Click here to download this week's dataset as a CSV
Click here to download this week's dataset as a Hyper Extract
Data Storytelling and Dataviz Approach
This dataset was well suited for showing the explosions both over time and geographically. The first viz I created was the map. This is where I ran into some issues. The data for this dataset was scraped from 26 different PDF files, and had some problems. These PDFs were scans of early computer documents, and were not afforded the luxury of spell check, or the internet to check placenames. There were 33 cities that Tableau did not recognize. Pair this with incorrect states tied to some of these cities and Tableau doesn't know how to handle the locations even if you edit the cities.
I made the decision to filter these records out of the map, instead of editing the dataset.
With the map out of the way, I created a few other vizzes: one that shows the number of explosions by facility type; a set of BANs that summarized the number of explosions, injuries and deaths; and finally these metrics over time. Clicking on the bars on the 'by facility type' viz filters all of the other vizzes. Pretty quick build and straightforward visualizations. I probably spent more time trying to map cities to something that Tableau would recognize (and chasing data issues) than building the dashboard.
Data Source
The dataset this week was sourced from the Kansas State University Research Exchange. Please be sure to cite the source on your viz.
The photo on this page is of the Continental Grain Elevator Explosion in 1977 in New Orleans. The photo is by Bill Haber, in The Times-Picayune archive.


Freelance | Insyallah Calon Programmer | Insyallah Calon Designer
My Name is Bendi Tandayu Saputra, You can call me Bendi, I was born in Banjarnegara 25 October 2002, I live in Bondolharjo Rt 02/05, I have 2 brothers and no sisters.

Insyallah Langsung Di Respons
Insyallah bisa Creative
Insyallah Saya Ramah Kok
if there is no love then there is no website
Siap memulai proyek Anda berikutnya bersama saya? Hubungi saya atau kirim email kepada saya dan saya akan segera menghubungi Anda!


Watch the video for Dua Lipa’s new disco-tinged single, ‘Don’t Start Now’
It’s about moving on and not allowing anyone to get in the way of that
Dua Lipa has shared her new, disco-tinged single ‘Don’t Start Now’ together with a new video which you can watch below.
- Read More: 10 things you didn’t know about Dua Lipa
The ‘New Rules’ pop star signalled her “new era” at the beginning of the month by posting an image of herself sporting a new blonde look. “Thank you for your patience.
Lipa described the new song ‘Don’t Start Now’ as a “pure adrenalin fuelled, feel good dance floor anthem of positivity and self-empowerment.”
“I chose to put this song out first so I could close one chapter of my life and start another,” she said. “Into a new era with a new sound! It’s about moving on and not allowing anyone to get in the way of that. It also felt like a natural first song choice as I made it with the brilliant same crew I made ‘New Rules’ with.”
On the infectious single, Lipa sings, “Don’t show up/ Don’t come out/ Don’t start caring about me now/ Walk away/ You know how.”
You can watch the video for the new song here:
This first taste of LP2 comes after Lipa revealed that the project would have a “disco influence“ and be “more mature” compared to her first studio effort. The star also confirmed that she had spent time in the studio with disco icon Nile Rodgers.
“My new record is still pop and it is really fun, but it is definitely more conceptual. I had the album title and went from that,” she explained.
“It would probably be risky if I wasn’t risky with the next record. I don’t think it would be as fun if I tried to recreate the first record. As an artist, you constantly want to grow and change your perspective and try something new.”
Dua Lipa has previously cited the likes of Prince, OutKast, “old Gwen Stefani” and No Doubt as inspiration for her upcoming new album.


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Flappers and Philosophers
by F. Scott Fitzgerald
Benediction
Additional Information
- Year Published: 1920
- Language: English
- Country of Origin: United States of America
- Source: Fitzgerald, S. (1920). Flappers and Philosophers. New York, NY: Doubleday, Page & Company.
-
Readability:
- Flesch–Kincaid Level: 6.8
- Word Count: 6,575
- Genre: Realism
- Keywords: fiction, short story
- ✎ Cite This
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The Baltimore Station was hot and crowded, so Lois was forced to stand by the telegraph desk for interminable, sticky seconds while a clerk with big front teeth counted and recounted a large lady's day message, to determine whether it contained the innocuous forty–nine words or the fatal fifty–one.
Lois, waiting, decided she wasn't quite sure of the address, so she took the letter out of her bag and ran over it again.
"Darling," it began—"I understand and I'm happier than life ever meant me to be. If I could give you the things you've always been in tune with—but I can't Lois; we can't marry and we can't lose each other and let all this glorious love end in nothing.
"Until your letter came, dear, I'd been sitting here in the half dark and thinking where I could go and ever forget you; abroad, perhaps, to drift through Italy or Spain and dream away the pain of having lost you where the crumbling ruins of older, mellower civilizations would mirror only the desolation of my heart—and then your letter came.
"Sweetest, bravest girl, if you'll wire me
I'll meet you in Wilmington—till then
I'll be here just waiting and hoping
for every long dream of you to come true.
"Howard."
She had read the letter so many times that she knew it word by word, yet it still startled her. In it she found many faint reflections of the man who wrote it—the mingled sweetness and sadness in his dark eyes, the furtive, restless excitement she felt sometimes when he talked to her, his dreamy sensuousness that lulled her mind to sleep. Lois was nineteen and very romantic and curious and courageous.
The large lady and the clerk having compromised on fifty words, Lois took a blank and wrote her telegram. And there were no overtones to the finality of her decision.
It's just destiny—she thought—it's just the way things work out in this damn world. If cowardice is all that's been holding me back there won't be any more holding back. So we'll just let things take their course and never be sorry.
The clerk scanned her telegram:
"Arrived Baltimore today
spend day with my brother
meet me Wilmington three P.M. Wednesday
Love
"Lois."
"Fifty–four cents," said the clerk admiringly.
And never be sorry—thought Lois—and never be sorry—
II
Trees filtering light onto dapple grass.  Trees like butlers, bending courteously over placid walks and paths. Trees, trees over the hills on either side and scattering out in clumps and lines and woods all through eastern Maryland, delicate lace on the hems of many yellow fields, dark opaque backgrounds for flowered bushes or wild climbing garden.
Some of the trees were very gay and young, but the monastery trees were older than the monastery which, by true monastic standards, wasn't very old at all. And, as a matter of fact, it wasn't technically called a monastery, but only a seminary; nevertheless it shall be a monastery here despite its Victorian architecture or its Edward VII additions, or even its Woodrow Wilsonian, patented, last–a–century roofing.
Out behind was the farm where half a dozen lay brothers were sweating lustily as they moved with deadly efficiency around the vegetable–gardens. To the left, behind a row of elms, was an informal baseball diamond where three novices were being batted out by a fourth, amid great chasings and puffings and blowings. And in front as a great mellow bell boomed the half–hour a swarm of black, human leaves were blown over the checker–board of paths under the courteous trees.
Some of these black leaves were very old with cheeks furrowed like the first ripples of a splashed pool. Then there was a scattering of middle–aged leaves whose forms when viewed in profile in their revealing gowns were beginning to be faintly unsymmetrical. These carried thick volumes of Thomas Aquinas and Henry James and Cardinal Mercier and Immanuel Kant and many bulging note–books filled with lecture data.
But most numerous were the young leaves; blond boys of nineteen with very stern, conscientious expressions; men in the late twenties with a keen self–assurance from having taught out in the world for five years—several hundreds of them, from city and town and country in Maryland and Pennsylvania and Virginia and West Virginia and Delaware.
There were many Americans and some Irish and some tough Irish and a few French, and several Italians and Poles, and they walked informally arm in arm with each other in twos and threes or in long rows, almost universally distinguished by the straight mouth and the considerable chin—for this was the Society of Jesus, founded in Spain five hundred years before by a tough–minded soldier who trained men to hold a breach or a salon, preach a sermon or write a treaty, and do it and not argue . . .
Lois got out of a bus into the sunshine down by the outer gate. She was nineteen with yellow hair and eyes that people were tactful enough not to call green. When men of talent saw her in a street–car they often furtively produced little stub–pencils and backs of envelopes and tried to sum up that profile or the thing that the eyebrows did to her eyes. Later they looked at their results and usually tore them up with wondering sighs.
Though Lois was very jauntily attired in an expensively appropriate travelling affair, she did not linger to pat out the dust which covered her clothes, but started up the central walk with curious glances at either side. Her face was very eager and expectant, yet she hadn't at all that glorified expression that girls wear when they arrive for a Senior Prom at Princeton or New Haven; still, as there were no senior proms here, perhaps it didn't matter.
She was wondering what he would look like, whether she'd possibly know him from his picture. In the picture, which hung over her mother's bureau at home, he seemed very young and hollow–cheeked and rather pitiful, with only a well–developed mouth and all ill–fitting probationer's gown to show that he had already made a momentous decision about his life. Of course he had been only nineteen then and now he was thirty–six—didn't look like that at all; in recent snap–shots he was much broader and his hair had grown a little thin—but the impression of her brother she had always retained was that of the big picture. And so she had always been a little sorry for him.  Seventeen years of preparation and he wasn't even a priest yet—wouldn't be for another year.
Lois had an idea that this was all going to be rather solemn if she let it be. But she was going to give her very best imitation of undiluted sunshine, the imitation she could give even when her head was splitting or when her mother had a nervous breakdown or when she was particularly romantic and curious and courageous. This brother of hers undoubtedly needed cheering up, and he was going to be cheered up, whether he liked it or not.
As she drew near the great, homely front door she saw a man break suddenly away from a group and, pulling up the skirts of his gown, run toward her. He was smiling, she noticed, and he looked very big and—and reliable. She stopped and waited, knew that her heart was beating unusually fast.
"Lois!" he cried, and in a second she was in his arms. She was suddenly trembling.
"Lois!" he cried again, "why, this is wonderful! I can't tell you, Lois, how much I've looked forward to this. Why, Lois, you're beautiful!"
Lois gasped.
His voice, though restrained, was vibrant with energy and that odd sort of enveloping personality she had thought that she only of the family possessed.
"I'm mighty glad, too—Kieth."
She flushed, but not unhappily, at this first use of his name.
"Lois—Lois—Lois," he repeated in wonder. "Child, we'll go in here a minute, because I want you to meet the rector, and then we'll walk around. I have a thousand things to talk to you about."
His voice became graver. "How's mother?"
She looked at him for a moment and then said something that she had not intended to say at all, the very sort of thing she had resolved to avoid.
"Oh, Kieth—she's—she's getting worse all the time, every way."
He nodded slowly as if he understood.
"Nervous, well—you can tell me about that later. Now—"
She was in a small study with a large desk, saying something to a little, jovial, white–haired priest who retained her hand for some seconds.
"So this is Lois!"
He said it as if he had heard of her for years.
He entreated her to sit down.
Two other priests arrived enthusiastically and shook hands with her and addressed her as "Kieth's little sister," which she found she didn't mind a bit.
How assured they seemed; she had expected a certain shyness, reserve at least. There were several jokes unintelligible to her, which seemed to delight every one, and the little Father Rector referred to the trio of them as "dim old monks," which she appreciated, because of course they weren't monks at all. She had a lightning impression that they were especially fond of Kieth—the Father Rector had called him "Kieth" and one of the others had kept a hand on his shoulder all through the conversation. Then she was shaking hands again and promising to come back a little later for some ice–cream, and smiling and smiling and being rather absurdly happy . . . she told herself that it was because Kieth was so delighted in showing her off.
Then she and Kieth were strolling along a path, arm in arm, and he was informing her what an absolute jewel the Father Rector was.
"Lois," he broken off suddenly, "I want to tell you before we go any farther how much it means to me to have you come up here. I think it was—mighty sweet of you.
Lois gasped. She was not prepared for this. At first when she had conceived the plan of taking the hot journey down to Baltimore staying the night with a friend and then coming out to see her brother, she had felt rather consciously virtuous, hoped he wouldn't be priggish or resentful about her not having come before—but walking here with him under the trees seemed such a little thing, and surprisingly a happy thing.
"Why, Kieth," she said quickly, "you know I couldn't have waited a day longer. I saw you when I was five, but of course I didn't remember, and how could I have gone on without practically ever having seen my only brother?"
"It was mighty sweet of you, Lois," he repeated.
Lois blushed—he did have personality.
"I want you to tell me all about yourself," he said after a pause. "Of course I have a general idea what you and mother did in Europe those fourteen years, and then we were all so worried, Lois, when you had pneumonia and couldn't come down with mother—let's see that was two years ago—and then, well, I've seen your name in the papers, but it's all been so unsatisfactory. I haven't known you, Lois."
She found herself analyzing his personality as she analyzed the personality of every man she met. She wondered if the effect of—of intimacy that he gave was bred by his constant repetition of her name. He said it as if he loved the word, as if it had an inherent meaning to him.
"Then you were at school," he continued.
"Yes, at Farmington. Mother wanted me to go to a convent—but I didn't want to."
She cast a side glance at him to see if he would resent this.
But he only nodded slowly.
"Had enough convents abroad, eh?"
"Yes—and Kieth, convents are different there anyway. Here even in the nicest ones there are so many common girls."
He nodded again.
"Yes," he agreed, "I suppose there are, and I know how you feel about it. It grated on me here, at first, Lois, though I wouldn't say that to any one but you; we're rather sensitive, you and I, to things like this."
"You mean the men here?"
"Yes, some of them of course were fine, the sort of men I'd always been thrown with, but there were others; a man named Regan, for instance—I hated the fellow, and now he's about the best friend I have. A wonderful character, Lois; you'll meet him later. Sort of man you'd like to have with you in a fight."
Lois was thinking that Kieth was the sort of man she'd like to have with her in a fight.
"How did you—how did you first happen to do it?" she asked, rather shyly, "to come here, I mean.
"Oh, that—" He looked rather annoyed.
"Tell me that. I'd like to hear you tell it."
"Oh, it's nothing except what you probably know. It was evening and I'd been riding all day and thinking about—about a hundred things, Lois, and then suddenly I had a sense that some one was sitting across from me, felt that he'd been there for some time, and had a vague idea that he was another traveller. All at once he leaned over toward me and I heard a voice say: 'I want you to be a priest, that's what I want.'  A week after that I went to the Jesuit College in Philadelphia and crawled up the last flight of stairs to the rector's office on my hands and knees."
There was another silence and Lois saw that her brother's eyes wore a far–away look, that he was staring unseeingly out over the sunny fields. She was stirred by the modulations of his voice and the sudden silence that seemed to flow about him when he finished speaking.
She noticed now that his eyes were of the same fibre as hers, with the green left out, and that his mouth was much gentler, really, than in the picture —or was it that the face had grown up to it lately? He was getting a little bald just on top of his head. She wondered if that was from wearing a hat so much. It seemed awful for a man to grow bald and no one to care about it.
"Were you—pious when you were young, Kieth?" she asked. "You know what I mean. Were you religious? If you don't mind these personal questions."
 "Yes, I suppose I was, when I was—sober."
Lois thrilled slightly.
"Did you drink?"
He nodded.
"I was on the way to making a bad hash of things." He smiled and, turning his gray eyes on her, changed the subject.
"Child, tell me about mother. I know it's been awfully hard for you there, lately. I know you've had to sacrifice a lot and put up with a great deal and I want you to know how fine of you I think it is. I feel, Lois, that you're sort of taking the place of both of us there."
Lois thought quickly how little she had sacrificed; how lately she had constantly avoided her nervous, half–invalid mother.
"Youth shouldn't be sacrificed to age, Kieth," she said steadily.
"I know," he sighed, "and you oughtn't to have the weight on your shoulders, child. I wish I were there to help you."
She saw how quickly he had turned her remark and instantly she knew what this quality was that he gave off. He was sweet. Her thoughts went of on a side–track and then she broke the silence with an odd remark.
"Sweetness is hard," she said suddenly.
"What?"
"Nothing," she denied in confusion. "I didn't mean to speak aloud. I was thinking of something —of a conversation with a man named Freddy Kebble."
"Maury Kebble's brother?"
"Yes," she said rather surprised to think of him having known Maury Kebble. Still there was nothing strange about it. "Well, he and I were talking about sweetness a few weeks ago. Oh, I don't know—I said that a man named Howard—that a man I knew was sweet, and he didn't agree with me, and we began talking about what sweetness in a man was: He kept telling me I meant a sort of soppy softness, but I knew I didn't—yet I didn't know exactly how to put it. I see now. I meant just the opposite. I suppose real sweetness is a sort of hardness—and strength."
Kieth nodded.
"I see what you mean. I've known old priests who had it."
"I'm talking about young men," she said rather defiantly.
They had reached the now deserted baseball diamond and, pointing her to a wooden bench, he sprawled full length on the grass.
"Are these young men happy here, Kieth?"
"Don't they look happy, Lois?"
"I suppose so, but those young ones, those two we just passed— have they—are they—?
"Are they signed up?" he laughed. "No, but they will be next month."
"Permanently?"
"Yes—unless they break down mentally or physically. Of course in a discipline like ours a lot drop out."
"But those boys. Are they giving up fine chances outside—like you did?"
He nodded.
"Some of them."
"But Kieth, they don't know what they're doing. They haven't had any experience of what they're missing."
"No, I suppose not."
"It doesn't seem fair. Life has just sort of scared them at first. Do they all come in so young?"
"No, some of them have knocked around, led pretty wild lives—Reagan, for instance."
"I should think that sort would be better," she said meditatively, "men that had seen life."
"No," said Kieth earnestly, "I'm not sure that knocking about gives a man the sort of experience he can communicate to others. Some of the broadest men I've known have been absolutely rigid about themselves. And reformed libertines are a notoriously intolerant class. Don't you thank so, Lois?"
She nodded, still meditative, and he continued:
"It seems to me that when one weak reason goes to another, it isn't help they want; it's a sort of companionship in guilt, Lois. After you were born, when mother began to get nervous she used to go and weep with a certain Mrs. Comstock. Lord, it used to make me shiver.  No, I don't think that to help others you've got to show yourself at all. Real help comes from a stronger person whom you respect. And their sympathy is all the bigger because it's impersonal."
"But people want human sympathy," objected Lois. "They want to feel the other person's been tempted."
"Lois, in their hearts they want to feel that the other person's been weak. That's what they mean by human.
"Here in this old monkey, Lois," he continued with a smile, "they try to get all that self–pity and pride in our own wills out of us right at the first. They put us to scrubbing floors—and other things. It's like that idea of saving your life by losing it. You see we sort of feel that the less human a man is, in your sense of human, the better servant he can be to humanity. We carry it out to the end, too. When one of us dies his family can't even have him then. He's buried here under plain wooden cross with a thousand others."
His tone changed suddenly and he looked at her with a great brightness in his gray eyes.
"But way back in a man's heart there are some things he can't get rid of—an one of them is that I'm awfully in love with my little sister."
With a sudden impulse she knelt beside him in the grass and, Leaning over, kissed his forehead.
"You're hard, Kieth," she said, "and I love you for it—and you're sweet."
III
Back in the reception–room Lois met a half–dozen more of Kieth's particular friends; there was a young man named Jarvis, rather pale and delicate–looking, who, she knew, must be a grandson of old Mrs. Jarvis at home, and she mentally compared this ascetic with a brace of his riotous uncles.
 She knew then what Kieth had meant about "a good man to have with you in a fight."
He's the missionary type—she thought vaguely—China or something.
"I want Kieth's sister to show us what the shimmy is," demanded one young man with a broad grin.
Lois laughed.
"I'm afraid the Father Rector would send me shimmying out the gate. Besides, I'm not an expert."
"I'm sure it wouldn't be best for Jimmy's soul anyway," said Kieth solemnly. "He's inclined to brood about things like shimmys. They were just starting to do the—maxixe, wasn't it, Jimmy?—when he became a monk, and it haunted him his whole first year. You'd see him when he was peeling potatoes, putting his arm around the bucket and making irreligious motions with his feet."
There was a general laugh in which Lois joined.
"An old lady who comes here to Mass sent Kieth this ice–cream," whispered Jarvis under cover of the laugh, "because she'd heard you were coming. It's pretty good, isn't it?"
There were tears trembling in Lois' eyes.
IV
Then half an hour later over in the chapel things suddenly went all wrong. It was several years since Lois had been at Benediction and at first she was thrilled by the gleaming monstrance with its central spot of white, the air rich and heavy with incense, and the sun shining through the stained–glass window of St. Francis Xavier overhead and falling in warm red tracery on the cassock of the man in front of her, but at the first notes of the "O Salutaris Hostia" a heavy weight seemed to descend upon her soul. Kieth was on her right and young Jarvis on her left, and she stole uneasy glance at both of them
What's the matter with me? she thought impatiently.
She looked again. Was there a certain coldness in both their profiles, that she had not noticed before—a pallor about the mouth and a curious set expression in their eyes? She shivered slightly: they were like dead men.
She felt her soul recede suddenly from Kieth's. This was her brother—this, this unnatural person. She caught herself in the act of a little laugh.
"What is the matter with me?"
She passed her hand over her eyes and the weight increased. The incense sickened her and a stray, ragged note from one of the tenors in the choir grated on her ear like the shriek of a slate–pencil. She fidgeted, and raising her hand to her hair touched her forehead, found moisture on it.
"It's hot in here, hot as the deuce."
Again she repressed a faint laugh and, then in an instant the weight on her heart suddenly diffused into cold fear. . . . It was that candle on the altar. It was all wrong—wrong. Why didn't somebody see it? There was something in it. There was something coming out of it, taking form and shape above it.
She tried to fight down her rising panic, told herself it was the wick. If the wick wasn't straight, candles did something—but they didn't do this! With incalculable rapidity a force was gathering within her, a tremendous, assimilative force, drawing from every sense, every corner of her brain, and as it surged up inside her she felt an enormous terrified repulsion. She drew her arms in close to her side away from Kieth and Jarvis.
Something in that candle . . . she was leaning forward—in another moment she felt she would go forward toward it—didn't any one see it? . . . anyone?
"Ugh!"
She felt a space beside her and something told her that Jarvis had gasped and sat down very suddenly . . . then she was kneeling and as the flaming monstrance slowly left the altar in the hands of the priest, she heard a great rushing noise in her ears—the crash of the bells was like hammer–blows . . . and then in a moment that seemed eternal a great torrent rolled over her heart—there was a shouting there and a lashing as of waves . . .
. . . She was calling, felt herself calling for Kieth, her lips mouthing the words that would not come:
"Kieth! Oh, my God! Kieth!"
Suddenly she became aware of a new presence, something external, in front of her, consummated and expressed in warm red tracery. Then she knew. It was the window of St. Francis Xavier. Her mind gripped at it, clung to it finally, and she felt herself calling again endlessly, impotently—Kieth—Kieth!
Then out of a great stillness came a voice:
"Blessed be God."
With a gradual rumble sounded the response rolling heavily through the chapel:
"Blessed be God."
The words sang instantly in her heart; the incense lay mystically and sweetly peaceful upon the air, and the candle on the altar went out.
"Blessed be His Holy Name."
"Blessed be His Holy Name."
Everything blurred into a swinging mist. With a sound half–gasp, half–cry she rocked on her feet and reeled backward into Kieth's suddenly outstretched arms.
V
"Lie still, child."
She closed her eyes again. She was on the grass outside, pillowed on Kieth's arm, and Regan was dabbing her head with a cold towel.
"I'm all right," she said quietly.
"I know, but just lie still a minute longer. It was too hot in there. Jarvis felt it, too."
She laughed as Regan again touched her gingerly with the towel.
"I'm all right," she repeated.
But though a warm peace was falling her mind and heart she felt oddly broken and chastened, as if some one had held her stripped soul up and laughed.
VI
Half an hour later she walked leaning on Kieth's arm down the long central path toward the gate.
"It's been such a short afternoon," he sighed, "and I'm so sorry you were sick, Lois."
"Kieth, I'm feeling fine now, really; I wish you wouldn't worry."
"Poor old child. I didn't realize that Benediction'd be a long service for you after your hot trip out here and all."
She laughed cheerfully.
"I guess the truth is I'm not much used to Benediction. Mass is the limit of my religious exertions."
She paused and then continued quickly:
"I don't want to shock you, Kieth, but I can't tell you how—how inconvenient being a Catholic is. It really doesn't seem to apply any more. As far as morals go, some of the wildest boys I know are Catholics. And the brightest boys—I mean the ones who think and read a lot, don't seem to believe in much of anything any more."
"Tell me about it. The bus won't be here for another half–hour."
They sat down on a bench by the path.
"For instance, Gerald Carter, he's published a novel. He absolutely roars when people mention immortality. And then Howa—well, another man I've known well, lately, who was Phi Beta Kappa at Hazard says that no intelligent person can believe in Supernatural Christianity. He says Christ was a great socialist, though. Am I shocking you?"
She broke off suddenly.
Kieth smiled.
"You can't shock a monk. He's a professional shock–absorber."
"Well," she continued, "that's about all. It seems so—so narrow. Church schools, for instance. There's more freedom about things that Catholic people can't see—like birth control."
Kieth winced, almost imperceptibly, but Lois saw it.
"Oh," she said quickly, "everybody talks about everything now."
"It's probably better that way."
"Oh, yes, much better. Well, that's all, Kieth. I just wanted to tell you why I'm a little—luke–warm, at present."
"I'm not shocked, Lois. I understand better than you think. We all go through those times. But I know it'll come out all right, child. There's that gift of faith that we have, you and I, that'll carry us past the bad spots."
He rose as he spoke and they started again down the path.
"I want you to pray for me sometimes, Lois. I think your prayers would be about what I need. Because we've come very close in these few hours, I think."
Her eyes were suddenly shining.
"Oh we have, we have!" she cried. "I feel closer to you now than to any one in the world."
He stopped suddenly and indicated the side of the path.
"We might—just a minute—"
It was a piet�, a life–size statue of the Blessed Virgin set within a semicircle of rocks.
Feeling a little self–conscious she dropped on her knees beside him and made an unsuccessful attempt at prayer.
She was only half through when he rose. He took her arm again.
"I wanted to thank Her for letting as have this day together," he said simply.
Lois felt a sudden lump in her throat and she wanted to say something that would tell him how much it had meant to her, too. But she found no words.
"I'll always remember this," he continued, his voice trembling a little—"this slimmer day with you. It's been just what I expected. You're just what I expected, Lois."
"I'm awfully glad, Keith."
 A man has to have something living to cling to. I think, Lois, it was your little white soul I tried to keep near me—even when life was at its loudest and every intellectual idea of God seemed the sheerest mockery, and desire and love and a million things came up to me and said: 'Look here at me! See, I'm Life. You're turning your back on it!' All the way through that shadow, Lois, I could always see your baby soul flitting on ahead of me, very frail and clear and wonderful."
Lois was crying softly. They had reached the gate and she rested her elbow on it and dabbed furiously at her eyes.
"And then later, child, when you were sick I knelt all one night and asked God to spare you for me—for I knew then that I wanted more; He had taught me to want more. I wanted to know you moved and breathed in the same world with me. I saw you growing up, that white innocence of yours changing to a flame and burning to give light to other weaker souls. And then I wanted some day to take your children on my knee and hear them call the crabbed old monk Uncle Kieth."
He seemed to be laughing now as he talked.
"Oh, Lois, Lois, I was asking God for more then. I wanted the letters you'd write me and the place I'd have at your table. I wanted an awful lot, Lois, dear."
"You've got me, Kieth," she sobbed "you know it, say you know it. Oh, I'm acting like a baby but I didn't think you'd be this way, and I—oh, Kieth—Kieth—"
He took her hand and patted it softly.
"Here's the bus. You'll come again won't you?"

"Oh, Kieth, brother, some day I'll tell you something."
He helped her in, saw her take down her handkerchief and smile bravely at him, as the driver kicked his whip and the bus rolled off. Then a thick cloud of dust rose around it and she was gone.
For a few minutes he stood there on the road his hand on the gate–post, his lips half parted in a smile.
"Lois," he said aloud in a sort of wonder, "Lois, Lois."
Later, some probationers passing noticed him kneeling before the piet�, and coming back after a time found him still there. And he was there until twilight came own and the courteous trees grew garrulous overhead and the crickets took up their burden of song in the dusky grass.
VII
The first clerk in the telegraph booth in the Baltimore Station whistled through his buck teeth at the second clerk:
"S'matter?"
"See that girl—no, the pretty one with the big black dots on her veil. Too late—she's gone. You missed somep'n."
"What about her?"
"Nothing.  Came in here yesterday and sent a wire to some guy to meet her somewhere. Then a minute ago she came in with a telegram all written out and was standin' there goin' to give it to me when she changed her mind or somep'n and all of a sudden tore it up."
"Hm."
The first clerk came around tile counter and picking up the two pieces of paper from the floor put them together idly. The second clerk read them over his shoulder and subconsciously counted the words as he read. There were just thirteen.
"This is in the way of a permanent goodbye.
I should suggest Italy.
"Lois."
"Tore it up, eh?" said the second clerk.


|
Simbody
3.6
|
Concrete templatized class derived from AbstractValue, adding generic value type-specific functionality, with implicit conversion to the underlying type T
.
More...
Public Member Functions | |
| Value () | |
Creates a Value<T> whose contained object of type T has been default constructed. More... | |
| Value (const T &value) | |
Creates a Value<T> whose contained object is copy constructed from the given value . More... | |
| Value (const T &&value) | |
Creates a Value<T> whose contained object is move constructed from the given value . More... | |
| ~Value ()=default | |
| Value (const Value &value) | |
Copy constructor invokes the type T copy constructor to copy the contained value. More... | |
| Value (const Value &&value) | |
Move constructor invokes the type T move constructor, if available, to move the given value into this Value<T> object. More... | |
| Value & | operator= (const Value &value) |
The copy assignment here invokes type T copy assignment on the contained object, it does not invoke AbstractValue's copy assignment. More... | |
| Value & | operator= (const Value &&value) |
The move assignment here invokes type T move assignment on the contained object, it does not invoke AbstractValue's move assignment. More... | |
| Value & | operator= (const T &value) |
Assign a new value to the contained object, using the type T copy assignment operator. More... | |
| Value & | operator= (const T &&value) |
Assign a new value to the contained object, using the type T move assignment operator, if available. More... | |
| const T & | get () const |
Return a const reference to the object of type T that is contained in this Value<T> object. More... | |
| T & | upd () |
Return a writable reference to the object of type T that is contained in this Value object. More... | |
| void | set (const T &value) |
Assign the contained object to the given value by invoking the type T copy assignment operator. More... | |
| void | set (const T &&value) |
Assign the contained object to the given value by invoking the type T move assignment operator, if available. More... | |
| operator const T & () const | |
Implicit conversion from a const reference to a Value<T> object to a const reference to the type T object it contains. More... | |
| operator T & () | |
Implicit conversion from a writable reference to a Value object to a writable reference to the type T object it contains. More... | |
| Value * | clone () const override |
| Covariant implementation of the AbstractValue::clone() method. More... | |
| bool | isCompatible (const AbstractValue &value) const override |
| Test whether a given AbstractValue is assignment-compatible with this Value object. More... | |
| void | compatibleAssign (const AbstractValue &value) override |
| If the given AbstractValue is assignment-compatible, perform the assignment. More... | |
| String | getTypeName () const override |
Use NiceTypeName to produce a human-friendly representation of the type T . More... | |
| String | getValueAsString () const override |
(Not implemented yet) Produce a human-friendly representation of the contained value of type T . More... | |
| Public Member Functions inherited from SimTK::AbstractValue | |
| AbstractValue & | operator= (const AbstractValue &v) |
| Invokes the compatibleAssign() method which will perform the assignment if the source object is compatible, or throw an exception otherwise. More... | |
| template<typename T > | |
| const T & | getValue () const |
Retrieve the original (type-erased)thing as read-only. More... | |
| template<typename T > | |
| T & | updValue () |
Retrieve the original (type-erased)thing as read-write. More... | |
| virtual | ~AbstractValue () |
Static Public Member Functions | |
| static bool | isA (const AbstractValue &value) |
Return true if the given AbstractValue is an object of this type Value<T> . More... | |
| static const Value & | downcast (const AbstractValue &value) |
Downcast a const reference to an AbstractValue to a const reference to this type Value<T> . More... | |
| static Value & | updDowncast (AbstractValue &value) |
Downcast a writable reference to an AbstractValue to a writable reference to this type Value<T> . More... | |
| static Value & | downcast (AbstractValue &value) |
| Deprecated – use updDowncast() instead. More... | |
Additional Inherited Members | |
| Related Functions inherited from SimTK::AbstractValue | |
| std::ostream & | operator<< (std::ostream &o, const AbstractValue &v) |
| Write a human-readable representation of an AbstractValue to an output stream, using the getValueAsString() member function. More... | |
Concrete templatized class derived from AbstractValue, adding generic value type-specific functionality, with implicit conversion to the underlying type T
.
|
inline |
Creates a Value<T>
whose contained object of type T
has been default constructed.
|
inlineexplicit |
Creates a Value<T>
whose contained object is copy constructed from the given value
.
|
inlineexplicit |
Creates a Value<T>
whose contained object is move constructed from the given value
.
If type T
doesn't provide a move constructor then this is copy constructed.
|
default |
|
inline |
Copy constructor invokes the type T
copy constructor to copy the contained value.
|
inline |
Move constructor invokes the type T
move constructor, if available, to move the given value
into this Value<T>
object.
|
inline |
The copy assignment here invokes type T
copy assignment on the contained object, it does not invoke AbstractValue's copy assignment.
|
inline |
The move assignment here invokes type T
move assignment on the contained object, it does not invoke AbstractValue's move assignment.
If type T
doesn't provide move assignment then copy assignment is used instead.
|
inline |
Assign a new value to the contained object, using the type T
copy assignment operator.
|
inline |
Assign a new value to the contained object, using the type T
move assignment operator, if available.
|
inline |
Return a const reference to the object of type T
that is contained in this Value<T>
object.
There is also an implicit conversion that performs the same function.
|
inline |
Return a writable reference to the object of type T
that is contained in this Value object.
There is also an implicit conversion that performs the same function.
|
inline |
Assign the contained object to the given value
by invoking the type T
copy assignment operator.
|
inline |
Assign the contained object to the given value
by invoking the type T
move assignment operator, if available.
|
inline |
|
inline |
Implicit conversion from a writable reference to a Value object to a writable reference to the type T
object it contains.
This is identical to the upd() method.
|
inlineoverridevirtual |
Covariant implementation of the AbstractValue::clone() method.
(Covariant means that the return type has been changed to the derived type.)
Implements SimTK::AbstractValue.
|
inlineoverridevirtual |
Test whether a given AbstractValue is assignment-compatible with this Value object.
Currently this only returns true if the source is exactly the same type as this.
Implements SimTK::AbstractValue.
|
inlineoverridevirtual |
If the given AbstractValue is assignment-compatible, perform the assignment.
Otherwise, throw an exception (at least in a Debug build).
Implements SimTK::AbstractValue.
|
inlineoverridevirtual |
Use NiceTypeName to produce a human-friendly representation of the type T
.
Implements SimTK::AbstractValue.
|
inlineoverridevirtual |
(Not implemented yet) Produce a human-friendly representation of the contained value of type T
.
Currently just returns the type name.
Implements SimTK::AbstractValue.
|
inlinestatic |
Return true if the given AbstractValue is an object of this type Value<T>
.
|
inlinestatic |
Downcast a const reference to an AbstractValue to a const reference to this type Value<T>
.
A std::bad_cast exception is thrown if the type is wrong, at least in Debug builds.
|
inlinestatic |
Downcast a writable reference to an AbstractValue to a writable reference to this type Value<T>
.
A std::bad_cast exception is thrown if the type is wrong, at least in Debug builds.
|
inlinestatic |
Deprecated – use updDowncast() instead.


LOST HIGHWAY A film review by Dave Cowen Copyright 1997 Dave Cowen
This review contains what might be considered spoilers, but I honestly don't think that it would spoil the film for anyone. There's two sides to every story.
Like a jazz artist, Lynch takes his head and adds new riffs, playing his pet themes with a different tone, or improvising with new ideas. While with certain filmmakers this would indicate a lack of inspiration, with Lynch it indicates a desire to explore deeper with certain themes which resonate throughout his work. In order to understand those themes, and the resonance that they provide in the context of these films, it's necessary to look back at his prior works to shape the meaning of the seemingly inexplicable plots Lynch weaves together. Unfortunately, this hardly means that LOST HIGHWAY is Lynch's best or more successful film. While there are distinct moments of brilliance in LOST HIGHWAY, and the very structure of the film allows Lynch to explore his primary themes in new ways, there are flaws which make LOST HIGHWAY seem mediocre when compared with other films in Lynch's stable.
In TWIN PEAKS, the Little Man From Another Place (Michael Anderson) shouts out the word "Doppelganger!" played forward on tape after it had been recorded from the actor reciting the word backwards. The idea of a doppelganger, a ghostly double of a living person, is a theme explored in the prematurely aborted TWIN PEAKS that has carried over into LOST HIGHWAY's universe -- and is an idea essential to the understanding of the film. Lynch himself, it would appear, would seem to have a doppelganger: the genuinely nightmarish imagery of his films don't seem to have any link with Lynch's own innocent, genial Eagle-scout republican image. This separation of the nightmarish and the innocent in Lynch's films have led critics to berate these films for having a poor sense of morality, or portraying good and evil in a literal and simplistic sense. But that doesn't seem to be the case: most of Lynch's characters seem to exhibit both sides of this moral structure, having both innocent ideals yet being intimately familiar (or curious) about the darker sides of human life -- something that one rarely sees in the standard good guy / bad guy structure of the average Hollywood film. It is natural, not just natural but common, in life for a person to be at once repulsed by and drawn in by something, or for a person to have a side that they consider light, or moral and right, and dark, a more primal, amoral side. Lynch takes this element of human life, often hidden or simplified in both life and in art, and makes them accessible through his surreal visions. On the most simple level the doppelganger, in a Lynch film, is a literal separation of a character's "light" and "dark" sides.
Nearly everyone in LOST HIGHWAY has a doppelganger. Fred Madison, played by a brooding Bill Pullman, is a tenor, a saxophonist who plays free jazz at local nightclubs and on the local radio. His doppelganger is Pete Dayton (Balthazar Getty, doing his best Luke Perry), a talented young mechanic who seems to spend more time having sex than fixing cars. Fred lives with Renee (Patricia Arquette), a brunette who seems to be straight out of THE BETTY PAGES. Pete meets who appears to be Renee's doppelganger Alice (also Arquette), who is a blond sexpot in the same vein. Both Renee and Alice know Andy (Michael Massee) and Mr. Eddy, who is also known as Dick Laurent (Robert Loggia), all of whom are involved in the pornography industry.
"Her name is Renee! If she told you her name was Alice, she's lying," says the Mystery Man, played by Robert Blake. With white facepaint and no eyebrows, the Mystery Man appears to be no less than Mephistopheles himself (or Bono's Macphisto, perhaps?). Fred dreams of the Mystery Man's face on Renee's body one night... and Renee/Alice and the Mystery Man are often seen at the same place, but never in the same shot. It would seem that Renee's doppelganger isn't her blond self, Alice -- when Pete sees a picture of Laurent, Renee, Alice and Andy, he asks her which one she is. "I'm this one," she says, scratching her finger over Alice's blond body. When the police come to the scene of a crime later, they look at the picture. Alice's image isn't part of it.
A true dread creeps through the opening scenes. Dialogue that is alternately cliched and filled with meaning between the lines flows when Fred and Renee speak with each other, always in a slow, stunted manner throughout the first 30 minutes of the film. Renee says that she's not going to watch Fred at the club tonight because she's "going to read". "Read?" Fred says incredulously. He continues until she smirks and lets out an uncomfortable laugh. "I'm glad to see I can still make you laugh," says Bill in a deadpan tone, "that's why I married you." Bill's face seems to appear and disappear into darkness of his apartment through this portion of the film, offering some of the most impressive visual compositions seen in film for a very long time. These shots are as low-contrast as one could possibly push the film stock, making images sink in and out of darkness, forcing the viewer to search the film's widescreen image in fear that there's something lurking just out of sight. These are by far the best scenes of the movie, ones that hearken back to Lynch's ERASERHEAD in style, and ones that truly unnerve. It seems incredible that Peter Deming, cinematographer of such straightforward, undemanding work as SON IN LAW or COSMIC SLOP, would be able to create such outstanding images, and leaves the filmgoer to wonder if Lynch didn't do most of the work on this portion of the film on his own.
 Similarly, Lynch will occasionally bathe his human or supernatural characters in a bright, almost blue light, to underline moments of the feeling of love, or warmth, or the desire thereof. Henry Spencer, the main character of ERASERHEAD, finds himself fascinated by a "lady in the radiator", who seems to irradiate warmth and promise him that, in heaven, everything is fine -- and when at the end of the ERASERHEAD, he chastely embraces her, the screen is filled in that similarly white light. However, when earlier in the film Henry makes love to a woman, he draws her into a pool illuminated similarly in white -- the glow disappears soon after which she realizes and is horrified with the situation Henry is in. In LOST HIGHWAY's pivotal scene, Fred's doppelganger Pete is making love with Alice, bathed in the white light of the headlights of their car. "I want you," says Pete. "You'll never have me," says Alice, and walks off, nude, into a shack. The light from the headlights fade, and we see Fred get up, walk into the shack, only to find the Mystery Man.
Many have accused Lynch's view of sex as being adolescent. In Lynch's films, however, when the characters crave love they turn to sex believing it to provide one in the same, and are disappointed and embittered when that is not the case. In the story of LOST HIGHWAY, we see the young and virile Pete transform into Fred, the bitter and haunted artist, after having failed to find true love. Is it too much to have Renee, a woman who draws them in with promises of what they desire and then leaves them empty and cold, to seem to have the devil as her doppelganger? Maybe. Maybe not.
What Lynch is doing, and what he has done in all of his best works, is to take a look at the dark side of life. ERASERHEAD, exploring childbirth as a biological nightmare, took the most familiar event known to man and showed the dark side of it so completely and surrealistically, that most viewers were either confused or repulsed (or both) by a relatively simple and universal story of a young father. In BLUE VELVET, Lynch examined the dark side that could exist in any community. TWIN PEAKS literalized the concept of the doppelganger, as in the last episode, when the main character's soul is taken, literally splitting the character into good and evil apparitions. Does this draw an easy line between good and evil?  In Lynch's films, the real evil stems from natural emotional and biological processes, so separated from the happy-faced whitewash that we as a society tend to put on these events or feelings, that they are exaggerated to a surreal degree when discovered -- and that is precisely what makes Lynch's best moments genuinely frightening.
In fashioning a story that relies on showing two sides of every character, Lynch and Gifford have plotted the film so that no character appears on screen with their doppelganger counterpart. The story instead takes place as a cycle, where every action has a reaction in the film, but not necessarily after the event occurs in a linear fashion: an action can take place in the latter half of the film whose reaction appears in the first half. Things that seem needlessly surreal may in fact be a harbinger of developments to come -- in a movie like LOST HIGHWAY, where literal events go hand in hand with surrealistic representations, it's easy to confuse the two. When the Mystery Man appears at the party and plays a trick with Fred's cell phone, is it really that the Mystery Man is both at the party and at Fred's house at the same time, or is the Mystery Man revealing that he is the doppelganger of Renee, who has been invited both to the party (by Andy, or Dick Laurent) but also to Fred's house? When Fred goes back to his house, after the party, he leaves Renee outside, checking to see if there's a Mystery Man inside... "Of course there isn't," he ends up muttering. He's right.
The acting in Lost Highway is what ultimately spoils the fun. None of the actors show much range, with Loggia's half-baked Frank Booth impression to Getty's and Pullman's brooding -- and all of the minor players give ridiculously artificial and deadpan performances. Only Robert Blake as the Mystery Man strikes the perfect tone, and one wonders what this film would have been like had Lynch used actors of the caliber of his other work.
Also problematic is the soundtrack. Fluctuating between Lynch's grand 'sound design', where background noises add depth to the film along with overtones from the talented Angelo Badalamenti and the appropriate and energetic work of Barry Adamson (whose faux-soundtrack albums have in the past shown his ability to create filmic moods through music alone) are mixed in with inappropriate songs from NIN and a ridiculously distracting cover of "This Magic Moment" by Lou Reed.
LOST HIGHWAY is worth seeing for any of Lynch's fans, but will seem obtuse and overwrought to anyone not familiar with Lynch's work. The film lags in its second half, and has its share of flaws from the standpoint of editing, music and acting. What isn't problematic, however, is Lynch's vision, which is more clear and daring than it had been with his last feature films, WILD AT HEART and FIRE WALK WITH ME, films where Lynch's world view took a back seat to cheap thrills. There's cheap thrills here, but there's a lot more for the adventuresome filmgoer to discover, too.
Signed: ESCHATFISCHE, david<EMAIL_ADDRESS>----------------------------------------------------------
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


//= component/scroll.html
//= component/header.html
//= component/social.html
//= component/features.html
//= component/process.html
//= component/pricing.html
//= component/testimonial.html
//= component/custom.html
//= component/contact.html
//= component/footer.html


Source
(defmethod initialize-instance :after ((heap free-list-heap)
&key &allow-other-keys)
;; Initialize the heap end.
(if (zerop (file-length (heap-stream heap)))
(setf (heap-end heap) +pointer-size+)
(setf (slot-value heap 'end) (pointer-value 0 heap)))
;; Load or create the array of free list pointers.
(setf (slot-value heap 'starts)
(make-array (nr-free-lists heap)))
(cond ((< (heap-end heap) (heap-start heap))
;; The free list array doesn't exist yet: create free lists.
;; Initialize the free list array by letting the free-list pointers
;; point to themselves (meaning that the free list is empty).
(loop for size-class below (nr-free-lists heap)
do (setf (free-list-start heap size-class)
(free-list-pointer size-class)))
;; Set heap-end just after the free list array.
(setf (heap-end heap) (heap-start heap)))
(t
;; Heap exists: load free lists.
(let ((array (slot-value heap 'starts)))
(loop for size-class below (nr-free-lists heap)
do (setf (aref array size-class)
(pointer-value (free-list-pointer size-class)
heap)))))))
Source Context


Hi I'm Claire. I am a sophomore at the University of Michigan, graduating in 2023, where I am studying Computer Science.I aspire to be a Software Engineer and to encourage young girls in STEM to pursue their passions! I would love to be able to use my skills in tech for Social good, and to help create an inclusive and more open-minded world. In my free time, I love doing puzzles, watching Survivor, practicing mindfulness meditations, and making banana bread!
I am currently looking for internship opportunities in SWE, Front-end Web Development, or Data analyst postions, for the Summer of 2021. I am always looking to broaden my experiences within the technology field, so I would love any information about hacakthons, technolgy summits, conferences, opportunites, etc. to do so! Please feel free to contact me about any of the above.


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Shopping List Lab
Jims Smartphones
iPhone Xs - $899
iPhone 8s - $799
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iPhone 7 plus- $650
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Handy list of restaurants to try out in Washington, DC area
 ✓ The Coffee Bar [Coffee, 1$]
✓ Barcelona Reston [Spain, 2$, Reston]
☐ Daikaya Ramen Shop [Ramen, 2$]
☐ Maketto [Steamed buns, 2$, Cambodian + Taiwanese]
☐ The Grill Room [American, 3$]
☐ Little Serow [Thai, 3$] + story
☐ Iron Gate [American+Green, 4$]
✓ Gadsby’s Tavern [American, 2$]
Pizza
✓ Wiseguy [Pizza, 1$, NY Style] + website
Live music
☐ 701


Welcome to OneMinutePitch.
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{% endfor %}
{{pitch.body}}
{% extends "base.html" %} {% block styles %} {{ super() }} {% endblock %} {% block content %}
Welcome to OneMinutePitch.
{{pitch.body}}


--- layout: page title: Nova Bookkeeping and Accounting subtitle: Providing world class services use-site-title: true bigimg: /img/accounting3.jpg ---
Our small business consulting services provides advice to help you easily grow your business. we offer our expertise to help you become the best business you can be, as well as thrive and grow.
We offer bookkeeping and accounting services to businesses. We typically work with small businesses under 20 employees. Larger bussinesses are referred to other highly recommended accountants. call<PHONE_NUMBER> for a free consultation!
Learn about different Tech solutions that will help you efficiently run your business. We consult on things such as website creation for your business


All Roanoke, Virginia, schools closed amid active police investigation, authorities say
by Michelle Ewing, Cox Media Group National Content DeskROANOKE, Va. -
Police in Virginia are "actively investigation a situation" near a Roanoke high school, authorities said early Thursday. As a result, all of the district's public schools are closed, WFXR and WDBJ are reporting.
Please return for updates.


Mid Worcestershire Election candidates for 2019 - Labour, Tories, Lib Dem, Brexit party and more
The constituency includes the towns of Droitwich Spa and Evesham and the many semi-rural villages around the cathedral city of Worcester
by James Rodger, https://www.facebook.com/jamesrodgerjournalistNigel Huddleston was just getting his feet under the table as an MP when the 2017 General Election came along and shook it up.
The Conservative MP succeeded Peter Luff as the Mid Worcestershire representative in 2017 - before holding his seat later that year when Theresa May called another General Election.
The constituency includes the towns of Droitwich Spa and Evesham and the many semi-rural villages around the cathedral city of Worcester.
Mr Huddleston will face competition from four other candidates in 2019.
Last time, he polled no less than 57 per cent of the votes - so it would be something of a shock were it not to be a Conservative hold.
These are the candidates for Mid Worcestershire in 2019:
Nigel Huddleston (C)
Helen Russell (Lab)
Margaret Rowley (LD)
Sue Howarth (Green)
Barmy Lord Brockman (Loony)
Traditionally, elections are held every five years to determine which party will head up the British government. However since 2015, this year will be the third time that voters have been called to the ballot box.
Following the controversial Brexit referendum in 2016, the public has witnessed tiresome debates in Parliament resulting in several failed exit deal suggestions.
Three-and-a-half years on, we’re still quite a way off deciding what the state of play will be when the UK leaves the European Union.
At present, Prime Minister, Boris Johnson does not have enough Conservative MPs to pass new laws and approve plans for a Brexit strategy.
It is hoped the general election on December 12, will amend that.


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Read the rest ->


{% extends "cctbx/header.html" %} {% load static %} {% block content %}
Learn how to use the cctbx DataManager. It lets you read and write files that describe experimental data, models, restraints and so on. This tutorial shows how to set up the DataManager, and how to read and write information for models, maps and reflection information.
When you write a script that performs some actions on data or a model, you have to start with reading the file. Once the action is done, you probably want to write the files. To do this conveniently, you can use the cctbx DataManager. The DataManager lets you read and write files describing atomic models, restraints, reflection data files, symmetry files, sequence files, and MRC/CCP4 format map files. In this section we will see how to read in and write information from some of these file types.
Let’s work with a library model that we can obtain with the map_model_manager (revisit this page if you need a refresher on high level objects):
from iotbx.map_model_manager import map_model_manager # load in the map_model_manager
mmm=map_model_manager() # get an initialized instance of the map_model_manager
mmm.generate_map() # get a model from a small library model and calculate a map for it
mmm.write_map("map.mrc") # write out a map in ccp4/mrc format
mmm.write_model("model.pdb") # write out a model in PDB format
Let’s set up and initialize a DataManager so that it can read and write files for us:
from iotbx.data_manager import DataManager # Load in the DataManager
dm = DataManager() # Initialize the DataManager and call it dm
dm.set_overwrite(True) # tell the DataManager to overwrite files with the same name
The DataManager is always aware of all supported file types, such as models, maps, reflection data, map coefficients, sequences, restraints and more. But it is possible to set up a DataManger object that is only aware of a subset of these data types that you want to work with:
dm_many_functions = DataManager(datatypes = ["model", "real_map",
"phil", "restraint"]) # DataManager data types
This is useful for writing programs that only need certain data types to work. The DataManager will then return a message if it encounters a data type that is not going to be used in any way by the program. This prevents users from unknowingly adding unnecessary data. For simple scripts, the full DataManager is most likely sufficient.
The datatypes are:
The DataManager dm
knows how to read and write model files. A model file contains 3-D coordinates of atoms in a model as well as other information such as the fractional “occupancy” and “atomic displacement parameters” or B-factors for each atom. It also contains information on the space group and unit cell dimensions (the box that the model is placed in).
The format for model files is typically either “PDB” (extension .pdb) or “mmCIF” (extension .cif). Both can be read and written by the DataManager. The DataManager first sets things up with the method process_model_file
and then it creates useful objects like a model object with methods like get_model
. Let’s read in a model from a file called “model.pdb”:
model_filename="model.pdb" # Name of model file
dm.process_model_file(model_filename) # Read in data from model file
model = dm.get_model(model_filename) # Deliver model object with model info
Here we defined the name of the file we want to read from (model_filename), read in the information with the DataManager dm, and created a new model object called model containing information about this model. If we had restraint information about this model that we wanted to load in, we would load that restraint information from a restraints file with the process_restraint_file()
method before creating the model object with get_model().
We will see in detail later how to use models, change them, and make new models. For now, let’s see how to write our model out as a new file. We can use the DataManager to do this:
dm.write_model_file(model,filename="output_model.pdb") # write model to a file
Note that the DataManager can write either in PDB or CIF format. By default it writes out whichever format was used when the model was read in, or PDB format if the model was not read in from a file. You can specify which format you want with a keyword: extension="pdb".
Now let’s read in a map file with the DataManager dm. The format for these is called CCP4 or MRC (they are pretty much the same). The DataManager first sets things up with commands like process_real_map_file()
and then it creates useful objects like a map object with the command get_real_map()
:
map_filename="map.mrc" # Name of map file
dm.process_real_map_file(map_filename) # Read in data from map file
mm = dm.get_real_map(map_filename) # Deliver map_manager object with map info
Now we have a map_manager object called mm that has information about the map that was read from map.mrc. We can write out a new map file using the DataManager just as we did for the model:
dm.write_real_map_file(mm,filename="output_map") # write map
Crystallographic reflection data and other Fourier-space data is often stored in binary “MTZ”-formatted data files. These can be read and written by the DataManager. We can create some Fourier data from our map and write it out. First let’s convert our map to Fourier coefficients (we’ll see more about this here (<--LINK)):
map_coeffs = mm.map_as_fourier_coefficients(d_min = 3) # map represented by Fourier coefficients
Now map_coeffs are Fourier coefficients corresponding to the map in map_manager mm, up to a resolution of 3 A. We can write these map coefficients out as an “MTZ” file with our DataManager. It takes a couple steps because we need to specify all the things that are going to go into this MTZ file. First we create an mtz_dataset from our map_coeffs Fourier coefficients:
mtz_dataset = map_coeffs.as_mtz_dataset(column_root_label='FC') # create an mtz dataset
You have to indicate a column_root_label. Although you can choose any name you like for the label, there are many conventional choices, such as FC for calculated structure factors, I for intensities, and so on (see http://www.ccp4.ac.uk/html/mtzformat.html for other conventional choices). Also there is a restriction of 30 characters for the length of the label.
At this stage, if we have additional data that we want to write out, we can append it to the mtz_dataset like this (we won’t do it this time but you can see how it works:
# mtz_dataset.add_miller_array(
# miller_array = some_other_array_like_map_coeffs,
# column_root_label = column_root_label_other_array)
Then we create an object that knows how to write the MTZ format:
mtz_object=mtz_dataset.mtz_object() # extract an object that knows mtz format
and finally we write out those Fourier coefficients with our DataManager (note that in this case the filename is the full file name with the .mtz suffix):
dm.write_miller_array_file(mtz_object, filename="map_coeffs.mtz") # write map coeffs as MTZ
We can also read in Fourier coefficients with our DataManager. An MTZ file may contain one or more arrays of data. These arrays are indexed by a 3D reciprocal space lattice (h,k,l) and for each index may have one or more data for a single “array”. One array can be map coefficients with a complex number as data for each index (as in the map_coeffs object we have worked with). Alternatively one array can be experimental amplitudes and their sigmas. So one array can consist of several “columns” in the mtz file. In cctbx these arrays are called miller_arrays; they are the basic unit of Fourier data that are worked with. Each miller_array has an associated label string that is used to identify it (and also a data type). Label strings for a complex array typically look like, “FC,PHIFC” which stands for amplitude and phase.
Let’s read the Fourier coefficients from map_coeffs.mtz. First, let’s figure out what the label string is for the one array in this file:
array_labels = dm.get_miller_array_labels("map_coeffs.mtz") # List of labels in map_coeffs.mtz
labels=array_labels[0] # select the first (only) label string
labels # print out the first label string
This label string (labels) is “FC,PHIFC”. Now let’s read the file in with DataManager, selecting just the array that we are interested in. We do this by calling the get_reflection_file_server method with a list of file names (in this case just one entry) and a list of label strings (just one this time). The DataManager then reads in and stores just the matching arrays:
dm.get_reflection_file_server(filenames=["map_coeffs.mtz"], # read reflection data.
labels=[labels]) # file names and labels are matching lists
Now we can get all the arrays that we selected based on their label strings:
miller_arrays=dm.get_miller_arrays() # extract selected arrays
and we can take the first (only) one and call it map_coeffs. It is a miller_array object that is like the map_coeffs object that we created from the map object in the beginning of this section:
map_coeffs=miller_arrays[0] # select the first array in the list called miller_arrays


Haneen Hashlamoun
my name is Haneen Hashlamoun .I have Computer Technology Diploma digree , two years experienced as developer.
<EMAIL_ADDRESS>Odai Sadaqa
I'm Odai Sadaqa, I have a Master degree in computer science and Machine Learning
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I'm Suhaib Okour. I studied English Language at Jordan University. I am currently having a course in software development at LTUC.
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Aseel abu Saifan im 25 years old i studed public adimstration
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Aseel Alasaad I fresh graduate , I have Bacholor's degree Of computer sicence
<EMAIL_ADDRESS>Nedal Al Saleh
Nedal Al Saleh I have a bachelor's degree of Information Technology
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@*
* Copyright 2018 HM Revenue & Customs
*
* Licensed under the Apache License, Version 2.0 (the "License");
* you may not use this file except in compliance with the License.
* You may obtain a copy of the License at
*
* http://www.apache.org/licenses/LICENSE-2.0
*
* Unless required by applicable law or agreed to in writing, software
* distributed under the License is distributed on an "AS IS" BASIS,
* WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
* See the License for the specific language governing permissions and
* limitations under the License.
*@
@import play.api.mvc.Request
@import scala.util.Try
@import uk.gov.hmrc.apidocumentation.config._
@import uk.gov.hmrc.apidocumentation.controllers.routes
@import uk.gov.hmrc.apidocumentation.models._
@import include.apiMain
@import raml.main
@import uk.gov.hmrc.apidocumentation.services.RAML
@(pageAttributes: PageAttributes, url: Option[String], result: Try[Option[RamlAndSchemas]])(implicit request: Request[Any], applicationConfig: ApplicationConfig, messages: Messages)
@apiMain(pageAttributes) {
Preview RAML


Please specify the location of your current residence, in other words, the location you will be teaching at. This really helps us to know where our teachers are, when would be best to contact our teachers accordingly, etc If you cannot find your city, please select a nearby city that is in the same time zone.
It is NOT your name ! It can be viewed correctly by clicking on your own Skype picture, and "accounts" is what your Skype ID is
Only PDF format will be accepted
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Player one
(you)
Player two
(waiting to join)
Start game
Join game
Play another game?
Do you want to clear the board and start another game?
Yes
No


What type of company do you want to work for?
What type of language do you want to learn?
What do you want to do with the language?
What language sounds better suited for you? A language that...
Which grouping of companies would you rather work for?(Most are companies who have hired Epicodus graduates after their course)


Woops! An error occurred!
{{error.message}}
The link you used
has expired.
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has already been used.
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has been disabled.
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has been removed.
Unhandled error. Code: {{error.code}}


View on Github
SELECT STYLE
slide-up
slide-down
slide-left
slide-right
blur-in
blur-out
pop-in
pop-out
flip
maximize
minimize
spin-in
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fade-in
fade-out


◆ LoadTransportRoute()
| void RouteCreationStationManager.LoadTransportRoute |
( |
TransportRoute |
transportRoute | ) |
|
◆ OnTransportStationClick()
| void RouteCreationStationManager.OnTransportStationClick |
( |
PathFindingNode |
pathFindingNode | ) |
|
◆ RemoveTransportRouteElement()
◆ Reset()
| void RouteCreationStationManager.Reset |
( |
| ) |
|
◆ RouteElementVisibleGameObject
| GameObject RouteCreationStationManager.RouteElementVisibleGameObject => _routeElementVisibleGameObject |
◆ RouteCreationView
◆ RouteName
| string RouteCreationStationManager.RouteName |
|
getset |
◆ SelectedRouteElement
◆ TransportRouteElements
◆ TransportRouteElementViews
The documentation for this class was generated from the following file:


Steve Anlorn
Owner of
Steve Learning Note YouTube
channel
I am software engineer and educator and K-POP lover
Teaching
Python Bootcamp
Algorithm
Golang Diagnostics
Contact me


Convert any button to a share button using the share directive [shareButton]="buttonName"
[shareButton]="buttonName"
Another example, add pin button to an image


Miniature horse rides San Francisco BART train
by Melissa LeonA miniature horse drew big smiles on one of San Francisco's Bay Area Rapid Transit (BART) trains this week.
Employees allowed the service animal to board the train Tuesday after its owner provided the proper paperwork, BART said in a statement.
"This mini horse is a service animal, and the owner provided paperwork to a station agent stating so," BART said. "After consultation (station agents usually don’t see horses), the horse was allowed in."
BART SUPERVISOR HAILED A HERO AFTER PULLING MAN FROM ONCOMING TRAIN AT STATION
"Trained service animals assisting people [with] disabilities and on [a] leash are welcome on BART," the transportation system added.
A Twitter user posted a photo of the white-and-brown equine Tuesday with the caption, "retweet BART pony for good luck."
The post had more than 3,600 retweets and more than 5,000 likes as of Wednesday night.
The horse quickly drew attention and became the highlight of some passengers' day.
"BART had a major delay tonight but I would do it all over again if I could see this pony," wrote Kaitlyn Moore.
Another passenger said it "made my day!"
"So cuuuttttteeee! Is it bring your miniature horse on BART day?" they asked.
The Justice Department revised the Americans with Disabilities Act (ADA) in 2010 to add a provision about miniature horses that are trained to perform tasks and assist people with disabilities. Service animals are defined as "dogs that are trained to do work or perform tasks for people with disabilities," the ADA said.
However, "entities covered by the ADA must modify their policies to permit miniature horses where reasonable," according to the regulation.
An assessment of the service animal should include whether or not the horse is housebroken and under the owner's control, whether the facility can accommodate the horse, and whether or not the animal's presence will compromise safety requirements, the ADA said.


EventType
@objc
public enum EventType : UInt32
Enumeration of possible event types
-
Unrecognized event type
Declaration
Swift
case Invalid = 0x0
-
Indicates a
ContextEvent
Declaration
Swift
case Context = 0x01
-
Indicates a
RouterEvent
Declaration
Swift
case Router = 0x02
-
Indicates a
ServiceEvent
Declaration
Swift
case Service = 0x04
-
Indicates an
MfaAuthEvent
Declaration
Swift
case MfaAuth = 0x08
-
Indicates an
ApiEvent
Declaration
Swift
case ApiEvent = 0x10
-
Generates a string describing the event
Declaration
Swift
public var debug: String { get }
Return Value
String describing the event


|
Display Group (prototype)
v1.1
|
Group of 7-segments displays. Holds a vector of Display objects, updates every display with the correct digit. More...
#include <DisplayGroup.h>
Public Member Functions | |
| DisplayGroup (byte nDisplay, byte id, uint16_t *value, const byte digits[]) | |
| virtual | ~DisplayGroup () |
| int | update () const |
| byte | getId () const |
| byte | getDisplayNumber () const |
| byte | getBitOrder () const |
| void | setBitOrder (byte bitOrder) |
| void | setEnabled (boolean enabled) |
Private Attributes | |
| std::vector< Display > | _displays |
| byte | _id |
| uint16_t * | _value |
| byte | _nDisplay |
| byte | _bitOrder |
| boolean | _enabled |
Group of 7-segments displays. Holds a vector of Display objects, updates every display with the correct digit.
This class represents a group of n 7-segments displays, which can show an n digits number. Each group has a vector of displays, and a value to show, using all the displays. The class take the address of the variable to monitor, and does all the computation to send the i-th digit to the i-th display, with automatic zero padding on the heading and trailing if the value to show uses less digits than the number of displays in the group. If the value to show uses more digits than the number of displays in the group only the least significant digits are showed.
This class uses the STL library for Arduino, which can be found at the-standard-template-library-stl-for-avr-with-c-streams
Definition at line 53 of file DisplayGroup.h.
| DisplayGroup::DisplayGroup::DisplayGroup | ( | byte | nDisplay, |
| byte | id, | ||
| uint16_t * | value, | ||
| const byte | digits[] | ||
| ) |
Constructor.
| [in] | nDisplay | Number of display in the group |
| [in] | id | Id of the DisplayGroup in the manager |
| [in] | *value | Address of the value to be monitored |
| [in] | digits[] | Array of 7-segments code for each digits [0-9] |
Definition at line 22 of file DisplayGroup.cpp.
|
virtual |
Default destructor.
Definition at line 33 of file DisplayGroup.cpp.
| byte DisplayGroup::DisplayGroup::getBitOrder | ( | ) | const |
Definition at line 108 of file DisplayGroup.cpp.
| byte DisplayGroup::DisplayGroup::getDisplayNumber | ( | ) | const |
Definition at line 104 of file DisplayGroup.cpp.
| byte DisplayGroup::DisplayGroup::getId | ( | ) | const |
Definition at line 100 of file DisplayGroup.cpp.
| void DisplayGroup::DisplayGroup::setBitOrder | ( | byte | bitOrder | ) |
| [in] | bitOrder | The bit order in every display. Can LSBFIRST or MSBFIRST, as in Arduino specification |
Definition at line 112 of file DisplayGroup.cpp.
| void DisplayGroup::DisplayGroup::setEnabled | ( | boolean | enabled | ) |
Set the enable flag
| enabled | True to enable the group or false to disable it. All the segments will be off. |
Definition at line 122 of file DisplayGroup.cpp.
| int DisplayGroup::DisplayGroup::update | ( | ) | const |
Scans the value to be showed and count how many digits must be sent to the displays. The count is made by dividing and considering the remainder of divisions by 10, until the quotient is zero or there are no display available in the group any more. The method does automatic padding (filling) with zeros when needed in the heading and trailing of the displays vector.
Definition at line 37 of file DisplayGroup.cpp.
|
private |
Bit order in every display
Definition at line 124 of file DisplayGroup.h.
|
private |
Vector of 7-segments displays
Definition at line 120 of file DisplayGroup.h.
|
private |
Enable flag
Definition at line 125 of file DisplayGroup.h.
|
private |
Id of the DisplayGroup
Definition at line 121 of file DisplayGroup.h.
|
private |
Number of display in the group
Definition at line 123 of file DisplayGroup.h.
|
private |
Address of the value to be monitored
Definition at line 122 of file DisplayGroup.h.


page
of the Tufte-Jekyll theme, a post and a page have exactly the same layout. That means that all the typographic and structural details are identical between the two.
Pages and Posts
Jekyll provides for both pages and posts in its default configuration. I have left this as-is.
Posts
Conceptually, posts are for recurring pieces of similar content such as might be found in a typical blog entry. Post content all sits in a folder named _posts
and files are created in this folderYes, a page has essentially the same old shit as a post that are names with a date pre-pended to the title of the post. For instance 2105-02-20-this-is-a-post.md
is a perfectly valid post filename.
Posts will always have a section above the content itself consisting of YAML front matter, which is meta-data information about the post. Minimally, a post title must always be present for it to be processed properly.
```
Title: Some Title — ## Content
Markdown formatted content here. ```
Pages
Pages are any HTML documents or Markdown documents with YAML front matter that are then converted to content. Page material is more suited to static, non-recurring types of content. Like this
I am not going to re-write the Jekyll documentation. Read it and you will figure out how the site is structured.


Retrospective: Cleopatra's Second Husband (1998)
[3.0/4.0]
In any abusive relationship, the two involved parties usually fall into the clearly defined roles of abuser and victim. These are most commonly associated with the abusive husband/abused wife scenario, but aspects of these archetypes can be found in any human relationship where one person exerts control over the other. This film is a study of the dynamics of such a relationship.
The story begins with Robert Marrs (Paul Hipp) and his wife, Hallie (Bitty Schram), leaving for a vacation. Needing someone to look after their house while they are away, they decide to let friend-of-a-friend Zack (Boyd Kestner) housesit, along with his girlfriend, Sophie (Radha Mitchell). The Marrs' relationship is not outwardly fragile, but it has grown strained, exacerbated by the couple's inability to conceive a child.
Upon returning early from the vacation, Robert and Hallie discover that although the house has been adequately taken care of, their guests have not been completely conscientious. For example, the tropical fish have died from lack of care. Although Robert wants to get rid of Zack and Sophie, Hallie is more forgiving, and she is sympathetic to their inability to find a place to live (they have just moved to the area), so she invites them to stay with them temporarily. She quickly regrets the decision as their intrusions provide the catalyst that deteriorates her relationship with Robert. When Hallie leaves, Robert allows Zack and Sophie to remain. Eventually, the relationship between Robert and Zack slowly evolves into victim and abuser, respectively. The decay is slow, and by the time that Zack realizes what has happened, he has no power to change the relationship.
The story is necessarily disturbing, as the viewer helplessly watches Robert slowly sink into the morass of Zach's manipulative personality.  Robert would not have chosen to enter the psychological prison that his relationship with Zach becomes, but he is oblivious to the slow progression.
The acting performances must be noted for their skillful execution. The role of Zach required Kestner to expose the personality of the character over time, and he adeptly executes this without allowing Zach to balloon into a caricature. The role of Robert entails very subtle challenges. Hipp needed to communicate the laconic Robert's reasons for entering the relationship with Zach. With the exception of the garrulous Hallie, the characters are expressed in an atmosphere of minimal dialog. Without the benefit of having the characters verbally express their inner thoughts, the actors need to have them communicated through physical expression. This also indicates that writer and director Jon Reiss was willing to work hard to express the story without taking convenient shortcuts. Add in the fact that Reiss needed to have the audience relate to characters that are not particularly likeable, and it is clear that the film was carefully constructed and proficiently executed.
The meaning of the title is not apparent in the film's story, and one must credit the director for not spoonfeeding it to the viewers. It is a reference to the relationship between Cleopatra and Marc Anthony in the 1963 Hollywood film production Cleopatra.
Recommended. The film is a noir psychological thriller. It is engaging enough to keep viewers involved in the slow progression of the story. The depiction of degradation in the abusive relationship is disturbing, but because of director Jon Reiss' focus, they do not feel licentious.
(c) 2000 Murali Krishnan The Art House Squatter http://ArtHouseSquatter.com
--0-1189641421-966401586=:27754--
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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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


| gettimezone |
Display a user's current timezone and local time. |
%gettimezone @user |
gettz, time |
| listreminders |
Lists out all of your reminders. |
%listreminders |
listreminds, reminders, reminds |
| remindme |
Create a reminder to do a task at a certain time. |
%remindme to __ at 9PM or %remindme to __ in 6hrs 30mins |
remind |
| removereminder |
Remove one of your reminders. |
%removereminder (reminder index) |
removeremind |
| settimezone |
Set your local timezone with a timezone abbreviation and country code. |
%settimezone (timezone name ex: PST) (country code ex: US) |
settz |


This is a console-based sample
You can watch the console's output print below, or open your developer tools to see the sample's output in more detail. Samples will also output results as file downloads.
Note: in older browsers that do not support ECMAScript 6, we use a compiled ECMAScript 5 compliant version of our samples.


Complete your directions questionnaire form
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- Download the directions questionnaire form.
- Print and complete the form.
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You can also email the completed form to<EMAIL_ADDRESS>Download and complete the form
- Download directions questionnaire form (PDF, 102 KB).
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Every Man For Himself
“Every Man for Himself (EMH)” is a web-based multiplayer game where players are pitted against each other in order to escape a dungeon. One player is the “killer” and his objective is to eliminate the other players who are “prisoners.” The prisoners are trying to escape through a procedurally generated dungeon. The killer is attempting to eliminate the prisoners via the use of “traps” that he can place in the various dungeon rooms. Every turn, all the prisoners must select a room to enter. If the chosen room is trapped, that prisoner will be killed.


Rant and Rave: Reader may have lost rings, but appreciates the help to find them
by Submitted by Seattle Times readersRAVE to the Washington State Department of Transportation staff who helped me file a report when I realized I lost my rings at a roadside rest stop along I-90. Your kindness and concern helped more than you know, and I was grateful to hear that a maintenance crew member made a special trip to look for the rings. Sadly, the rings may be lost for good, but you all made a rough time easier for me.
RANT to independent caregivers that soon start drumming the patient’s relatives up for more and more money. Best to deal with agencies. There are real vultures out there.
Submitted by Seattle Times readers The Seattle Times publishes reader rants and raves on a space-available basis. We reserve the right to edit for length or content. Send yours to rantandrave@seattletimes.com.


Active requests - Total requests
| Code | Count | Mean | Average (1 min) | Average (5 min) | Average (15 min) |
|---|---|---|---|---|---|
| OK |
|
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| Not Found |
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| Bad Request |
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| Cache | Size |
|---|---|


BSBA, Marketing & Entrepreneurship
Responsible for managing various technical platforms in support of events. Including vendor relationship management, driving project status meetings, and identifying areas where platforms could be developed to better support events. Also responsible for contract management with third-party vendors, evaluating year-over-year pricing and ensuring accurate final invoicing.
Project management examples include:
Responsible for utilizing analytics software and reporting tools to measure and interpret activities ranging from promotion to event engagement. In addition to supporting one-off data requests, I also build and automate KPI dashboards for ongoing measurement allowing our team to better understand, forecast, and make course corrections if needed.
Reporting tools used include:
Responsible for the development and design of external-facing assets. Leveraging knowledge of a number of coding languages (primarily HTML & CSS) I execute independently on webmaster responsibilities for a range of event websites, mostly EMCWorld.com. I have also been responsible for overall design of a number of dashboards, ensuring it aligns with company brand, highlights key metrics in easy to understand data visualizations, along with operationalizing the dashboard by ensuring ongoing updates are seamless (automated, where possible).
Tools used in development and design:


Run python -m SimpleHTTPServer and navigate to http://localhost:8000/test.html to view this page.
python -m SimpleHTTPServer
bottom left bottom center (long) bottom right


Qt Quick Examples - Shader Effects
This example demonstrates a couple of visual effects that you can perform with shaders in Qt Quick. It applies five different effects on a text and a couple of images. For more information, visit Important Concepts In Qt Quick - Graphical Effects
Running the Example
To run the example from Qt Creator, open the Welcome mode and select the example from Examples. For more information, visit Building and Running an Example.
Using ShaderEffect
The ShaderEffect type typically operates on other types, using a ShaderEffectSource:
ShaderEffectSource { id: theSource sourceItem: theItem }
In the above snippet, theItem
is the ID of a complex QML object in the file.
ShaderEffects can use this ShaderEffectSource as a texture in their fragment shader:
fragmentShader: "qrc:shadereffects/content/shaders/wobble.frag"
In order to support multiple graphics APIs, not just OpenGL, the shader source is not embedded into QML. Instead, file selectors are used to select the correct variant at runtime. Based on the Qt Quick backend in use, Qt will automatically select either shaders/wobble.frag
with the GLSL source code or shaders/+hlsl/wobble.frag
with the HLSL source code.
Note: For simplicity shader source code is used in all variants of the files. However, with the Direct3D backend of Qt Quick pre-compiled shaders are also supported. For example, try the following commands in the content/shaders/+hlsl
directory: move wobble.frag wobble.frag.src
followed by fxc /E main /T ps_5_0 /Fo wobble.frag wobble.frag.src
. Now wobble.frag
contains Direct3D bytecode and that is what gets shipped with the application instead of the shader source. Further changes are not necessary, the application will function like before.
You can use any custom property on the ShaderEffect in your shader. This makes animated shader code very easy:
property variant source: theSource property real bend: 0 property real minimize: 0 property real side: genieSlider.value SequentialAnimation on bend { loops: Animation.Infinite NumberAnimation { to: 1; duration: 700; easing.type: Easing.InOutSine } PauseAnimation { duration: 1600 } NumberAnimation { to: 0; duration: 700; easing.type: Easing.InOutSine } PauseAnimation { duration: 1000 } } SequentialAnimation on minimize { loops: Animation.Infinite PauseAnimation { duration: 300 } NumberAnimation { to: 1; duration: 700; easing.type: Easing.InOutSine } PauseAnimation { duration: 1000 } NumberAnimation { to: 0; duration: 700; easing.type: Easing.InOutSine } PauseAnimation { duration: 1300 } }
ShaderEffects can also have a custom vertext shader. Setting the mesh property on ShaderEffect provides more vertices for you to manipulate, enabling more effects.
mesh: Qt.size(10, 10) vertexShader: "qrc:shadereffects/content/shaders/genie.vert"
Files:


HOME
INSTRUCTIONS
- Don't let any health Bar get to ZERO
- SURVIVE FOR 30 SECONDS
- Mouse Left click to Heal after some time (low mana)
- Mouse Right click to instant Heal on 2 random Bars (high mana)
- !!! AVOID OVER HEALING !!!
HIGHSCORES:
| NAME |
OVERHEAL |
#HEALTH BARS |


The Sinners Prayer
Father, I know that I have broken your laws and my sins have separated me from you.
I am truly sorry, and now I want to turn away from my past sinful life toward you.
Please forgive me, and help me avoid sinning again.
I believe that your son, Jesus Christ died for my sins, was resurrected from the dead, is alive, and hears my prayer.
I invite Jesus to become the Lord of my life, to rule and reign in my heart from this day forward.

In Jesus' name I pray, Amen.


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@ shashi kumar


React Router Examples
Active Links
Animations
Auth Flow
Auth With Shared Root
Breadcrumbs
Dynamic Segments
Huge Apps (Partial App Loading)
Master Detail
Passing Props to Children
Pinterest-style UI (location.state)
Nested Animations
Query Params
Shared Root
Sidebar
Transitions


Some (not all) of my previous work:
- Instructables projects
Here
- Hackaday projects (electronics + embedded)
Here


CS140 -- Midterm Exam: Answer sheet for Q16
Name: ___________________________________________
#include < stdio.h >
#include < string.h >
#include "fields.h"
main(int argc, char **argv)
{
/* Make variable declarations */
/* Make sure you have the right number of command line arguments */
/* Make sure n is a legal value */
/* Open the file, allocate your array to hold the lines */
/* Read in the first n lines (or the entire file if it has < n lines */
/* Print out the first n lines to the file in reverse order */
}


Any XML document inserted into DB2 is stored in native format in a tree structure.
The tags in the XML documents are replaced by a unique integer and this integer is
stored instead of the XML tags. We can obtain the XML string and string ID mapping in the catalog table
SYSIBM.SYSXMLSTRINGS.
Advantages of replacing the XML tags with an integer includes :


--- layout: page title: "CRCL Paint" description: "A colourful merging puzzle game!" header-img: "img/home-bg.jpg" ---
A colourful merging puzzle game!
Placing three or more same colour pieces of paint next to each other starts a chain reaction. Make these chain reactions to upgrade your paint and earn more points!
Tap your current piece to rotate it. You can also throw it away or stash it for later use.
Every point you make will leave a mark on the canvas, share your painting when the game is over!
Features:
credits:
Font by Gaia
App preview music by Kevin MacLeod


Unauthorized Access
You are seeing this page becuase you have not set your ApplicationUserId properly in MyConfigurations.xml file properly.
Set Application User Id properly or contact tech support for further instructions


Iraqi security forces use live fire to disperse protesters in Baghdad
VIENNA: UN nuclear inspectors are on the ground in Iran and will report back on relevant activities, an International Atomic Energy Agency spokesman said on Wednesday after Iran said it injected uranium gas into centrifuges at its Fordow site.
“We are aware of the media reports today related to Fordow. Agency inspectors are on the ground in Iran and they will report any relevant activities to IAEA headquarters in Vienna,” the spokesman said in a statement.
Iran’s nuclear deal with major powers does not allow enrichment at Fordow.


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