Society>Co-Operation الإنسان والعلاقات الاجتماعية > المجتمع > المودة Man and The Social Relations>The Society>Intimacy تنظيم العلاقات المالية > الزكاة Organizing Financial Relationships>Due Alms
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


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Panda3D
|
This class is similar to CardMaker, but instead of generating ordinary cards, it generates a circular rose that represents the projection of a 3-D scene through a fisheye lens. More...
Public Member Functions | |
| __init__ (const FisheyeMaker) | |
| __init__ (str name) | |
| PandaNode | generate () |
| Generates a GeomNode that renders the specified geometry. More... | |
| reset () | |
| Resets all the parameters to their initial defaults. More... | |
| setFov (float fov) | |
| Specifies the field of view of the fisheye projection. More... | |
| setNumVertices (int num_vertices) | |
| Specifies the approximate number of vertices to be used to generate the rose. More... | |
| setReflection (bool reflection) | |
| Sets the flag indicating whether the texture image should be mirrored (true) or normal (false). More... | |
| setSquareInscribed (bool square_inscribed, float square_radius) | |
| Sets the flag that indicates whether the rose should be inscribed within a square. More... | |
| Public Member Functions inherited from Namable | |
| __init__ (const Namable) | |
| __init__ (str initial_name) | |
| clearName () | |
| Resets the Namable's name to empty. More... | |
| str | getName () |
| bool | hasName () |
| Returns true if the Namable has a nonempty name set, false if the name is empty. More... | |
| output (Ostream out) | |
| Outputs the Namable. More... | |
| setName (str name) | |
Additional Inherited Members | |
| Static Public Member Functions inherited from Namable | |
| static TypeHandle | getClassType () |
| Public Attributes inherited from Namable | |
| const String | name |
This class is similar to CardMaker, but instead of generating ordinary cards, it generates a circular rose that represents the projection of a 3-D scene through a fisheye lens.
The texture coordinates of the rose are defined so that each 2-D vertex has a 3-D UVW that reflects the corresponding position in 3-D space of that particular vertex.
This class is particularly suited for converting cube maps to sphere maps.
| __init__ | ( | const | FisheyeMaker | ) |
| __init__ | ( | str | name | ) |
| reset | ( | ) |
Resets all the parameters to their initial defaults.
| setFov | ( | float | fov | ) |
Specifies the field of view of the fisheye projection.
A sphere map will have a 360-degree field of view (and this is the default).
| setNumVertices | ( | int | num_vertices | ) |
Specifies the approximate number of vertices to be used to generate the rose.
This is the approximate number of vertices that will be located within the rose's unit circle, not counting the inscribing square (if any). The actual number of vertices used may be +/- 25% of this value.
| setReflection | ( | bool | reflection | ) |
Sets the flag indicating whether the texture image should be mirrored (true) or normal (false).
When this is true, the 3-D texture coordinates will be reversed so that the image is appropriate for a reflection. This is the best choice for generating a sphere map from a cube map. The default is false.
| setSquareInscribed | ( | bool | square_inscribed, |
| float | square_radius | ||
| ) |
Sets the flag that indicates whether the rose should be inscribed within a square.
When this is true, an additional square is generated to inscribed the circular rose, with the indicated "radius" (the sides of the square will be 2 * square_radius). The texture coordinates of the square will uniformly map to the back pole of the cube map.
This is mainly useful to provide a good uniform background color for a sphere map so that it does not have a sharp circular edge that might produce artifacts due to numerical imprecision when mapping.


WITNESS LIST Finance Committee May 11, 2006 -11:00A SB 37 FOR: Amezquita, Michael Chief Appraiser - Bexar Appraisal District (Bexar Appraisal District, Texas Association of Appraisal Districts), San Antonio, TX Cory, Art Chief Appraiser - Travis County (Travis County Appraisal District), Austin, TX Pardue, Craig Assistant Administrator Government Affairs (Dallas County), Dallas, TX Powell, Leilah Government Relations Manager (Bexar County Commissioners Court), San Antonio, TX Robinson, Jim Chief Appraiser, Harris County (Self), Houston, TX AGAINST: Mintz, David VP Government Affairs (Texas Apartment Association), Austin, TX Registering, but not testifying: For: Allison, Jim General Counsel (County Judges and Commissioners Association of Texas), Austin, TX Bettencourt, Paul Tax Assessor/Collector, Harris County (Self), Houston, TX Eide, Leroy Michael Pragmatic Real Estate Advice Since 1977 (The Independent Appraisers Not Represented), Austin, TX Lavine, Dick Fiscal Analyst (Center for Public Policy Priorities), Austin, TX Lee, Donald Executive Director (Texas Conference of Urban Cities), Austin, TX Against: Chiodo, Dana (International Council of Shopping Centers), Austin, TX Providing written testimony: For: Winn, Gerald "Buddy" Tax Assessor/Collector, Brazos County (Self), Bryan, TX Against: Lehman, Mark Vice President of Governmental Affairs (Texas Association of Realtors), Austin, TX


THE USUAL SUSPECTS A film review by Mark R. Leeper Copyright 1995 Mark R. Leeper
Capsule: With a whimsical title, THE USUAL SUSPECTS looks superficially to be a piece of light entertainment. In fact, it is a crackling crime drama that tests the logical abilities of its audience rather than simply entertaining them. Somebody invested heavily in the actors, and the photography, but the writing is the real attraction. Rating: +2 (-4 to +4)
When most films end people get up, go to their cars, and drive away.  There are a lot of decent films in the first category, but there are almost no bad films in the second. A new film to discuss and puzzle over is THE USUAL SUSPECTS. This is a complicated crime story, occasionally violent, but one that builds compellingly to one climax, then suddenly turns into a complex set of logic puzzles that must be solved to understand what actually happened in the story. This is not like RASHOMON which throws up its hands and says truth is unknowable because everybody sees things differently. Instead, it is closer to Raymond Smullyan's logic problems where we know only that certain things are true if other things are false. One feels all the information is there to figure out the truth, if only one can work the puzzle. But a complete understanding of the plot may not be possible without multiple viewings. But worry not, you don't have to solve the puzzles completely to enjoy the film.
The film begins with a cryptic but beautifully filmed crime scene. A man is apparently shot; a fire is set. But what exactly have we seen? The police (played by Chazz Palminteri and Dan Hedaya) pick up the aptly-named Verbal (Kevin Spacey) and he begins his tale of the six weeks that led to the crime. In flashback, when a police operation fails, the police bring to a line-up five suspects, and based on this chance introduction the five decide to combine their various talents on a job. Along with Spacey, the five are played by Gabriel Byrne, Kevin Pollak, Stephen Baldwin, and Benicio Del Toro. From there the plot of the film doubles and redoubles in complexity. And casting his shadow over the whole plot is a mysterious international criminal, Kaiser Soza, who may be real or may be a total myth.
The film was co-produced and directed by Bryan Singer, whose only previous film is the relatively unknown PUBLIC ACCESS. Here he directs a clever screenplay by Christopher McQuarrie. Singer and McQuarrie manage nicely to characterize each of the criminals with just a few moments in the line-up and in the subsequent police examination. But even with the characterization, they keep the story moving forward ata headlong pace, forcing the audience to work to keep up.
Curiously, for a film as small and somewhat experimental as this, the producers have chosen to go for a cast with a surprising number of familiar actors. We are generally used to seeing at most one or two recognizable actors in independent films and, indeed, those films are often the route actors use these days to become more familiar. The producers have chosen to go with a cast of familiar and established character actors, even in some roles that really do not require it. Concieveably with the film's main attraction being its writing, the budget elsewhere was low enough that the producers could afford to go with an established cast. It is not clear it pays off for them, however. Putting an actor like Paul Bartel in a tiny and undemanding role may be more of a distraction than a casting necessity. Still, a veteran cast does deliver the goods for Singer.
This is a film that looks good, and has good actors, but the writing is really the film's strongest point. This is a film that demands some thought and perhaps even multiple viewings to understand fully and it gets a +2 on the -4 to +4 scale.
Mark R. Leeper<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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belongs to the author.
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This lab will familiarize you with how state is saved and restored in context switches and system calls. You will implement switching between threads in a user-level threads package, and implement an "alarm" feature that delivers interrupt-like events to programs.
Before writing code, you should make sure you have read "Chapter 4: Traps and device drivers" and "Chapter 6: Scheduling" from the xv6 book and studied the corresponding code.
$ git fetch $ git checkout syscall
For this lab it will be important to understand a bit of RISC-V assembly. There is a file user/call.c in your xv6 repo. make fs.img builds a user program call and a readable assembly version of the program in user/call.asm.
Read the code in call.asm for the functions g, f, and main. The instruction manual for RISC-V is in the doc directory (doc/riscv-spec-v2.2.pdf). Here are some questions that you should answer (store the answers in a file answers-syscall.txt):
In this exercise you will design the context switch mechanism for a user-level threading system, and then implement it. To get you started, your xv6 has two files user/uthread.c and user/uthread_switch.S, and a rule in the Makefile to build a uthread program. uthread.c contains most of a user-level threading package, and code for three simple test threads. The threading package is missing some of the code to create a thread and to switch between threads.
Your job is to come up with a plan to create threads and save/restore registers to switch between threads, and implement that plan.
~/classes/6828/xv6$ make qemu ... $ uthread thread_a started thread_b started thread_c started thread_c 0 thread_a 0 thread_b 0 thread_c 1 thread_a 1 thread_b 1 ... thread_c 99 thread_a 99 thread_b 99 thread_c: exit after 100 thread_a: exit after 100 thread_b: exit after 100 thread_schedule: no runnable threads $
This output comes from the three test threads, each of which has a loop that prints a line and then yields the CPU to the other threads.
At this point, however, with no context switch code, you'll see no output.
You should complete thread_create to create a properly initialized thread so that when the scheduler switches to that thread for the first time, thread_switch returns to the function passed as argument func, running on the thread's stack. You will have to decide where to save/restore registers. Several solutions are possible. You are allowed to modify struct thread. You'll need to add a call to thread_switch in thread_schedule; you can pass whatever arguments you need to thread_switch, but the intent is to switch from thread t to the next_thread.
Some hints:
(gdb) file user/_uthread Reading symbols from user/_uthread... (gdb) b thread.c:60
This sets a breakpoint at a specified line in thread.c. The breakpoint may (or may not) be triggered before you even run uthread. How could that happen?
Once your xv6 shell runs, type "uthread", and gdb will break at line thread_switch. Now you can type commands like the following to inspect the state of uthread:
(gdb) p/x *next_threadWith "x", you can examine the content of a memory location:
(gdb) x/x next_thread->stack
You can single step assembly instructions using:
(gdb) si
On-line documentation for gdb is here.
In this exercise you'll add a feature to xv6 that periodically alerts a process as it uses CPU time. This might be useful for compute-bound processes that want to limit how much CPU time they chew up, or for processes that want to compute but also want to take some periodic action. More generally, you'll be implementing a primitive form of user-level interrupt/fault handlers; you could use something similar to handle page faults in the application, for example. Your solution is correct if it passes alarmtest and usertests.
You should add a new sigalarm(interval, handler) system call. If an application calls sigalarm(n, fn), then after every n "ticks" of CPU time that the program consumes, the kernel should cause application function fn to be called. When fn returns, the application should resume where it left off. A tick is a fairly arbitrary unit of time in xv6, determined by how often a hardware timer generates interrupts.
You'll find a file user/alarmtest.c in your xv6 repository. Add it to the Makefile. It won't compile correctly until you've added sigalarm and sigreturn system calls (see below).
alarmtest calls sigalarm(2, periodic) in test0 to ask the kernel to force a call to periodic() every 2 ticks, and then spins for a while. You can see the assembly code for alarmtest in user/alarmtest.asm, which may be handy for debugging. Your solution is correct when alarmtest produces output like this and usertests also runs correctly:
$ alarmtest test0 start ......................................alarm! test0 passed test1 start ..alarm! ..alarm! ..alarm! .alarm! ..alarm! ..alarm! ..alarm! ..alarm! ..alarm! ..alarm! test1 passed $ usertests ... ALL TESTS PASSED $
The first challenge is to arrange that the handler is invoked when the process's alarm interval expires. You'll need to modify usertrap() in kernel/trap.c so that when a process's alarm interval expires, the process executes the handler. How can you do that? You will need to understand how system calls work (i.e., the code in kernel/trampoline.S and kernel/trap.c). Which register contains the user-space instruction address to which system calls return?
Your solution will be only a few lines of code, but it may be tricky to get it right. We'll test your code with the version of alarmtest.c in the original repository; if you modify alarmtest.c, make sure your kernel changes cause the original alarmtest to pass the tests.
Get started by modifying the kernel to jump to the alarm handler in user space, which will cause test0 to print "alarm!". Don't worry yet what happens after the "alarm!" output; it's OK for now if your program crashes after printing "alarm!". Here are some hints:
int sigalarm(int ticks, void (*handler)()); int sigreturn(void);
if(which_dev == 2) ...
make CPUS=1 qemu-gdb
As a starting point, we've made a design decision for you: user alarm handlers are required to call the sigreturn system call when they have finished. Have a look at periodic in alarmtest.c for an example. This means that you can add code to usertrap and sys_sigreturn that cooperate to cause the user process to resume properly after it has handled the alarm.
Some hints:
Once you pass test0 and test1, run usertests to make sure you didn't break any other parts of the kernel.
This completes the lab. Make sure you pass all of the make grade tests and don't forget to write up your answers to the questions in answers-syscall.txt. Commit your changes (including adding answers-syscall.txt) and type make handin in the lab directory to hand in your lab.
The user-level thread package interacts badly with the operating system in several ways. For example, if one user-level thread blocks in a system call, another user-level thread won't run, because the user-level threads scheduler doesn't know that one of its threads has been descheduled by the xv6 scheduler. As another example, two user-level threads will not run concurrently on different cores, because the xv6 scheduler isn't aware that there are multiple threads that could run in parallel. Note that if two user-level threads were to run truly in parallel, this implementation won't work because of several races (e.g., two threads on different processors could call thread_schedule concurrently, select the same runnable thread, and both run it on different processors.)
There are several ways of addressing these problems. One is using scheduler activations and another is to use one kernel thread per user-level thread (as Linux kernels do). Implement one of these ways in xv6. This is not easy to get right; for example, you will need to implement TLB shootdown when updating a page table for a multithreaded user process.
Add locks, condition variables, barriers, etc. to your thread package.


# [film] "City of Angels" A Postview, copyright 1998 p-m agapow
One of the multitude of angels that looks over Los Angeles (Cage) falls in love with a surgeon (Ryan) who is facing personal and career turning points.
"City of Angels" is not a bad film, but it is a poor remake of Wim Wenders' "Wings of Desire". For those who came in late, the central conceit is that angels walk amongst unseen amongst us. They do not interfere, just witness, eavesdropping on thoughts, marvelling at the travails of humans, silently offering solace. Given the growing popularity of angels as (strangely secular) icons of optimism and spirituality, it was perhaps inevitable that the aloof, (largely) monochrome and very European "Wings" be remade in the Hollywood mode. This apparently involved the use of a Waring blender to edit the script into an appropriately dumb form. Where "Wings" was ponderous, "City" is frothy. Where "Wings" is remote and oblique, "City" is superficial. Where "Wings" is romantic, "City" is a romance. In short, where "City" diverges from "Wings", it mostly does so for the worst. But the result is not all bad.
It is a trifle ludicrous though. Instead of Bruno Ganz struck with wonder at the dissolute acrobat Solveig Dommartin, we have Nicholas Cage lust-struck with idealistic heart-surgeon Meg Ryan. (Hey, it's a romance. It needs - nay, requires - Meg Ryan.) Subtlety has quietly been thrown out the window. When the angelic Cage reveals himself to Ryan, she gasps "You're beautiful!". This is not - repeat, not - a great moment in cinema. Cage's male pattern baldness and (ahem) excess of chest hair are distracting, to say the least. A celestial chest wax and toupee would go a long way. Slap in some trite aphorisms about the wonder of the world and love (which could only be uttered in a wealthy city like Los Angeles, and not one like Berlin wedged between two warring military powers), add an intrusive soundtrack, and there is every reason to expect "City of Angels" to be irritating.
But, for the sentimental viewer (which I confess to be), there is worth even in something as potentially trite as "City of Angels". Much like "Faraway, So Close", the somewhat mundane sequel to "Wings of Desire", there are moments when it beautifully flares to life. Angels crowd the beach, in rapture at the sunset and dawn. A dead girl nostalgically remembers pyjamas. A robber is agitated by self-doubt and guilt during a holdup. A fallen angel rejoices in the mundane sensations of life. Despite its lumbering gait, these ideas shine through and save a simple movie from becoming simple minded, and admitting both the wonder of complexity of life. This mission is aided by the competence of some its components. There is some genuinely beautiful photography in this film. Cage and Ryan, who have both at times turned in cliched performances, here give two restrained and humane portrayals. "City of Angels" may not be high art, but it is worthwhile.
"Is this God punishing me?" whimpers a character. "You know better than that," his colleague answers. And that's not a bad thought to take away from a movie. [**/ok] and "Everything I Needed To Know, I Learnt In Kindergarten" on the Sid and Nancy scale.
"City of Angels" Released 1998. Directed by Brad Silberling. Starring Nicolas Cage, Meg Ryan, Andre Braugher, Dennis Franz.
------ Paul-Michael Agapow (agapow@computer.org), La Trobe Uni, Infocalypse "There is no adventure, there is no romance, there is only trouble and desire."
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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Related links: index of all rec.arts.movies.reviews reviews


|
TrackracerAR
0.9.2
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Public Attributes | |
| CalibrateUI.Settings | CalibrateSettings |
| PointRecorder.Settings | PointRecorder |
| Point3DFactory.Settings | Point3DFactory |
| CenterTrackTool.Settings | CenterToolSettings |
| CalibrateUI.Settings GameSettings.TrackPainterSettings.CalibrateSettings |
| CenterTrackTool.Settings GameSettings.TrackPainterSettings.CenterToolSettings |
| Point3DFactory.Settings GameSettings.TrackPainterSettings.Point3DFactory |
| PointRecorder.Settings GameSettings.TrackPainterSettings.PointRecorder |


{{define "title"}}Users Admin{{end}} {{define "body"}}
| User ID | Username | Frequency | Digest | Repos | Account | |
|---|---|---|---|---|---|---|
| {{.Account.GitHubUserId}} | {{if .User}} {{template "user" .User}} {{else}} User could not be looked up, credentials have most likely been revoked. {{end}} | {{.EmailAddress}} | {{.Account.Frequency}} | View | View |


In a lovely showcase of progress, EA's new release, FIFA 16 is the first game of its franchise to include the option to play as women. Acknowledging the growing popularity of women's football, especially in national teams, the game now gives every player the option to play as their national men's team or national women's team. Other similar series like Pez, which deals with club football and not national football, have yet to implement this modification, but will hopefully follow suit.
New York high school students Shazmin Mahmud (17) and Jay Pen (15), in association with Girls Who Code, have created Bias Breaker, an RPG-style game in which the player selects one of a diverse range of characters, then proceeds to shoot harmful stereotypes (represented as blobs).
E3 is the biggest gaming event of the year, where triple-A games are announced and demos are shown to a worldwide audience as a promise of what's to come. So how did the big releases do on female characters this years? According to The Mary Sue, not bad at all. They've compiled a list of 23 games featuring kick-ass playable female characters, including titles like Mass Effect: Andromeda (in which you can choose to play as male or female), Rise of the Tomb Raider (featuring the much beloved Lara Croft), Michonne (a spin-off of the highly successful The Walking Dead Game, focused on the story of female character Michonne), and Fable Legends (part of the popular Fable series and featuring multiple playable female characters).
This year's Game Developer's Conference in March featured a wonderful panel on the participation of women in eSports, an area you could almos say is more overwhelmingly male than the rest of the gaming industry. Some of the speakers include Heather Mumm, Rachel Quirico, and Kim Phan. Stigmas, social pressures and the current environment are all discussed by women prominent in gaming. Curious about women in eSports? Check out the top earners!


Utopian empowers open source. It does this by providing tools, exposure and incentives to awesome open source projects and contributors. As Utopian’s impact grows beyond the Steem blockchain, we want to keep supporting our birthplace by creating initiatives specifically tailored to improve some of the most prominent pain points.
As a Steem Witness, Utopian aims to empower the steem blockchain by providing bespoke solutions. The anti-abuse initiative fits that bill perfectly.
Utopian Anti-Abuse
Utopian wants to spread knowledge, awareness and participation around the anti-abuse efforts being made daily by many awesome members of our beloved Steem communities. Anti-Abuse is a new category available in Utopian and its guidelines are available on https://join.utopian.io/guidelines. This is how to find them:
The Utopian anti-abuse initiative will incentivise the best abuse figthers of the Steem blockchain for providing and sharing their knowledge, projects, initiatives, analyses, ideas, tools, and more. Our aim is to make this knowledge available to everyone.
Additionally, Utopian wants to support the great work being done by abuse fighters by providing incentives for their efforts.
An Experiment
The anti-abuse initiative will run for one month as an experimental trial run. After the first month, we will take a short break of 10 days to do an internal audit and resume the improved category immediately after.
It’s important to notice that the Anti-abuse category is, for the time being, “whitelist only”. Once the trial period ends, and depending on how we choose to proceed, we may provide you with the details needed to enter the whitelist.
The Team
We couldn’t be happier to see our team growing. We want to welcome @iamstan as the new Community Manager for the Anti-abuse category. He has been absolutely amazing and incredibly fast in setting up the requirements for the category.
We also want to thank @lovenfreedom, @enforcer48, and all the people behind SteemCleaners and SteemFlagRewards for their support in setting up the guidelines and the quality questionnaire to make this new initiative a reality.
We want to give a warm welcome to the new moderators for the Anti-abuse category:
| Category Manager | Moderators | | ——– | ——– | | @iamstan | @lovenfreedom | | | @enforcer48 | | | @anthonyadavisii | | | @naturicia|
A Better Steem
This is our first major project of our ongoing commitment to making Steem a better place for all of us. We want this blockchain to be useful, safe, and fun. Anti-abuse activities are already a major part of doing that, and we are proud and happy to support them.
First Time Contributing to Utopian.io?
Learn how to contribute on our website
This page is synchronized from the post: Utopian Anti-Abuse. Let’s spread knowledge, awareness and participation!


| Contents | Previous | Next | Java Management Extensions (JMX) Technology Tutorial |
The Java Management Extensions (JMX) Technology Tutorial provides examples of how to use the main features of the JMX technology that is provided with the Java Platform, Standard Edition .
The Java Management Extensions (JMX) Technology Tutorial demonstrates the concepts and technology that are introduced in the Java Management Extensions (JMX) Technology Overview. You should, therefore, read the overview before attempting to work through this tutorial. To make full use of the information in this tutorial, you should be familiar with the following protocols and specifications:
This tutorial provides examples in broad categories, presented in the following chapters.
This tutorial is accompanied by the following documents:
As previously stated, this tutorial demonstrates some of the concepts that are described in the Java Management Extensions (JMX) Technology Overview. This tutorial is intended to be read in order, from beginning to end, working through the examples as you go. Actions you perform at the beginning of the tutorial might be required parts of subsequent examples. Consequently, starting mid-way through the tutorial might cause you to skip actions required by certain examples.
Where you are required to perform a task, the instructions are presented in bold text and marked with an action number; sub-tasks are marked with a lower-case letter, as shown in the following example:
|
Shell
|
Prompt
|
|---|---|
|
C shell
|
machine_name
% |
|
C shell superuser
|
machine_name
# |
|
Bourne shell and Korn shell
|
$ |
|
Bourne shell and Korn shell superuser
|
# |


MULTIPLICITY A film review by Christopher Null Copyright 1996 Christopher Null
I hate it when a film *sounds* like it's going to be great, has a hilarious teaser-trailer, stars some wonderful actors, features a small role played by the daughter of one of my film review subscribers, and ends up falling a bit flat on the screen.
Such is the case with MULTIPLICITY, the new Harold Ramis-Michael Keaton comedy about a guy who clones himself in order to get a little free time.
Doug (Keaton) is a construction contractor with way to much responsibility at work and not enough time to do it. His wife (Andie MacDowell) never sees hubby, and neither do the kids. Doug's stress is getting so severe that he seems on the verge of a breakdown, and eventually he does so -- a couple of times -- before being talked into having himself cloned by a doctor in Malibu.
Doug #2 (Keaton) is a gruff mensch who takes over Doug's job and never looks back. Deciding that still isn't enough, Doug opts for another in #3 (Keaton), who takes on the personality of a fey househusband obsessed with souffl=E9s, Tupperware, and the non-crumpledness of aluminum foil. And when #2 and #3 decide they don't have enough time themselves, they get together to clone #4 (Keaton), who doesn't turn out quite as sharp as expected, shaving his tongue and keeping pizza in his wallet.
Yes, it *does* sound funny, and Keaton does some of his best work here, hamming it up to an extreme -- particularly with the fall-down funny #3: the Martha Stewart inside all of us.
But what to do about that darned script? Rewrite after rewrite has taken its obvious toll, and the thing comes off as shredded as a bowl of cole slaw, with very funny moments (watch for "Vista de Nada") interspersed with lifeless exposition. Keaton does his best, but it isn't enough to maintain more than a mild chuckle-average during the course of the film.
Also of note: MULTIPLICITY has the dubious honor of being the second movie in a row that Andie MacDowell stars in that she did not single-handedly ruin (the first being UNSTRUNG HEROES). Let's hear it for Andie!
But I found the most interesting part of the movie's premise painfully avoided, and I'll ask it here for the reader to ponder: Just how much *does* it cost to get a clone?
And Kari, you were great.
RATING: ***
|------------------------------| \ ***** Perfection \ \ **** Good, memorable film \ \ *** Average, hits and misses \ \ ** Sub-par on many levels \ \ * Unquestionably awful \ |------------------------------|
-Christopher Null /<EMAIL_ADDRESS>/ Writer-Producer -Visit the Movie Emporium at http://www.filmcritic.com/ -and Null Set Productions at http://www.filmcritic.com/nullset.htm
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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review and has no editorial control. Unless stated otherwise, the copyright
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Please direct comments/criticisms of the review to relevant newsgroups.
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Related links: index of all rec.arts.movies.reviews reviews


Format data and priors for sraplus
format_driors( taxa = "lutjanus griseus", initial_state = 1, initial_state_cv = 0.1, terminal_state = NA, terminal_state_cv = 0.2, u = NA, u_years = NA, u_cv = 0.2, terminal_u = NA, terminal_u_cv = NA, catch = NA, years = NA, index = NA, effort = NA, b_ref_type = "k", f_ref_type = "fmsy", index_years = 1, effort_years = NA, use_heuristics = FALSE, use_b_reg = FALSE, growth_rate_prior = NA, growth_rate_prior_cv = 0.25, fmi = c(research = NA, management = NA, enforcement = NA, socioeconomics = NA), fmi_cv = NA, sar = NA, sar_cv = NA, q_slope_prior = 0, q_slope_prior_cv = 0.1, m = NA, k_prior = NA, k_prior_cv = 2, sigma_ratio_prior = 1, sigma_ratio_prior_cv = 0.05, shape_prior = NA, shape_prior_cv = 0.25, q_prior = 0.001, q_prior_cv = 1, sigma_obs_prior = 0.05, sigma_obs_prior_cv = 1, isscaap_group = NA, f_prior_form = 0, shape_prior_source = "thorson", prob = 0.9, use_fmsy_based_r = FALSE, use_catch_priors = FALSE )
| taxa | the genus and species of the species (case insensitive) |
|---|---|
| initial_state | reference point in the initial year, units of depletion or B/Bmsy (set ref_type accordingly).
when |
| initial_state_cv | CV associated with initial state reference point |
| terminal_state | reference point in the terminal year, units of depletion or B/Bmsy (set ref_type accordingly).
when |
| terminal_state_cv | CV associated with terminal state reference point |
| u | u/umsy data over time |
| u_years | years in which u/umsy data are available |
| u_cv | cv associated with u/umsy data |
| terminal_u | vector of priors on u/umsy in the terminal years |
| terminal_u_cv | vector of cvs on u/umsy in the terminal years |
| catch | vector of catches over lifetime of fishery |
| years | vector of years that the catch data correspond to |
| index | vector of an abundance index |
| effort | vector of an effort series |
| b_ref_type | the units of the initial and final depletion. k means that units are relative to carrying capacity, b bmsy |
| f_ref_type | the units of the fishing mortality rates. fmsy means F/Fmsy, f means fishing mortality rate f |
| index_years | the years in which abundance index data are available |
| effort_years | years in which effort data are available |
| use_heuristics | logical,TRUE uses catch-msy hueristics for priors, FALSE requires user to pass them |
| use_b_reg | logical marking whether to use the regression to put priors on biomass as well as fishing mortality |
| growth_rate_prior | manually pass prior on the growth rate r in the Pella-Tomlinson model |
| growth_rate_prior_cv | manually pass cv for prior on the growth rate r in the Pella-Tomlinson model |
| fmi | named vector of fisheries management index scrores |
| fmi_cv | overwrite posterior predictive cv of FMI derived U/Umsy (NA to use empirical CV) |
| sar | swept area ratio |
| sar_cv | overwrite posterior predictive cv of SAR derived U/Umsy (NA to use empirical CV) |
| q_slope_prior | prior on the slope of catchability q |
| q_slope_prior_cv | the cv on the prior on q_slope |
| m | natural mortality |
| k_prior | prior on carrying capacity |
| k_prior_cv | CV of prior on carrying capacity |
| sigma_ratio_prior_cv | |
| shape_prior | prior on shape parameter of Pella-Tomlinson model |
| shape_prior_cv | CV of prior on shape parameter of Pella-Tomlinson model |
| q_prior_cv | CV of prior on q itself (prior on q set in |
| sigma_obs_prior | prior on observation error |
| sigma_obs_prior_cv | cv of prior on observation error |
| isscaap_group | the isscaap group of the stock. If NA will try and find |
| prob | the probability range of the posterior predictive to use in construction of the priors |
a list of data and priors


JBColor#namedColor
with key not registered in UiDefaultsHardcodedKeys
.
All keys used in JBColor#namedColor
calls must be registered in UiDefaultsHardcodedKeys
.
Otherwise completion in IntelliJ theme files won't suggest them, and UiDefaultsHardcodedKeysTest
will probably fail.
New in 2018.3


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June 03, 2002
Outrage after boy knifed to death on TV
Independent Online | Submitted by: anonymous
"Afterwards, the suspect was shown repeatedly plunging his blade into
the back of the child. The man was later gunned down and bystanders
approached and stomped on the prone and bloodied suspect."
|
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Read article...
|
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Everquest suicide followup
Wire Services | Submitted by: Max
"His mother found Shawn Woolley's body in a rocking chair in front of his
computer. His head was slumped to one side -- still facing a screen of the
online game that she says had become his obsession." This is a followup,
but now you get to see the guy's face. Eeep!
|
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Read article...
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War on your privacy
Washington Post | Submitted by: Number-6
"Federal regulators three years ago tried to impose similar monitoring
requirements on financial institutions to combat money laundering but dropped
their plan, known as "know your customer," after it caused an uproar among
consumers concerned about their privacy. Now some specialists believe the
scrutiny of consumers on the government's behalf is going even deeper."
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Read article...
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Prize cows against terrorism
Wire Services | Submitted by: Deth Vegetable
"Captivated and saddened, they decided to show solidarity and on Sunday
presented the American people with 14 cows, the most prized and sacred
possession in Maasai culture."
 Society's ability to dream up ever more shocking material could yet
make Bumfights just another blip on the radar screen of junk culture. Still,
the disturbing video, which makes fun of the homeless and shows clips of
suburban and inner-city teens beating each other, has drawn the wrath of
critics and advocates for the homeless."
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Read article...
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Life Imitates Ally
Miami Herald | Submitted by: Michael Gelfand
It's official: "Privacy" has become a passe concept. Time to update Christopher Lasch's "The Culture of Narcissism." Meanwhile, you'd better do your business at home before you go out clubbing on South Beach.
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Weather warriors from the planet Mud
Popular Mechanics | Submitted by: pete the anarchist
"A declassified version of a 2-year study prepared by the Air War College
and obtained by PM reveals that [Wartime control of the weather] is no
dreamland scenario. The Pentagon's top meteorologists believe the United
States will be ready to fight--and win--a weather war early in the next
century."
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Read article...
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The Oriental Quadrophenia Lifestyle
asahi.com | Submitted by: Son of Benway
"So what does a young, struggling fashionista have to do to get some notice around here?
"We're here for more than just a scooter run," explained one serious-faced rider from Shizuoka mounted on an Italian Lambretta scooter with his identically dressed girlfriend.
"Mod means cool music. Mod means cool clothes. Mod is a way of life." A group of French tourists burst into laughter as the noisy parade rolled by - the sight of meticulous young Japanese imitating British ruffians must tickle the Gallic funnybone..."
 I love America.
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How to Kill Fat People Faster
Fox News | Submitted by: Strangler Cliff
"The fried Twinkie's origins, however, are fittingly humble. Shortly after
opening his shop some 14 months ago, Sell and his cohorts did what any red
blooded Brit would do with an industrial deep fryer: They began frying
everything they could get their hands on. And then ate it."
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Coroner left tied to bomb
News Corporation | Submitted by: Rog
"Dr Smith had chemicals thrown in his face as he left the forensic centre
on Saturday night. A security guard found him 2 1/2 hours later, tied with
barbed wire and lying near a parking lot. The bomb was removed and disabled
with an explosive charge, police said."
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Read article...
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Panels
beforeclose
Type: panelbeforeclose
- Triggered at the start of the process of closing a panel.
beforeopen
Type: panelbeforeopen
- Triggered at the start of the process of opening a panel.
create
Type: panelcreate
- Triggered when the panel is created.
close
Type: panelclose
- Triggered when the process of closing a panel is finished. However, the slide animation might still be running.
open
Type: panelopen
- Triggered when the process of opening a panel is finished. However, the slide animation might still be running.


Congrats!♥ buddy your password was successfully reseted.Now enjoy the party while surfing the net & have a blast.
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An AngularJS app that grabs live weather data.
This is an example of what I can make using AngularJS and was created to get some more experience integrating it with a live API. It uses the Open Weather Maps API and the Google Static Maps API.
| City | Google Static Map | Temperature | Description | Humidity |
|---|---|---|---|---|
| {{onecityweather.name}}, {{onecityweather.sys.country}} | {{onecityweather.main.temp}} C | {{onecityweather.weather[0].description}} | {{onecityweather.main.humidity}} % |


Do something today that your future self will thank you for.
WHAT IS GRE:
Students planning to pursue Masters of Science, commonly known as MS, take the GRE - Graduate Record Examination
COST OF WRITING THE EXAM:
USD 195 (approx INR 12000)
STRUCTURE OF THE COMPUTER BASED TEST:
| Measure | No. of Questions | Allotted Time |
|---|---|---|
| Analytical Writing | One ""Issue" and one "Argument" task | 30 mins per task |
| Verbal Reasoning(Two sections) | 20 questions per section | 30 mins per section |
| Quantitative Reasoning(Two sections) | 20 questions per section | 35 mins per task |
| Unscored | Varies | Varies |
| Research | Varies | Varies |
SCORING:
Quantitative Reasoning-170
Verbal Reasoning-170
Total-340
AWA-6


{% extends "layout_task-list.html" %} {% block page_title %} Task list {% endblock %} {% block proposition_header %} {% set my_account="2" %} {% include "includes/propositional_navigation.html" %} {% endblock %} {% block content %} {% include "includes/phase_banner_beta.html" %} There was a security error in the service This could be because of something you uploaded or submitted. Contact us for help {% import 'prototypes/prototype-feb-2020/includes/contact-in-page.html' as contact %} {{ contact.output('small') }} {% endblock %} {% block extra_js_1 %}{% endblock %} {% block extra_js_2 %}{% endblock %}
This could be because of something you uploaded or submitted.


Before Change
// Compute the prediction accuracy for the different folds (i.e. session)
cv_scores = []
for train, test in cv:
anova_svc.fit(X[train], y[train])
y_pred = anova_svc.predict(X[test])
cv_scores.append(np.sum(y_pred == y[test]) / float(np.size(y[test])))
// Return the corresponding mean prediction accuracy
After Change
cv = LeaveOneLabelOut(session // 2)
// Compute the prediction accuracy for the different folds (i.e. session)
cv_scores = cross_val_score(anova_svc, X, y)
// Return the corresponding mean prediction accuracy
classification_accuracy = np.mean(cv_scores)


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I'm a self taught artist. I usually practice mimicking other art styles till I add my own style to it or feel comfortable that I could add my own style. I'm not that good of a artist that I want to put my art as a wallpaper yet, but I think I'm getting there.
From the time I was a child, I always enjoy singing. There is a sense of passion when music is being played. Then I joined choir in fourth grade. Singing in a group empowers that feeling of passion as well as add in the feeling of camaraderie. Around sixth grade, I learned to play the piano. Piano helped me understand how to read music and sightread.
I adore stories. I always love to read books and any kind of story. Stories get us through life with lessons they contain or just get entertain us. Hope is there no matter how small even if you have to pass that hope or story to another. Hope might not shine the brightest or be as obvious, but it's there. A bit of hope maybe for oneself and maybe for those around them, it's worth it to have hope.
Also, I am a huge Harry Potter fan. Talk to me about anything obscure, I'll probabaly know about it.


{% extends "base.html" %} {% block body %}
This project generates a list of song recommendations based on a song. The dataset we chose is a collection of 160,000+ tracks on Spotify, found on Kaggle.
Our input is a song selected from a list. Our model analyzes the song based on these categories:
acousticness, danceability, energy, explicitness
instrumentalness, liveliness, key, loudness
mode, popularity, speechiness, tempo, valence
After a model analysis, the output of the model is a list of recommendations that are similar to the input song that a listener might like.


Features¶
All our data is stored in .csv files and in memory in pandas DataFrames. To make usage easier and to avoid hard coding strings, the package provides two classes, that provide python variables for feature names.
On the one hand, there are features that are extracted from CALS. These can be found in the SourceFeatures class. On the other hand, some features are computed in the Processing or Clustering steps. They can be found in the PrecessingFeatures class.
SourceFeatures¶
This class provides the following variables.
Variable name |
String |
|---|---|
TIMESTAMP |
UTC_TIME |
BIASDISCAQNV |
IP.NSRCGEN:BIASDISCAQNV |
GASAQN |
IP.NSRCGEN:GASAQN |
GASSASAQN |
IP.NSRCGEN:GASSASAQN |
SOLINJ_CURRENT |
IP.SOLINJ.ACQUISITION:CURRENT |
SOLCEN_CURRENT |
IP.SOLCEN.ACQUISITION:CURRENT |
SOLEXT_CURRENT |
IP.SOLEXT.ACQUISITION:CURRENT |
OVEN1AQNP |
IP.NSRCGEN:OVEN1AQNP |
OVEN2AQNP |
IP.NSRCGEN:OVEN2AQNP |
SOURCEHTAQNI |
IP.NSRCGEN:SOURCEHTAQNI |
SOURCEHTAQNV |
IP.NSRCGEN:SOURCEHTAQNV |
SAIREM2_FORWARDPOWER |
IP.SAIREM2:FORWARDPOWER |
THOMSON_FORWARDPOWER |
IP.NSRCGEN:RFTHOMSONAQNFWD |
SPARK_COUNTER |
IP.NSRCGEN:SPARKS |
BCT05_CURRENT |
ITL.BCT05:CURRENT |
BCT25_CURRENT |
ITF.BCT25:CURRENT |
BCT41_CURRENT |
ITH.BCT41:CURRENT |
The String value is the parameter name in CALS and also the used column name in output files and Data Frames.
ProcessingFeatures¶
This class provides the following variables.
Variable name |
String |
Description |
|---|---|---|
SOURCE_RUNNING |
source_running |
A 1 if the source is running (BCT05 > 0), 0 otherwise |
SOURCE_STABILITY |
source_stable |
A 1 if the source is considered stable, 0 otherwise |
CLUSTER |
optigrid_cluster |
The number of the cluster tha data point belongs to |
HT_VOLTAGE_BREAKDOWN |
ht_voltage_breakdown |
0 if the Point does not belong to a voltae breakdown, otherwise the UNIX timestamp of the beginning of the breakdown. |
HT_SPARKS_COUNTER |
ht_sparks_counter |
A counter that increases by one for every spark that was detected |
DATAPOINT_DURATION |
datapoint_duration |
The difference between the timestamp of this and the next data point in second |


THE VOYAGER [**Spoilers**] A film review by Kevin Leung Copyright 1992 Kevin Leung
Title : THE VOYAGER Director: Volker Schlondoff [Adapted from the novel HOMO FABER by Max Frisch.]
The first few minutes of THE VOYAGER is revealing of everything that is to come. It opens black-and-white, outside a generic 50-ish airport populated by generic 50-ish people and automobiles. The voyager shows up, hugs this handsome woman farewell, sits down in the utterly familiar waiting room, and buries his head in his hands in a sea of felt hats and cigarette smoke, thinking of a certain woman who no longer exists. He does not want to be there or anywhere. Then color filters back on screen as the camera takes him two months back in time, to another waiting room straight out of faded photographs, poised to miss another plane. Over and over again the film would echo this strong sense of spatial dislocation, address the circular nature of time, narrate the story as some sort of a chronicle of a death foretold and of human endeavors foredoomed, and enhance it with flashbacks and voice-overs by someone precisely situated in a certain period in history and thus make the events twice removed from us, and do all of these with plenty of sardonic humor and self-irony. It is a good, solid beginning for (in my opinion of course) an much overlooked, excellent film.
Sam Shepard plays the voyager, Walter Faber, a globe-trotting American engineer who sets his bearings by his faith in technology and treats metaphysics as an exercise in the laws of probability. He carries with him a bored, presumptuous air which of course makes him irresistible to women. We watch him snatched and shepherded aboard a gorgeous propeller plane, turn into an entry in plane-crash statistics (things definitely *happen* to him), survive the landing, and become witness to a suicide in a strange land -- all appropriately meaningless and absurd, except that they call to him memories of a woman he once knew before the war, Hanna, whom he sees in crisp flashbacks. He returns to civilization, haunted by memories.
(Some spoilers follow)
The "train of coincidence" runs on; he hops on a boat to France to escape a female acquaintance and to resume his anonymous, moment-to- moment existence atop the bell-shaped curve. Instead, he runs into a young woman (Julie Delpy, of EUROPA, EUROPA) he names "Sabeth" whom reminds him of his lost love. He sees more flashbacks (the film would gracefully unfold simultaneously on parallel tracks twenty years apart in time and unerringly converge to an ending we can easily guess but will find spellbinding all the same). She is something of an paradox, this Sabeth, terribly young and vulnerable, a lover of ancient art and its timeless mysteries, and at the same time devoted to Camus and Sartre, those unabashedly contemporary writers who write of freedom and transparency and of experiences created ex-nihilo, unencumbered by a troublesome past. He sees her a lot, and there are some delicate scenes of glances exchanged in crowded ballrooms and slow-dancing on the moonlit deck. (The soundtrack is moody but very pretty.) Stranded on an oceanliner in the middle of the Atlantic, the voyager who shuns entanglements finds himself locked on to this young woman, a beckon that arose from the depths of his past and destined to guide him to complete an act of destruction he set into motion some twenty years ago.
They land in Paris where Faber delivers speeches on the Future of Mankind and stalks Sabeth in art museums. They encounter the inevitable scuffles in Parisian cafes and graffiti protesting the Algerian war. The heart of the film consists of the couple's journey across the continent, from metropolitan Paris, through blazing wheat-fields in the south of France, to nameless historic Roman ruins in Florence and Rome, finally to arrive at the ancient villages of Greece. Along the way are scattered sequences of great tenderness and discipline graced with extremely evocative camera work (this film is no small-time affair, by the way, it is loaded with "production values" and is very beautiful physically; unfortunately it falls into that category somewhere between mainstream Americans and flashy, exotic European hits like EUROPA, EUROPA or TOTO THE HERO and simply won't attract crowds, which is a damned shame). In Athens they are touched by tragedy and reunite with Hanna; swiftly unfolding events bridge the twenty years that separates them, and simultaneously the memories that has been tormenting Faber passes into the present. The acting is particularly impressive in this more somber half of the film: e.g,. Delpy's Sabeth sitting dry-eyed and crushed in the cafe where Faber left her; Shepard and Barbara Sukowa's Hanna maneuvering to wait each other out over dinner; it is all quite extraordinarily restrained and dignified.
There is something about the adaptation (or maybe it is the cinematography) that makes the tale's symbolic dimension leap off the screen and highlights the cyclic quality of this improbable tale of strong-willed, self-centered people forging their fate only to get ensnared by it. Yet the characters never come across as mere mechanical parts reenacting an ancient drama, nor do Faber's relations with Sabeth or Hanna seem at any time less than genuine:
.... What was the use of looking anymore? There was nothing for me to see. Her hands that no longer existed anywhere, her movements as she tossed the pony-tail toward the back of her head, her teeth, her lips, her eyes that no longer existed anywhere -- where could I look for them? .... She is gone now.
(The opening monologue, from memory. It's quite different from the passage in the book. My guess is that Shepard, a decent playwright himself, shortened it.)
There is always this sense of the immediacy of *seeing*, of sights and experiences so perishable they have to be captured with 8 mm's or constantly rehashed in memory, of the moment-by-moment nihilating power of Time, that absolutely transcends the premise of the story. Yet Time also has great viscosity, as Faber the technologist-modern man finds out while getting caught in its backflow. This tremendous tension (as well as the memorable acting and effortless direction) makes watching THE VOYAGER the most rewarding film experience I have in months. I recommend it without reservation, but don't ask me for refunds.
Kevin Leung, April '92.
.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Registering a listener object establishes a channel of communication between the GUI object and the listener.
The container (a ButtonDemo2
object) can be registered
as a listener for any of the components it contains.
When a ButtonDemo2
object is constructed we will register
it as an ActionListener
for its own button.
public class ButtonDemo2 extends JFrame implements ActionListener
{
JButton bChange;
public ButtonDemo2()
{
// choose the layout manager
getContentPane().setLayout( new FlowLayout() );
bChange = new JButton("Click Me!");
// register the ButtonDemo object
// as the listener for the JButton.
bChange.addActionListener( this );
getContentPane().add( bChange );
}
public void actionPerformed( ActionEvent evt)
{
. . . . .
}
public static void main ( String[] args )
{
ButtonDemo2 frm = new ButtonDemo2();
. . . . .
}
}
Examine the statement:
bChange.addActionListener( this );
This statement is executed when a ButtonDemo2
object is constructed.
bChange
refers to the button.addActionListener()
ButtonDemo2
object.
this
refers to the object being constructed,
the frame.bChange
, to run its method
addActionListener()
to register the frame (this
)
as a listener
for button clicks.actionEvents
from the button.actionPerformed()
method
You might think that the ButtonDemo2
frame should
automatically be registered as the listener for all of the GUI components it
contains.
But this would eliminate the flexibility that is needed for more complicated
GUI applications.


If you need so fast a toiltet click in the SEARCH TOILET button and share you ubication. But, if you only want to check our web application stay here and start with about Ublime.
Ublime is an democratic application web that help you to find a public toilet closer to you, but, if you prefer a better toilet with a lot space, best toilet paper, and it doesn't smell like a toilet; Ublime can solve that for you. Do you have an space or a restroom / toilet that you think will be a best restroom / toilet in your area please register this in the Register bottom
That's Ok, send to our team a email with your comments, don't worry you can write anything, but rememberg! be polite and respectful.


Farming is one of the oldest professions. Due to the extensive development of information technology, agriculture is facing yet another significant change after the industrial revolution. For farmers, there is a myriad of challenges to cope with, yet also as many opportunities. This premise was the point of reference for the first Swiss farming hackathon on September 4 and 5 2020, called Open Farming Hackdays.
Much hope lies in data-driven analyses. Data is valuable as everyone knows. As the wisdom goes, the more the data, the better. In many areas, however, there is no systematic data available. Thus, the main challenge is to collect data first before harvesting it for new insights. Unfortunately, much data is proprietary, meaning not free to use for everyone interested in it. Only open data enables innovation as any actors can make use of it by developing a multitude of solutions.
In farming, crowdsourced data about the spread of plant diseases or neophytes' prevalence could broadly foster new sustainable practices in the longer term. Against this backdrop, we developed an end-to-end prototype featuring the following:


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layout: post
title: Internet Explorer support
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As the few first people see the web page, I get pinged asking why it
looks so bad on Internet Explorer. As you can notice, no Javascript on
the page (except from what is generated by dasBlog), I use CSS 1 and 2.
Sadly the support for this and for alpha transparency in Internet
Explorer is lacking at best.
I don't have time right now to implement an IE specific version, but I will try and
do so in the next couple of weeks.
You'll also notice that I'm using feed: links everywhere instead of the default RSS
links. These are custom macros for dasBlog, so you can expect an article about that
in the next couple of days.


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