treeBase
ui.grid.treeBase
Grid properties and functions added for treeBase
Total number of tree levels currently used, calculated by the rowsProcessor by retaining the highest tree level it sees
Tree represented as a nested array that holds the state of each node, along with a pointer to the row. The array order is material - we will display the children in the order they are stored in the array
Each node stores:
[{
state: 'expanded',
row: <reference to row>,
parentRow: null,
aggregations: [{
type: 'count',
col: <gridCol>,
value: 2,
label: 'count: ',
rendered: 'count: 2'
}],
children: [
{
state: 'expanded',
row: <reference to row>,
parentRow: <reference to row>,
aggregations: [{
type: 'count',
col: '<gridCol>,
value: 4,
label: 'count: ',
rendered: 'count: 4'
}],
children: [
{ state: 'expanded', row: <reference to row>, parentRow: <reference to row> },
{ state: 'collapsed', row: <reference to row>, parentRow: <reference to row> },
{ state: 'expanded', row: <reference to row>, parentRow: <reference to row> },
{ state: 'collapsed', row: <reference to row>, parentRow: <reference to row> }
]
},
{
state: 'collapsed',
row: <reference to row>,
parentRow: <reference to row>,
aggregations: [{
type: 'count',
col: <gridCol>,
value: 3,
label: 'count: ',
rendered: 'count: 3'
}],
children: [
{ state: 'expanded', row: <reference to row>, parentRow: <reference to row> },
{ state: 'collapsed', row: <reference to row>, parentRow: <reference to row> },
{ state: 'expanded', row: <reference to row>, parentRow: <reference to row> }
]
}
]
}, {<another level 0 node maybe>} ]
Missing state values are false - meaning they aren't expanded.
This is used because the rowProcessors run every time the grid is refreshed, so we'd lose the expanded state every time the grid was refreshed. This instead gives us a reliable lookup that persists across rowProcessors.
This tree is rebuilt every time we run the rowsProcessors. Since each row holds a pointer to it's tree node we can persist expand/collapse state across calls to rowsProcessor, we discard all transient information on the tree (children, childCount) and recalculate it


About Me
My name is Zhong Liu. I am married and I have a two years old daughter.I currently live in Irvine. I love Irvine. Irivne is a very nice community. It is very safe. I had my own business in China. I sold my company before i moved to United States. My company did onlien commercial wholesale business. It was a terrific business.
I currently study in University of La Verne for MBA degree and i study programming in University of California, Irvine.
Connect with Me


Most operating systems and most programming languages come with tools for installing and uninstalling. In the case of operating systems, one installs and uninstalls ‘packages’ or ‘apps’; in the case of programming languages, libraries. For example, MacOS has homebrew, Debian and Ubuntu have apt, Haskell has cabal, Rust has cargo, OCaml has opam, Python has pip. Your task is to implement the basic functionality of such a dependency manager.
Here is an example repository description:
[ { "name" : "A" , "version" : "2.01" , "size" : 1672 , "depends" : [ [ "B>=3.1", "C=1" ] , [ "D" ]] } , { "name" : "B" , "version" : "3.0" , "size" : 83619 } , { "name" : "B" , "version" : "3.2" , "size" : 211234 , "conflicts" : [ "B<3.2" ] } , { "name" : "C" , "version" : "1" , "size" : 23 , "conflicts" : [ "B" ] , "depends" : [] } , { "name" : "D" , "version" : "10.3.1" , "size" : 88847 , "conflicts" : [ "B>=3.1" ] } ]
It consists of a list of objects, in the JSON format. Each object represents a package, using the following fields:
We write "NAME=VERSION" to refer to a particular package. For example, "A=2.01" refers to the first package in the list above, as does "A=2.1". We can also refer to a range of packages, using one of the five forms: "NAME<VERSION", "NAME<=VERSION", "NAME>VERSION", "NAME>=VERSION", "NAME". The last form refers to all the versions of a package with the given name. When comparing versions we use lexicographic order. Let us continue with the other fields.
The dependencies should be interpreted as a conjunction of disjunctions. For example, package A=2.1 from above has two requirements that both must be satisfied: (i) at least one package referred to by B>=3.1 or C=1 must be installed, and (ii) at least one package with name D must be installed. The conflicts list should be interpreted as follows: none of the referred packages should be present. The fields depends and conflicts might be missing, in which case they should be treated as if present but with an empty list as their value.
The state of a system is simply a subset of a repository's packages, which are installed. A state is valid if all requirements from the repository description are met (dependencies and conflicts). For example, the repository from above has 8 valid states (out of 32 possible states):
[] [ "D=10.3.1" ] [ "C=1" ] [ "B=3.2" ] [ "B=3.0" ] [ "D=10.3.1", "C=1" ] [ "D=10.3.1", "B=3.0" ] [ "A=2.1", "C=1", "D=10.3.1" ]
There are 4 valid states in which D=10.3.1 is installed; there is only one valid state in which A=2.1 is installed.
You will be given:
Your task is twofold:
There are two commands available: (a) install a package (which was not already installed), and (b) uninstall a package (which was installed). The cost of installing a package is that package's size. The cost of uninstalling a package is $10^6$ (one million).
The initial state will be given as a JSON list of package references. The list of commands that you should produce must also be a JSON list. Each command is a package reference prepended with + (for install) or - (for uninstall). See the example.
You can use any language you want. You can use any library you want. You can use any program you want. As long as the grading procedure works. In particular, you have to make it work on Ubuntu 18.04. A word of caution: most existing dependency solvers do not require that intermediate states are valid (and are not guaranteed that the initial state is valid).
Limits:
This homework carries 30 points, distributed as follows:
Since the points add up to more than 30, the mark is capped.
You can find the judge and the test data here.


This template provides the basics for
writing a javadoc
package.html
document.
The template is structured using following head lines: Package Specification, and Related Documentation .
The template is extracted from the
Sun javadoc documentation package-template.html
.


500
Something went wrong. Rest assured, you have been assigned 0% of the blame.
Sometimes a strategic retreat is the best option.
Abort!


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add(Node)
- Method in class lazyroute.datastructures.
Heap
addToStack(int)
- Method in class lazyroute.datastructures.
Stack
AdjacencyListAStar(int[], int[][], int, int, Node[], int[], int[])
- Method in class lazyroute.graph.
Graph
creates the adjacency list for A-star initialises also weight, dists and node lists.
AdjacencyListDijkstra(int[], int[][], int, int, Node[], int[])
- Method in class lazyroute.graph.
Graph
creates the adjacency list for Dijkstra initialises also dists and node lists.
B
bubbleDown()
- Method in class lazyroute.datastructures.
Heap
bubbleUp()
- Method in class lazyroute.datastructures.
Heap
C
compareTo(Node)
- Method in class lazyroute.graph.
Node
createHeap(Node[])
- Method in class lazyroute.datastructures.
Heap
createRandomGraph()
- Static method in class lazyroute.main.
PerformanceTesting
createStack()
- Static method in class lazyroute.datastructures.
Stack
D
dist
- Variable in class lazyroute.graph.
Node
doubleSize()
- Method in class lazyroute.datastructures.
Heap
G
getEndNodeCoordinateI()
- Method in class lazyroute.graph.
Graph
getEndNodeCoordinateJ()
- Method in class lazyroute.graph.
Graph
getNumberOfNodesInPath()
- Method in class lazyroute.pathing.
Path
getPath()
- Method in class lazyroute.graph.
Graph
Method creates presentations of the graph.
getStartNodeCoordinateI()
- Method in class lazyroute.graph.
Graph
getStartNodeCoordinateJ()
- Method in class lazyroute.graph.
Graph
Graph
- Class in
lazyroute.graph
Graph(int[], int, int, int, int, String)
- Constructor for class lazyroute.graph.
Graph
H
h(int, int, int, int)
- Method in class lazyroute.graph.
Graph
heuristic function, Manhattan distance.
harray
- Variable in class lazyroute.datastructures.
Heap
Heap
- Class in
lazyroute.datastructures
Heap()
- Constructor for class lazyroute.datastructures.
Heap
I
id
- Variable in class lazyroute.graph.
Node
increaseStackSize()
- Method in class lazyroute.datastructures.
Stack
isEmpty()
- Method in class lazyroute.datastructures.
Stack
L
lazyroute.datastructures
- package lazyroute.datastructures
lazyroute.graph
- package lazyroute.graph
lazyroute.main
- package lazyroute.main
lazyroute.pathing
- package lazyroute.pathing
length
- Variable in class lazyroute.datastructures.
Heap
M
Main
- Class in
lazyroute.main
Main()
- Constructor for class lazyroute.main.
Main
main(String[])
- Static method in class lazyroute.main.
Main
main(String[])
- Static method in class lazyroute.main.
PerformanceTesting
N
Node
- Class in
lazyroute.graph
Node(int, int, int)
- Constructor for class lazyroute.graph.
Node
nodecount
- Variable in class lazyroute.pathing.
Path
nodepath
- Variable in class lazyroute.pathing.
Path
nodes
- Variable in class lazyroute.graph.
Graph
P
Path
- Class in
lazyroute.pathing
Path()
- Constructor for class lazyroute.pathing.
Path
peekMinNode()
- Method in class lazyroute.datastructures.
Heap
peekMinValue()
- Method in class lazyroute.datastructures.
Heap
PerformanceTesting
- Class in
lazyroute.main
PerformanceTesting()
- Constructor for class lazyroute.main.
PerformanceTesting
popMin()
- Method in class lazyroute.datastructures.
Heap
popStack()
- Method in class lazyroute.datastructures.
Stack
S
setNumberOfNodesInPath()
- Method in class lazyroute.pathing.
Path
setPath(int[])
- Method in class lazyroute.pathing.
Path
setWeightOfPath(int)
- Method in class lazyroute.pathing.
Path
shortestPath(Node[], int[][], int, int, String, int[], int[], int[])
- Static method in class lazyroute.pathing.
Path
size
- Variable in class lazyroute.datastructures.
Heap
size
- Variable in class lazyroute.datastructures.
Stack
Stack
- Class in
lazyroute.datastructures
Stack()
- Constructor for class lazyroute.datastructures.
Stack
stack
- Variable in class lazyroute.datastructures.
Stack
T
toString()
- Method in class lazyroute.graph.
Node
ToString(int, int, String)
- Method in class lazyroute.pathing.
Path
totalweight
- Variable in class lazyroute.pathing.
Path
W
weight
- Variable in class lazyroute.graph.
Node
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Copyright © 2018. All rights reserved.


I’ve got a post coming either today or tomorrow entitled “The Five Stages Of Editing - Denial, Anger, Bargaining, etc…” - look out for it!
However, after that (and after the Money post), I’ve got a selection of titles I’m considering. And I’d really like your input on which one you want to see!
Options include:
Four Hour Web Series - if you only had four hours a week to make a web series, how would you do it, and more importantly, what wouldn’t you do?
How to use Google Analytics for your show - what to look for, what features you don’t know exist, how to track external site hits, that sort of thing.
Either You Exposit, or I Electrocute You With This Table Lamp - a look at exposition and how to use it, with examples from “24”
Lessons from Porn sites - there is a genre of web show that makes quite a lot of money, thank you, and it’s porn. What can we learn from the best porn sites for our own shows?
More Stuff On Money - talking more about the ways to extract money from web shows, and how to make a living at them. Likely to be somewhat speculative, because no-one’s really figured this out yet.
Any of them jump out at you? Or would you like to see something else entirely?
Oh, in other news, we’re getting some great feedback from Get Crazed Stalkers, which I’ll be posting on the course page soon (when I have a minute). Thanks, guys, it’s great to hear everyone’s getting so much from it!
_Remember, subscribe to Guerilla Showrunner to avoid missing those articles when they appear! They’ll be awesome. _
Read more →
I’ve just sent out the first bonus email to people who subscribed to Get Crazed Stalkers - it’s a full-length blog-style post on a subject that I wanted to cover in Crazed Stalkers, but ran out of time.
So, if you want even more Guerilla Showrunning tips, you should really sign up! I’ll be sending out tips, supplementary posts, special offers, previews, all kinds of things.
Read more →
“We’ll put the first episode out and tell our friends about it. They’ll tell their friends, and then it’ll go viral. We’ll get tons of traffic in and make lots of money.”
Have you ever wondered why you’ve got really enthusiastic fans, but not much traffic? Or why, when you get a huge traffic spike and you think you’re made, it drops right off again and you’re left with exactly as many fans as you started with?
I’ve been in both of those positions in the past. And they boil down to one simple truth.
Fans don’t automatically produce traffic, which doesn’t automatically produce fans.
They CAN - and there are ways you can make much more certain that they do. But it ain’t going to happen without planning.
Traffic doesn’t always bring you fans
Woohoo! We’re on the front page of Digg! That’s going to get us…
Bugger all.
Great traffic doesn’t necessarily mean tons of comments, fans or cash. One of my fastest-viewed short films was “When We Two Parted”. Front page of YouTube UK, 73,000 views inside a few hours. Loads of great comments.
It’s also the film I produced that gets forgotten the most. Virtually no comments about it online. Very few mentions anywhere.
(To be fair, it didn’t get fans because I did a very rare, for me, zero-effort launch. I made it for myself as a hobby project, and the YouTube thing was a bit of a shock. But it still serves as a good example.)
This is pretty common. Even with tons of traffic, some films, episodes or even series will just see people bounce.
Why? Well, there’s two reasons.
First, all traffic is not created equal. Digg, in particular, and the other “I’m bored” aggregation sites like Reddit and, yes, YouTube’s front page, have a tendancy to send streams of very disinterested viewers to your film. They’re clicking through because of momentary curiosity and nothing more. And as such, whilst you might get great traffic from them, in the long run you’ll probably get more fans and more revenue from a guest post on a medium-sized blog that’s very targetted at the interests your series serves.
(I’ll keep coming back to this point on this site. Most of the time, you’re better off getting 50 very, very interested people to your site than 5,000 completely untargetted visitors.)
Second, there are a whole bunch of things you need to bear in mind when you’re getting traffic, if you want that traffic to convert to dedicated fans and followers. You need to think about how you’re capturing those people initially and letting them know that there’s more to see. You need to think about the personality you’re projecting online. And you need to ask whether your series is casually interesting, or if you’ve managed to find something that fascinates people - and if you haven’t, find it.
I could talk about all these things a whole lot, but I already did it elsewhere, in Get Crazed Stalkers. If you’re interested in learning more about how to convert casual viewers to fans, you really need to sign up to that (it’s free), because it’s a series of 3 lectures going through the entire process of turning your casual viewer base into devoted, enthusiastic fans.
Fans don’t necessarily mean traffic
It’s very easy to fall into the following thought trap: “If someone loves my work, they’ll tell their friends about it.”
No, they won’t.
This one’s confused me plenty of times. On Kamikaze Cookery, for example, we had a large, vocal and enthusiastic fan following. We also comparatively rarely saw people recommending our stuff, and as a result, stayed fairly small.
There’s a key difference between liking something and wanting to share it. And top of the list is this: the reason that we like something and the reason we might share it with our friends ain’t the same.
There’s no cost associated with liking a product other than the initial time to view it. However, there is a potential cost associated with sharing something - social standing. Your viewers will only share something with their friends - any group of their friends - if they believe that their friends will like it, and if they believe they won’t be annoyed by it.
It’s standard sales - you’ve got to provide benefits and overcome objections - only in this case the currency we’re trying to get our viewers to pay with is not cash, but their friends’ eyeballs.
Eew.
So, if you want your fans to share your stuff - are you selling it to them? Are you providing a call to action? (I talk about reminding people to do stuff - calls to action - in episode 1 of Crazed Stalkers - it’s a very powerful and easily forgotten tool).
Are you demonstrating the benefits, which can be as simple as providing something that will make sense outside the context of the series?
You know The Guild? You know their stand-alone, very funny music videos? With girls from the series in hot outfits? Yep. That’s why they make ‘em - they’re obviously, immediately something that many peoples’ friends would like to see, and so Guild fans share them.
(We should have done a LOT more 30-second clips from Kamikaze Cookery episodes for people to share.)
 Might seem silly, but there’s nothing like a crushing “WTF? Pointless.” comment to make your readers wish they’d never shared.
Many people will share like a shot with friends groups who share an interest - KKC got shared around the molecular gastronomy/geek crossover, for example. Can you pinpoint what interests would mean peoples’ friends were more likely to like what they’re being offered? Can you provide examples of other people who’ve shared your stuff and gotten grateful comments?
Most people won’t want to ask their friends to take much time our of their day. Do you have short samples that people can share? Do those samples, in turn, have calls to action on the end, and ways to capture viewers?
Andrew Chen goes into the psychology of sharing in great depth in his essay on viral loops - it’s really worth reading if you want to understand how to turn fans into traffic.
Money… soon
Of course, once you’ve got ten thousand fans or a million viewers, it’ll be easy to turn that into money, right?
(All of my readers who’ve been in that position are laughing right now).
Nope. Just because you’re super-popular doesn’t mean money is going to turn up. Hell, both Twitter and Facebook have looked like they weren’t going to turn a profit in the past.
So how the hell do you turn fans or traffic into cash?
Hate to cliffhanger you, but… that’s the subject for another article. I’ll write it soon, I promise!
_Subscribe to Guerilla Showrunner to avoid missing the money articles! And to learn how to translate your casual viewers into hardcore fans, sign up to Get Crazed Stalkers - it’ll just drop right into your inbox.
Not all the time, obviously.
There’s stuff that doesn’t scare me one bit - technical bits and pieces, for starters. Need to get a 3D model from one obscure incompatible format written in 1998 to another totally proprietory one written by a stoned UNIX coder and a drunken monkey? Pass me Google and let’s get going.
Online marketing doesn’t scare me. I love web design. And I love above all else working with actors, directing, workshopping, and working on story, playing around with beats, going for walks, coming up with an arc.
You’re probably in the same boat. Maybe you’re 100% OK with editing, or could happily colour-correct until the perfectly-shaded cows came home.
But then there’s all the other stuff.
Print press scares me, badly. Not doing interviews, so much - them I like. But whenever I get to the point of needing to assemble press releases and actually call the BBC or CNN or something, my heart rate’s going like Lars Ulrich playing a drum solo twenty seconds after he learned about Napster.
Camerawork scares me. I am acutely aware that when it comes to artistic stuff, compared to a lot of ultra-talented directors and DOPs, I’m a three-year-old with crayons. I know I don’t suck, but I also know I HAVE sucked in the past, and that means that I can manage up to two hours of “research” (procrastination) before I actually get the nerve up to point my virtual camera at something.
I’m sure that all of us have the same problems.
(Indeed, if I found a filmmaker who didn’t find any aspect of his or her work scary, I’d question if he or she was actually invested enough to do a great job.)
But the question is - what can you do about your fear? And what can you learn from it?
If it scares you, you should probably be doing it
Well, obviously not if “it” involves stepping in front of heavy things moving fast.
But one of the things I’ve learned about fear is that it’s an excellent pointer for the things I should really be doing to make my film awesome rather than just OK.
Let me tell you, getting started on the process that led to me casting Johanna Lumley, Jack Davenport, Anna Chancellor, and Brian Blessed in Death Knight Love Story was absolutely terrifying. Calling Seriously Big Name casting agents? Pitching the project to Gail Stevens and her team? Even organising the transport to take our actors to the recording studio was hyperventilation-tastic.
That’s the main reason I knew this was something that was super-important to do.
If you know you don’t know what you’re doing, you’re already ahead of the game
I’d still say that I’m not very good at camerawork. Thus, it’s a bit of a surprise for me when people compliment my shooting, as happens reasonably often, or even ask me for camerawork advice!
The ability I’ve aquired with camerawork, such as it is, has all been as a result of realising that, initially, I really sucked. So I grabbed everything I could to learn about it. I studied movies with the sound off for hours. Any time a blog post has the word “camera” in the title, I’ll read it, possibly even after the point I realise it’s about sticking something medical where the sun doesn’t shine.
If you’re shitting yourself about a task - or merely vibrating gently and procrastinating hard - you’re probably already ahead of most people on that task, because you realise that you don’t know everything you want to. Turn that fear into an impetus to learn, and do the task anyway, because…
Making good stuff is partially a function of making any stuff
There’s a much-overused Woody Allen quote on this point, about 90% of success being showing up. It’s overused because it’s true.
I have a note on my monitor reading “You don’t know if a shot is any good until the edit”, as I’ve mentioned before when talking about cameras. It’s there because I tend to paralyse myself with fear that whatever I produce won’t be good enough.
You can only make stuff that’s as good as you can make. How you’re feeling about making it on any given day won’t matter nearly as much as you think it will. I’ve shot and written things I thought at the time were shit, and subsequently turned out to be the best things about a project. And filmmaking’s a process - you’ll dramatically overestimate how far down the line on any episode you can see and predict, because once collaboration and multiple processes like editing come into play, the game totally changes.
Oh, and if you do end up producing something that doesn’t work, half the time the reason it doesn’t work will have nothing to do with whatever you were panicking about when you made it. It’s the stuff we DON’T see that clobbers us, not the stuff we obsess over.
So stop shaking and hugging Reddit.com like it’s your only friend. Make it, edit it, screen it to a bunch of friends, and THEN you can worry about whether it’s good enough yet.
What’s the stuff that scares you about showrunning? And how do you overcome it? Let us know in the comments!
_You know what else helps you get over the fear hump? Having baying fans waiting for your project. Learn about getting crazed stalkers with our free course. _
Read more →
When you’re guerilla showrunning, you’re always short of time. There’s always more you want to do in less. You’re playing catch-up to industries with millions of dollars that themselves are always hurrying. You’re trying to make a show with you and a friend in your garage on a weekend, when the guys making “24”, with millions of dollars and top-name stars, spend as much time panicking about how much time they’ve got as you do.
The last things you need are goddamn time vampires.
Time Vampires? Yeah.
Some of the biggest improvements I’ve made to my show creation over the years have all been about staking time vampires to the nearest solid object. Because if you’ve got an invisible annoyance sucking hours out of your project, it doesn’t matter how 80⁄20 you are getting about the rest of the gig, it’s still going a lot slower than it could.
 Or, to put it another way, fix the sodding dripping tap, already.
Dripping Taps Can Irritate Your Project To Death
On BloodSpell, we had a persistant problem throughout shooting - if we ever let the game cursor, which we couldn’t make disappear, hover over a character, they would glow blue.  We had to work around it, adapt shots, alter our coverage, and so on.
When we were shooting the final episode of the series, I was having a dig around in the spec for character setup for some reason, and I noticed a “glow” flag. We were on a break, so I went into our character definitions, and changed the flag from 1 to 0. Loaded the graphics engine up, and…
No glow.
 We’d pretty much written it off as an annoyance we had to live with, right through filming. But as soon as it went away, all sorts of things suddenly became possible. Filming noticably speeded up because we didn’t have the - previously unnoticed - step of “check if the cursor’s making anything glow”. Our shot setup was freer. And quality of shooting went right through the roof. I don’t think it’s an exaggeration to say that maybe a quarter of the improvement between the series version and the feature version of BloodSpell (which was huge) was down to fixing that damn cursor.
The useful takeaway here isn’t “fix little niggles”. I think we all try to fix things that come up - I know we had a good five or ten minute look around for the blue glow when we first found it, didn’t find anything we could use, and gave up.
What’s interesting here is that most people massively underestimate how much of a time sink niggles like this are. If something’s causing you to bugger around for 3 minutes every time you take a shot, or meaning you have to abandon 5% of your shots, in the middle of shooting you’ll tend to go “bah, small problem, ignore” if you can’t easily fix it.

And it’s not just the direct time it takes - it’s also the hassle factor.
You Can’t Be Zen About A Dripping Tap
In Zen and the Art of Motorcycle Maintainance (which I would heartily recommend to any Guerilla Showrunner - the entire damn thing’s about what Quality is and how we achieve it), at one point the narrator visits some friends, who have a dripping tap.
They’ve tried to fix it, but it didn’t work, so now they’re just ignoring it. And so it goes until Sylvia, one of the friends, suddenly blows up with anger at something unrelated - and the narrator realises that it’s actually anger at the damn dripping tap, which she’s working so hard to suppress, that’s causing it.
What struck me hard then was that she was not blaming the faucet, and that she was deliberately not blaming the faucet. She wasn't ignoring that faucet at all!
This really resonates for me.
See, that’s exactly how I realised I’d been feeling about the blue glow in BloodSpell.

It broke my flow. It ruined my shots. It irritated the hell out of me, but I was ignoring it, because fixing it looked Hard.
And it wasn’t until I fixed it that I realised what a huge relief that was.
Use Of Excessive Force In The Case of Dripping Taps Is Approved
So here’s my recommendation: if something’s pissing you off in your current project, and it’s pissing you off enough that you notice it, even if it’s a niggle, move heaven and earth to fix it.
Devote serious time to fixing it - a few hours at least, if not a couple of days.
Ask questions on forums. If it’s a software problem, contact the developers.
Think around the problem - see if there’s a way to completely avoid it. If spending some money would help, consider doing that. (I’ve got a post coming on how not spending cash is one of the biggest mistakes you can make on a tiny Web show).
I had another example of this quite recently. The hard disk I was using to edit Death Knight Love Story on just wasn’t coping well with the process. It wouldn’t play back more than 10 seconds of real-time footage without rendering first. Now, you can work under those circumstances, but it’s annoying, and it means you can’t be bothered to do quite a lot of fine-tuning if it needs more than 10 seconds of continuous preview to do.
I lived with this for a while, because I couldn’t think of any easy alternatives. The best alternative I could think of would involve completely reorganising the office network and putting together a gigabit RAID server from an old machine. And that sounded like a lot of work.
  I called a friend who works in networking, dragged the old machine out of the cupboard, and got going.
The thing that my subconcious had been saying “oh, shit, that looks like really hard” took about two days total. Not tiny, but well worth it.
And my editing’s improved dramatically on the project since. My fight scenes flow better, the entire thing’s more fluid, and I don’t have embarassing “oh, god, that looks awful” moments after I’ve rendered the final product. Two days to massively improve the edit on a two-year project.
Humans have two well-known cognitive biases: we underestimate the effects of ongoing hassles or frustrations, and we overestimate the likely cost of fixing those hassles, particularly if the fix is partially unknown.
And that means we spend a lot of time wasting time on niggling problems that we could easily solve.

- Sort your directory structure out.
- Really put some time into fixing that niggling rendering bug.
Call Alienware about a new laptop.
* Whatever else has been bugging you.
Get your time back, and then spend it making a great project.
And if you do kill a vampire - or have one that just won’t die - tell us about it in the comments!
Worried that your great project won’t get the reception it deserves once it’s finished? Or just want a few more cheerleaders to help you get across the finish line? Go learn how to get crazed stalkers now, and get some fans for the work you’re doing.
Read more →
It’s a happy day. I’ve completed the first course from Guerilla Showrunner - Get Crazed Stalkers!
And to add on to all that - it’s a free course. Completely, totally, utterly and forever.
This one’s about your fans. Specifically, it’s about the dedicated, hardcore fans (the “stalkers” - don’t worry, I’m not actually trying to get you stalked) that every show thrives on, and how to convert your Anonymous YouTube Visitors into people whose first name, kids’ interests, and credit card numbers you know.
The course is in three parts of ten minutes’ video each (it was going to be five minutes, but it turns out I had rather more stuff to say than I thought I did), in which you’ll learn:
3 things you can do in the next hour to make more of** your casual viewers come back** and get involved in your show.
Why your RSS feed and YouTube subscribers aren’t attracting as many viewers as you’d like – and how to fix that.
How to design a show or an episode to** fascinate your viewers **- so that whenever they think about your show, they’ll feel good.
Why you don’t need everyone to like your show – and how pissing some people off will help turn you into a superstar.
To get on the list and recieve the first video, subscribe to Get Crazed Stalkers.
The link to the first video will drop through your inbox door, if such a thing exists, a few minutes afterward.
I really hope you guys find this course useful. It’s turned into rather a larger project than I had planned - maybe I should have turned it into a paid-for thing instead. Ach, well!
If you know anyone who’d find a course about getting more and more dedicated fans for their Internet show or whatever else it is they do that gets fans, please do let them know about the course. I really want to help as many people with this stuff as I can.
**Permalink for the course: **http://guerillashowrunner.com/crazed-stalkers-free/
Read more →
Apologies for the delayed post this week, guys - I’ve been working on what I hope will be the final draft of the animatic for Death Knight Love Story. Just some rough foley work to do now, but it’s been eating my brains all week.
Anyway. I asked in various places for suggestions on things you’d like to know about, and Armanus, on the Moviestorm forums, mentioned that he’d really like some camerawork advice.
Now, historically, I’ve always been very twitchy about my camerawork. I didn’t come at filmmaking from a visual arts background - I still can’t draw anything except stick figures (although those seem to go down pretty well, to be fair). I’m a writer.  (No, seriously. At one point the camera actually wanders off and inspects a bookshelf whilst the dialogue continues uninterrupted. )
As such, I’ve always been on the lookout for tips to improve my camerawork.  They’re either far too specific and situational (“This camera dolly is awesome if you’ve got exactly 15 men and one dog in your scene”) or they’re very general and wishy-washy (“Make sure to think about colour theory”).
But over the years I’ve found a few things that are simple, possible to follow whilst you’re actually making stuff at some speed, and if you follow them will invariably make your camerawork better.
Remember What Your Job Is
It’s very easy to get caught up in thinking that your camerawork has to be beautiful, and sophisticated, and clever, and that if you’re not pulling memorable Ridley Scott or Peter Jackson moves every other minute you’re slacking off.
This is an excellent way to end up producing crappy, overblown camerawork. And as a man who’s committed his fair share of that in his time, I should know.
As a camera guy, and particularly as the director of your piece who is also doing his own camerawork, you have just two jobs. 1: Don’t be eye-bleedingly ugly. You’ll know if your shot’s super-ugly. If it doesn’t make you wince to look at it, and there’s no obvious bloopers or attention-breakers in shot (like, ahem, someone falling straight through a set of stone stairs), you’re good.
And 2: Make sure the audience can see WTF is going on.
That’s it.
It’s perfectly acceptable to make an entire film using nothing but a single wide shot showing the entire set and all the characters. Hitchcock did it, and he’s not the only one. If you’re shooting an entire scene with one standard close-up, one over-the-shoulder shot, and one wide shot of the entire thing, you’re doing exactly what most TV shows do - and I’m not talking crap TV here.
If the audience can see what’s happening, if they can see what the characters are doing and see well enough to see their expressions too, then your job here is done.
As a side-note, it’s very easy to get an inferiority complex about not using moving cameras. As a director, you’re going to feel a continual pressure to move the camera - if you just keep using still shots, you’ll probably start worrying that your camerawork looks boring.
Don’t worry about it. If you need to use a move, you’ll know. Experiment, sure, but there’s nothing wrong with just sticking to locked-off cameras for an entire film if you want to.
You’ll also probably find that from time to time you’re showing the action clearly, and you’ve tried lots of different approaches, but the shot just doesn’t “feel” right, and you’re sure it’s because you’re not good enough at camerawork to convey it.
It’s not.
I honestly can’t remember a single time I’ve felt this where it’s actually been the camerawork that’s at fault, Darkening Twilight excepted. It’s far more likely that the culprit is your actor or animated figure, or your lighting, or your edit, or your music, or your sound mix. If you haven’t edited the shot yet, just render/shoot the damn thing and worry about it in the edit.
Usually I find that the edit is where I alternate between saying “Ooh, that shot I thought blew goats is actually really useful” and saying “Jesus, what was I thinking, that funky helicopter shot looks like I tied the camera to a sparrow then shoved a firework up its arse”. I actually have a Post-It stuck to my monitor right now saying “You don’t know if a shot is great until it’s edited”.
The Rule Of Thirds
As far as bollock-simple rules that you can apply to 90% of your shots go, the Rule of Thirds is pretty much head of the list. And given that artists have been using it since 1797, and it’s closely related to the Golden Ratio (which as visual rules of thumb go, was old by the time the Parthenon was built), it bloody well should be.
Here’s the simple version.
See this pic from Death Knight Love Story? (I’m actually finding it a bit painful to look at, but that’s because the new renderer we just got is so much better. Anyway.)
Now, draw lines on it so that it’s divided into thirds both horizontally and vertically.
See how Miria’s face is more or less on the junction of those points?
That’s the rule. Any time you’re not certain about your placement in a shot, stick the important thing, which is usually a person, so that their eyeline or other important feature is at least on one of those lines, and better yet on one of the junctions.
You’ll notice that Miria’s not exactly at the junction of those lines. That’s OK. This is a rule of thumb, and I was eyeballing that shot without guide rules. You don’t need to be precise about this - just get the placement roughly right and it’ll make your shot stronger.
A few notes on this: it’s OK to do non-Rule of Thirds shots if you know why you’re doing them. A classic example would be a point-of-view shot where you’re positioning a character or object dead center on the screen - although even there you’ll probably want to have their eyeline or other key point on either the upper or lower Third line.
Also - if you have a strong flat line in the scene, stick it on one of the Third lines if you can. The classic use is to stick the horizon on either the lower or upper line - either way is a lot stronger than the classic amateur frame putting it in the middle of the shot. (You’ll see the horizon is slap on the lower line in the example image)
The thing I love about the Rule of Thirds is it’s totally mechanical, and it nearly always works. Frame shot, adjust to use RoThirds, and bingo, better shot.

That sounds like a route to perfectionism, over-analysis, uncompleted films, and eventually alcoholism and getting eaten by a pet rabbit after dying of liver failure in a garrett. But used judiciously, it works.
First thing: only ask it ONCE. Stop, sit down, look for a moment, and if you’re not happy with the visual, try and fix it. And once you’ve tried to fix it, shoot the bloody shot and move on, even if you’ve not been able to find anything that works.
Secondly, remember to adjust ALL the elements of the image. The “painting” bit works because as a painter, you can change anything you like. As a filmmaker, it’s very easy to get stuck thinking all you can do is change the physical location of the camera - thinking about your shot as a painting gets you out of that trap. Change the lighting. Change the relation of objects in the frame. Move a pot plant. If I was to list the things that I do to fix a shot, the list would probably go: 1) Fix shonky lighting.  3) (maybe) Change camera settings.
With those points in mind, it’s amazing what simply sitting back and taking a moment to “re-paint” your scene can do.
And that’s it! Please do let me know in the comments if you’ve found those tips useful, or alternatively if there’s another area you’d like me to cover more!
And, of course, if you’ve found those tips useful, subscribe to Guerilla Showrunner to get more showrunning tips - including more camerawork stuff, coming soon!
Read more →
Ah, Scotland. Land of the cold, dark winter. I’m really looking forward to about two months’ time when it’s not dark by 5pm.
Yeah, yeah, I know the Scandinavians in my audience are laughing at me right now.
Anyway.
THEN! (Cue fancy graphics). We talked about goals, why having some is a good idea, and how to figure out what it is that you actually want out of your show.
NOW!

A Right To-Do
So, let’s take an example. You’ve realised that what you really want out of your film is a very, very long comment thread, full of people arguing about and having passionate opinions about the series.
Now, what you do is attempt to work backward from that outcome. What would cause that?
Well, for starters, they’ll need something to argue about. What? Is there something in your film that would cause them to disagree?
Chances are there is, actually. Your subconcious has been building the show with your desired goal in mind all along. However, it’s probably buried because you didn’t realise how important it was. In my first ever series, Eschaton, I really wanted people to debate and find the hidden corners of the world, but I didn’t really realise that conciously, and so I didn’t build the breadcrumbs that would lead people into the mysteries - they were in there, but only people who were really looking would find them. Instead, I spent lots of time writing stuff I thought was important, but was actually distracting from the main points of the show - too much character drama, for starters. You need to find the core thing or things that would cause your audience to argue, debate and analyse, and bring that to the fore.
So, Where in your series are you visualising a viewer stopping and going to the YouTube comment page to go “I totally think that the birds are actually a symbol!” ? You’ll probably find you don’t have any specific times, and you’re probably underplaying a fair bit. Time to bring that out and up.
Now you know the result you’re looking for, you can also look at other shows that actually achieved that result. What you’ll find will probably hark back to what you’ve already discovered you’re not playing up enough. Twin Peaks, for example, wasn’t subtle about its wierdness at all - strange rooms, wierd unexplained backward talking, and the entire thing’s built around a mystery. That’s what got people arguing about the series and its interpretation. You need to signal people what sort of show this is - something that you can do now you know yourself!
So now you can go to the next episode that you’ve got in the pipeline and start making changes to head in the direction you want to go. You don’t have to be real subtle about this - JJ Abrams pulled a complete U-turn in the middle of the second season of Alias when he decided he wanted a more straight-up spy show, resolving the entire plot in an episode and starting off the new one. Provided you have some idea of what your existing viewers, or at least the ones you want to keep, are enjoying, you can balance those needs with the needs of the new idea you have for the series.
Pushing The Series You Want To Push
Even more importantly, once you know what you want to happen you can start designing all of your publicity efforts to get you the kind of attention you want.
Going back to the “I want a long comment thread with lots of people arguing” example, once you know that’s what you want, you can focus all your publicity efforts on persuading people to comment. You can start by actually asking people to comment at the end of each episode! (As opposed, say, to a series where you wanted maximum views, where you’d want to say “tell your friends” instead).
You can make sure to encourage the mystery in your own replies. Don’t be clear with your replies. Ask leading questions. Give out hints every so often. Say things that encourage people to say “But that means…?”. Ask people what THEY think is happening, a lot.
This carries over to the press you’re doing, too. (You ARE contacting the press, right?). You now know what adjectives to use when describing your series - “Mysterious”, “intriguing”, “argument-causing”. Mention not that you’ve got 50,000 visitors, but that your last episode had over 5 pages of comments “fiercely debating” what was going on. Don’t structure your call to action as “Come and watch the film”, use something like “Can you decypher the mystery?”.
You can even use the outcome you want to find new places to publicise your show. If you have suddenly realised that you want to make a show that gets people investigating and arguing, you’ve suddenly got a new audience: those guys. Alternate Reality Game (ARG) communities, for example, love mysteries and discussion about said. Your action-supernatural series might not have had anything to offer them, but your breadcrumb-filled action-supernatural mystery series where you drop hints about what’s going on all over your website and your audience busily pieces them together - yep, now the ARG guys might be interested.
Finally, you can now TELL how well you’re doing with the series. You know when you’ve got a win. You can use that to make yourself feel good about the series (don’t underestimate that - being able to know when you’ve got a win is vital for your own stick-at-it-ness) and also to test anything you’re doing. 20 new comments the day after you advertised on a specific webcomic?  Introduced a new character and got bugger-all aside from one guy saying “she’s kinda hot”, even if your views went up? Ditch her or make her more interesting, stat.
For BloodSpell, I knew that one of my goals was to have the film version critically acclaimed as compared against actual cinema films. That meant I spent a lot of time contacting “real” film websites and magazines. And let me tell you, it was a happy day when we were favourably reviewed in the same issue of Dreamwatch as Stardust and Beowulf.
It Works No Matter What Your Goal Is
You want raw views, and lots of them? Then you need to optimise your show for “tell your friends” viral power, make sure to tell your viewers to tell everyone they know about it, and do press and advertising based on raw pulling power (don’t worry too much about whether the incoming clicks are completely right for the show), whilst desiging the plot or programme to be as broad-web-interest and at the same time as remarkable as possible. Look at “Will It Blend”, “Lost”, and “Doctor Who” as examples.
You want people to tell you that your show has moved them, changed them, perhaps even saved their lives? Then you need to be looking at emotions and catharsis. Watchphrase one: “How does it make us feel?” Find a group of people you think you can give an emotional experience they really want or need, and go for it. (Note: the second module of Get Crazed Stalkers, the upcoming free video course, goes into this sort of thing in a lot of detail).
You want lots of real-world, dead-tree press? Then you need to be thinking about what press you want to hit, and what Webby stuff they tend to cover. Why would they want to tell their readers about you? How can you give them a story so cool they can’t pass it up? You’ll need something remarkable and relevant. Spend lots of time on your press releases and on the actual phone to actual journalists.
No matter what you want, you can design your show to achieve that. You just need to know what it is that you want first.
Have at it.
_ If you found those tips useful, subscribe to Guerilla Showrunner! I’m writing new articles on how to make your show awesome at least once a week - make sure you don’t miss ‘em.
Read more →
OK, we’ve officially launched here, and all is going smoothly and well… Glad everyone’s liking the content so far.
I’m going to be asking this question fairly frequently, so might as well start:
What’s your biggest showrunning pain right now?
I want to make sure I’m writing articles that actually address pain points people have, so tell me - what are your biggest problems with your show, or your planned show? What’s really biting your nugget at the moment?
Tell me and I’ll see what I can do to offer useful pain-removal advice on the subject.
Read more →
It’s the goals post!
Well, OK. It’s the first goals post, of, I suspect, many. Goals are part of what the micro-ISV/Internet Marketing/Making Shit And Selling It For Money crowd call “inner game” - getting your head right so that you point in the “be embarassingly rich and successful” direction rather than the “I coulda beena contender; pass the bottle of meths” direction.
But hold on a minute. Don’t we all have the same goal? I mean, basically, it’s “Make A Great Show”, right?
Well, no. Even if you think it is, chances are that actually isn’t your goal, and if you persist in thinking it is, you’re going to end up really unhappy with your show.
What do you mean by “Good”?
“All I care about is that the show’s really good. If it’s really good everything else will take care of itself.”
The first rule of any goal is that it has to be measurable. You have to be able to tell when you’ve reached the goal.
If you’re saying “I’m going to make a really good show”, and you can’t tell when you’ve made one, you’re going to fail automatically. That’s a really good way to a) not improve, and more importantly, b) not be happy.
Now, you might say that it’s good when you think it’s good. And that’s really cool. I’ve got a lot of respect for self-expression.
Except - were you planning on releasing it?
If so, I don’t believe “Make A Show I Think Is Awesome” is actually all you want to do.
If it’s being created solely for an audience of one person - you - why are you bothering to release it? I mean, releasing a show’s a lot of work, even after it’s finished. If you’re planning to release your show to the Wider Public, you want something out of releasing it.
What’s that thing?
The thing that you want to happen when you release your film to the baying crowds: that’s your goal. That’s what you want.
It****’s probably right.
Why you need to get your subconcious to tell you what you want
So yeah, you want something to happen when you release. But what?
One person’s visualisation of success is very different to another’s. Maybe you visualise huge YouTube numbers. Maybe you’re imagining long, erudite discussions of your film’s content and meaning. Perhaps you’re thinking of tearful comments about how your film’s changed someone’s life, or a 42-page thread on /b/ filled with lolPorn inspired by your series.
Or maybe you’re thinking about a studio guy with a big cheque.
None of them are the “wrong” sort of success to want. Success is what makes you happy. But all of them require different strategies to get to them. And until you know what you want, you can’t plan how to get there.
( Incidentally, it’s worth checking that you’re not telling yourself you want one kind of success when actually you want another. Perhaps you think success “should be” 10,000,000 YouTube views, but actually you want approving comments from pretty women. That’s kinda important. And yes, there are strategies to get that!)
If you don’t have a clear picture of what you’re wanting, you’ll be unfocussed in your design. You’ll not know which audience you want to appeal to, so you’ll try to appeal to multiple, probably contradictory audiences, or even worse, “everyone”.
You’ll not know what the end-game of your marketing is, so your publicity will be unfocussed or unenthusiasic - or, if you’re still trying to tell yourself that nothing matters but you liking your show, you won’t do any. And then you’ll be sat there wondering why you don’t feel like your film’s release has lived up to expectations.
So, here’s my suggestion for how to spend an hour this evening, no matter what stage of creating your show you’re at. Sit down with a nice beverage, alcoholic or otherwise, and really think about what “success” means to you, for your show. Visualise the day when you can definitely say “Yep, the show’s definitely worked”.
Picture yourself sitting down at the PC, or going out to the office, or however you’d start your day. Picture what would tell you that you’d achieved success. Your comments? Your email? A phonecall? Picture who’s saying things, and what they’re saying. Newspapers featuring you as the guy who has the most popular video on YouTube? A literature professor emailing you to say he’s using your work to teach his students?
(I’ve had the latter one. It’s pretty cool.)
And once you’ve really thoroughly explored what it is you want, write it down.
Now you know where you’re going, you can start to figure out how to get there.
Subscribe to Guerilla Showrunner - by email or RSS - to make sure you don’t miss the next part of the series, where I’ll be talking about how to use your goal to make your series better. Oh, and have you checked out my upcoming free video course on turning your viewers into obsessed fans? It’s going to be pretty cool.
Read more →


Medely Festival Calculater
Current Rank:
Current Exp:
Current Lp:
Difficulty:
Expert
Hard
Normal
Easy
Score:
S
A
B
C
None
Combo:
S
A
B
C
None
Num of Songs:
Exp Up
Pt Up
Current Pt:
Target Pt:
End Time:
Calculate


RCMP officer gets conditional discharge after northern off-duty assault case waived to Saskatoon
by Bre McAdam, Saskatoon StarPhoenixWhile on probation, Cpl. Luay Toma cannot possess or consume alcohol or cannabis and must take anger management if required by his probation officer.
A northern Saskatchewan RCMP officer has been given a 12-month conditional discharge after pleading guilty to an off-duty assault.
Cpl. Luay Toma, 30, was charged on May 30 with assaulting someone in a home in Wollaston Lake on May 20. The case was proceeding through the northern community’s circuit court but was waived to Saskatoon on Oct. 22, court documents show.
A publication ban issued during Toma’s first court appearance prevents the reporting of any information that could identify the victim, including details of the assault.
While on probation, Toma must report to a probation officer in Saskatoon and cannot possess or consume alcohol, cannabis or non-prescribed drugs or be in any place that sells alcohol or cannabis.
He is also ordered to take any personal counselling or programs for alternatives to violence and anger management as required by his probation officer.
Toma’s conditional discharge means he will not have a criminal record if he abides by his conditions for 12 months.
The RCMP officer remains suspended with pay pending the conclusion of an internal code of conduct investigation, RCMP spokesman Rob King confirmed.
Wollaston Lake is a remote community located approximately 700 kilometres northeast of Prince Albert.


{% include "core/Bootstrap.html" %}
DashBoard
{% include "core/Navigation_Bar.html" %}
Dashboard Page
Tasks
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Journal
Total Number of Journal Entries: {{Entries}}
Total Number of Days since last Journal Entry: {{Days}}
Journal


TechTogether Seattle was TechTogether's third chapter location, opened in 2020 along with TechTogether Atlanta.
TechTogether Seattle is the only gender-focused hackathon located in Washington State.
TechTogether Seattle serves primarily high school, college, and Bootcamp students in Washington with a focus on Seattle. The organizing team consists of residents and students from across Washington.
Guadalupe Medina
TechTogether Seattle 2021 Attendee
"I remember the first-ever hackathon that I attended was TechTogether New York and it really helped take the fear away from hackathons because of the amazing community and my team."
Neala Mendoza
TechTogether Seattle 2021 Attendee
"TechTogether proved that anyone with any background can learn and create a project."
TechTogether Seattle 2021 Attendee
“I love the TechTogether hackathons. I also went to TTNY and that was also a great experience like TTS. The workshops were so engaging and there were so many that you can just attend those if you would like. Everyone is also so welcoming and the environment is so nice.”
TechTogether Seattle 2020-2021
689 Hackers
1335 Applications
46% First-time Hackers
30 Organizers
$10k Prizes
58 Projects
23 Sponsors
98% of attendees would recommend the event to a friend.
Hosted Virtually
TechTogether Seattle 2021-2022
335 Hackers
1114 Applications
54% First-time Hackers
$5k Prizes
21 Projects
94% of attendees would recommend the event to a friend.
Hosted Virtually
TechTogether Seattle 2022-2023
No information is available yet for TechTogether Seattle's next hackathon.


Query results
-LAMBDA-VAC-ANG-|-SPECTRUM--|TT|--------TERM---------|---J-J---|----LEVEL ENERGY--CM-1----|
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Back to the
request form
.


CODEC
Section: Misc. Reference Manual Pages (3T)
Updated: October 15, 1995
Index
Return to Main Contents
NAME
TIFFFindCODEC, TIFFRegisterCODEC, TIFFUnRegisterCODEC - codec-related utility routines
SYNOPSIS
#include <tiffio.h>
const TIFFCodec* TIFFFindCODEC(uint16 scheme);
TIFFCodec* TIFFRegisterCODEC(uint16 scheme, const char* method, TIFFInitMethod init);
void TIFFUnRegisterCODEC(TIFFCodec* codec);
DESCRIPTION
libtiff
supports a variety of compression schemes implemented by software
codecs.
Each codec adheres to a modular interface that provides for
the decoding and encoding of image data; as well as some other
methods for initialization, setup, cleanup, and the control
of default strip and tile sizes.
Codecs are identified by the associated value of the
TIFF
Compression
tag; e.g. 5 for
LZW
compression.
The
TIFFRegisterCODEC
routine can be used to
augment or override the set of codecs available to an application.
If the specified
scheme
already has a registered codec then it is
overridden
and any images with data encoded with this
compression scheme will be decoded using the supplied coded.
DIAGNOSTICS
No space to register compression scheme %s.
TIFFRegisterCODEC
was unable to allocate memory for the data structures needed
to register a codec.
Cannot remove compression scheme %s; not registered.
TIFFUnRegisterCODEC
did not locate the specified codec in the table of registered
compression schemes.
SEE ALSO
libtiff(3T)
Index
- NAME
-
- SYNOPSIS
-
- DESCRIPTION
-
- DIAGNOSTICS
-
- SEE ALSO
-
This document was created by
man2html,
using the manual pages.
Time: 01:31:39 GMT, November 23, 1999


{% extends "base.html" %} {% block body_block %}
* Ready for end-of-season data entry? Click the "Data" button for this Attempt's compiled sheet data!
This attempt does not have any sheets yet!


Use the textareas below to specify the landscape, then click the Render button to display its isometric graphical representation.


This page contains the complete manifest that was used to generate all of the Golang source documentation on this site. Use the JSON link above to retrieve the JSON directly.
{{ jsonify $.bindings.Module }}


Class: RSpec::Mocks::Configuration
- Inherits:
-
Object
- Object
- RSpec::Mocks::Configuration
- Defined in:
- lib/rspec/mocks/configuration.rb
Overview
Provides configuration options for rspec-mocks.
Instance Attribute Summary collapse
-
#allow_message_expectations_on_nil ⇒ Object
Sets whether RSpec will warn, ignore, or fail a test when expectations are set on nil.
-
#color ⇒ Object
writeonly
Indicates whether or not diffs should be colored.
-
#transfer_nested_constants ⇒ Object
writeonly
Sets the default for the
transfer_nested_constants
option when stubbing constants. -
#verify_doubled_constant_names ⇒ Object
writeonly
When this is set to true, an error will be raised when
instance_double
orclass_double
is given the name of an undefined constant. -
#yield_receiver_to_any_instance_implementation_blocks ⇒ Object
writeonly
Sets whether or not RSpec will yield the receiving instance of a message to blocks that are used for any_instance stub implementations.
Instance Method Summary collapse
-
#add_stub_and_should_receive_to(*modules) ⇒ Object
Adds
stub
andshould_receive
to the given modules or classes. -
#before_verifying_doubles(&block) ⇒ Object
(also: #when_declaring_verifying_double)
Provides a way to perform customisations when verifying doubles.
-
#color? ⇒ Boolean
Indicates whether or not diffs should be colored.
-
#initialize ⇒ Configuration
constructor
A new instance of Configuration.
-
#patch_marshal_to_support_partial_doubles=(val) ⇒ Object
Monkey-patch
Marshal.dump
to enable dumping of mocked or stubbed objects. -
#reset_syntaxes_to_default ⇒ Object
private
Resets the configured syntax to the default.
-
#syntax ⇒ Object
Returns an array with a list of syntaxes that are enabled.
-
#syntax=(*values) ⇒ Object
Provides the ability to set either
expect
,should
or both syntaxes. - #transfer_nested_constants? ⇒ Boolean
- #verify_doubled_constant_names? ⇒ Boolean
-
#verify_partial_doubles=(val) ⇒ Object
When set to true, partial mocks will be verified the same as object doubles.
- #verify_partial_doubles? ⇒ Boolean
-
#verifying_double_callbacks ⇒ Object
private
Returns an array of blocks to call when verifying doubles.
- #yield_receiver_to_any_instance_implementation_blocks? ⇒ Boolean
Constructor Details
#initialize ⇒ Configuration
Returns a new instance of Configuration
5 6 7 8 9 10 11 12 13 |
# File 'lib/rspec/mocks/configuration.rb', line 5 def initialize @allow_message_expectations_on_nil = nil @yield_receiver_to_any_instance_implementation_blocks = true @verify_doubled_constant_names = false @transfer_nested_constants = false @verify_partial_doubles = false @temporarily_suppress_partial_double_verification = false @color = false end |
Instance Attribute Details
#allow_message_expectations_on_nil ⇒ Object
Sets whether RSpec will warn, ignore, or fail a test when
expectations are set on nil.
By default, when this flag is not set, warning messages are issued when
expectations are set on nil. This is to prevent false-positives and to
catch potential bugs early on.
When set to true
, warning messages are suppressed.
When set to false
, it will raise an error.
29 30 31 |
# File 'lib/rspec/mocks/configuration.rb', line 29 def @allow_message_expectations_on_nil end |
#color=(value) ⇒ Object (writeonly)
Indicates whether or not diffs should be colored. Delegates to rspec-core's color option if rspec-core is loaded; otherwise you can set it here.
171 172 173 |
# File 'lib/rspec/mocks/configuration.rb', line 171 def color=(value) @color = value end |
#transfer_nested_constants=(value) ⇒ Object (writeonly)
Sets the default for the transfer_nested_constants
option when
stubbing constants.
145 146 147 |
# File 'lib/rspec/mocks/configuration.rb', line 145 def transfer_nested_constants=(value) @transfer_nested_constants = value end |
#verify_doubled_constant_names=(value) ⇒ Object (writeonly)
When this is set to true, an error will be raised when
instance_double
or class_double
is given the name of an undefined
constant. You probably only want to set this when running your entire
test suite, with all production code loaded. Setting this for an
isolated unit test will prevent you from being able to isolate it!
120 121 122 |
# File 'lib/rspec/mocks/configuration.rb', line 120 def verify_doubled_constant_names=(value) @verify_doubled_constant_names = value end |
#yield_receiver_to_any_instance_implementation_blocks=(value) ⇒ Object (writeonly)
Sets whether or not RSpec will yield the receiving instance of a
message to blocks that are used for any_instance stub implementations.
When set, the first yielded argument will be the receiving instance.
Defaults to true
.
46 47 48 |
# File 'lib/rspec/mocks/configuration.rb', line 46 def yield_receiver_to_any_instance_implementation_blocks=(value) @yield_receiver_to_any_instance_implementation_blocks = value end |
Instance Method Details
#add_stub_and_should_receive_to(*modules) ⇒ Object
Adds stub
and should_receive
to the given
modules or classes. This is usually only necessary
if you application uses some proxy classes that
"strip themselves down" to a bare minimum set of
methods and remove stub
and should_receive
in
the process.
62 63 64 65 66 |
# File 'lib/rspec/mocks/configuration.rb', line 62 def add_stub_and_should_receive_to(*modules) modules.each do |mod| Syntax.enable_should(mod) end end |
#before_verifying_doubles(&block) ⇒ Object Also known as: when_declaring_verifying_double
Provides a way to perform customisations when verifying doubles.
128 129 130 |
# File 'lib/rspec/mocks/configuration.rb', line 128 def (&block) << block end |
#color? ⇒ Boolean
Indicates whether or not diffs should be colored. Delegates to rspec-core's color option if rspec-core is loaded; otherwise you can set it here.
176 177 178 |
# File 'lib/rspec/mocks/configuration.rb', line 176 def color? ::RSpec.configuration.color_enabled? end |
#patch_marshal_to_support_partial_doubles=(val) ⇒ Object
Monkey-patch Marshal.dump
to enable dumping of mocked or stubbed
objects. By default this will not work since RSpec mocks works by
adding singleton methods that cannot be serialized. This patch removes
these singleton methods before serialization. Setting to falsey removes
the patch.
This method is idempotent.
188 189 190 191 192 193 194 |
# File 'lib/rspec/mocks/configuration.rb', line 188 def patch_marshal_to_support_partial_doubles=(val) if val RSpec::Mocks::MarshalExtension.patch! else RSpec::Mocks::MarshalExtension.unpatch! end end |
#reset_syntaxes_to_default ⇒ Object
This method is part of a private API. You should avoid using this method if possible, as it may be removed or be changed in the future.
Resets the configured syntax to the default.
198 199 200 201 |
# File 'lib/rspec/mocks/configuration.rb', line 198 def reset_syntaxes_to_default self.syntax = [:should, :expect] RSpec::Mocks::Syntax.warn_about_should! end |
#syntax ⇒ Object
Returns an array with a list of syntaxes that are enabled.
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# File 'lib/rspec/mocks/configuration.rb', line 104 def syntax syntaxes = [] syntaxes << :should if Syntax.should_enabled? syntaxes << :expect if Syntax.expect_enabled? syntaxes end |
#syntax=(*values) ⇒ Object
Provides the ability to set either expect
,
should
or both syntaxes. RSpec uses expect
syntax by default. This is needed if you want to
explicitly enable should
syntax and/or explicitly
disable expect
syntax.
end
81 82 83 84 85 86 87 88 89 90 91 92 93 94 |
# File 'lib/rspec/mocks/configuration.rb', line 81 def syntax=(*values) syntaxes = values.flatten if syntaxes.include?(:expect) Syntax.enable_expect else Syntax.disable_expect end if syntaxes.include?(:should) Syntax.enable_should else Syntax.disable_should end end |
#transfer_nested_constants? ⇒ Boolean
139 140 141 |
# File 'lib/rspec/mocks/configuration.rb', line 139 def transfer_nested_constants? !!@transfer_nested_constants end |
#verify_doubled_constant_names? ⇒ Boolean
111 112 113 |
# File 'lib/rspec/mocks/configuration.rb', line 111 def verify_doubled_constant_names? !!@verify_doubled_constant_names end |
#verify_partial_doubles=(val) ⇒ Object
When set to true, partial mocks will be verified the same as object doubles. Any stubs will have their arguments checked against the original method, and methods that do not exist cannot be stubbed.
150 151 152 |
# File 'lib/rspec/mocks/configuration.rb', line 150 def verify_partial_doubles=(val) @verify_partial_doubles = !!val end |
#verify_partial_doubles? ⇒ Boolean
154 155 156 |
# File 'lib/rspec/mocks/configuration.rb', line 154 def verify_partial_doubles? @verify_partial_doubles end |
#verifying_double_callbacks ⇒ Object
This method is part of a private API. You should avoid using this method if possible, as it may be removed or be changed in the future.
Returns an array of blocks to call when verifying doubles
135 136 137 |
# File 'lib/rspec/mocks/configuration.rb', line 135 def @verifying_double_callbacks ||= [] end |
#yield_receiver_to_any_instance_implementation_blocks? ⇒ Boolean
31 32 33 |
# File 'lib/rspec/mocks/configuration.rb', line 31 def yield_receiver_to_any_instance_implementation_blocks? @yield_receiver_to_any_instance_implementation_blocks end |


Avoiding Startup service injection in ASP.NET Core 3: Upgrading to ASP.NET Core 3.0 - Part 3 In this post I describe the changes to dependency injection in your Startup class when upgrading an ASP.NET Core 2.x app to .NET Core 3.0.
Blazor OceanAutoComplete Component Introduction Most line-of-business applications have use cases for an autocomplete control of some sort. For my upcoming Moo2U application, I need an autocomplete control for address (city, state, …
HttpClient Connection Pooling in .NET Core - Steve Gordon In this post, we examine the connection pooling and lifetime management built into HttpClient from .NET Core 2.1 as part of the default SocketsHttpHandler.
When Bank Communication is Indistinguishable from Phishing Attacks You know how banks really, really want to avoid their customers falling victim to phishing scams? And how they put a heap of effort into education to warn folks about the hallmarks of phishing scams? And how banks are the shining beacons of light when it ...
Developing on Windows – Hello World - Windows Developer Blog Hello (Dev) World! My name is Avri 🙋🏾 and I’m a Program Manager here at Microsoft focused on improving the Windows developer experience! I’m a member of the engineering team here, where I ge…
Microsoft 365 internals explained | Microsoft Graph, substrate, and PowerShell with Jeffrey Snover See the benefits and explanation for AI-infused capabilities in Office. We'll show you the Microsoft Graph and the Graph Explorer, everyday AI in office.com, PowerPoint and the upcoming Project Cortex. Plus, you'll see how all of this can be put into prac...
xamarin/KimonoDesigner Paint application using Xamarin.Mac and SkiaSharp. Contribute to xamarin/KimonoDesigner development by creating an account on GitHub.


public class ScheduleExpression
extends java.lang.Object
implements java.io.Serializable
A calendar-based timeout expression for an enterprise bean timer.
Each attribute used to define a calendar-based timeout schedule has two overloaded setter methods, one that takes a String and one that takes an int. The int version is merely a convenience method for setting the attribute in the common case that the value is a simple integer value.
For example,
scheduleExpression.second(10)is semantically equivalent to
scheduleExpression.second("10")There are seven attributes that constitute a schedule specification which are listed below. In addition, the
timezone
attribute may be used
to specify a non-default time zone in whose context the schedule
specification is to be evaluated.
The attributes that specify the calendar-based schedule itself are as follows:
Allowable values: [0,59]
Allowable values : [0,59]
Allowable values : [0,23]
Allowable values:
"Last" means the last day of the month
-x (where x is in the range [-7, -1]) means x day(s) before the last day of the month
"1st","2nd", etc. applied to a day of the week identifies a single occurrence of that day within the month.
Allowable values :
Allowable values :
"0" and "7" both refer to Sunday
Allowable values : a four-digit calendar year
Each attribute supports values expressed in one of the following forms
Example: second = "10" Example: month = "Sep"
Example: second = "*" Example: dayOfWeek = "*"
Example: second = "10,20,30" Example: dayOfWeek = "Mon,Wed,Fri" Example: minute = "0-10,30,40"
x
is larger than
y
in a range "x-y"
, the range is equivalent
to "x-max, min-y"
, where max
is the largest
value of the corresponding attribute and min
is the smallest.
The range "x-x"
, where both range values are the same,
evaluates to the single value x
. The day of the week range
"0-7"
is equivalent to "*"
.
Example: second = "1-10" Example: dayOfWeek = "Fri-Mon" Example: dayOfMonth = "27-3" (Equivalent to "27-Last , 1-3")
N
seconds, minutes, or hours within the minute, hour, or day, respectively.
For the expression x/y
, the attribute is constrained to
every y
th value within the set of allowable values beginning
at time x
. The x
value is inclusive. The
wild card character (*
) can be used in the x
position, and is equivalent to 0
. The use of increments
is only supported within the second
, minute
,
and hour
attributes. For the second
and
minute
attributes, x
and y
must
each be in the range [0,59]
. For the hour
attribute, x
and y
must each be in the range
[0,23]
.
Example: minute = "∗/5" (Every five minutes within the hour)This is equivalent to:
minute = "0,5,10,15,20,25,30,35,40,45,50,55"
Example: second = "30/10" (Every 10 seconds within the minute, starting at second 30)This is equivalent to:
second = "30,40,50"
Note that the set of matching increment values stops once the maximum value for that attribute is exceeded. It does not "roll over" past the boundary.
Example : ( minute = "∗/14", hour="1,2")
This is equivalent to: (minute = "0,14,28,42,56", hour = "1,2")
(Every 14 minutes within the hour, for the hours of 1 and 2 a.m.)
The following additional rules apply to the schedule specification attributes:
dayOfMonth
attribute has a non-wildcard value and
the dayOfWeek
attribute has a non-wildcard value, then any
day matching either the dayOfMonth
value or the
dayOfWeek
value will be considered to apply.
"Sun"
, "Jan"
,
"1st"
, etc.) are case insensitive.
Schedule-based timer times are evaluated in the context of the default time zone associated with the container in which the application is executing. A schedule-based timer may optionally override this default and associate itself with a specific time zone. If the schedule-based timer is associated with a specific time zone, all its times are evaluated in the context of that time zone, regardless of the default time zone in which the container is executing.
None of the ScheduleExpression methods are required to be called. The defaults are :
Applications must not rely on the getter methods that return
the attributes of a calendar-based timeout schedule to return
them in the same syntactic format in which they were passed in to a
ScheduleExpression
method or supplied to the
Schedule
annotation, and portable implementations must
not assume any particular syntactic format. Implementations are
required only to preserve semantic equivalence.
| Constructor and Description |
|---|
ScheduleExpression()
Create a schedule with the default values.
|
| Modifier and Type | Method and Description |
|---|---|
ScheduleExpression |
dayOfMonth(int d)
Set the day of the month attribute.
|
ScheduleExpression |
dayOfMonth(java.lang.String d)
Set the day of the month attribute.
|
ScheduleExpression |
dayOfWeek(int d)
Set the day of the week attribute.
|
ScheduleExpression |
dayOfWeek(java.lang.String d)
Set the day of the week attribute.
|
ScheduleExpression |
end(java.util.Date e)
Set the end date.
|
java.lang.String |
getDayOfMonth()
Return the value of the day of the month attribute.
|
java.lang.String |
getDayOfWeek()
Return the value of the day of the week attribute.
|
java.util.Date |
getEnd()
Return the end date, if set; otherwise null.
|
java.lang.String |
getHour()
Return the value of the hour attribute.
|
java.lang.String |
getMinute()
Return the value of the minute attribute.
|
java.lang.String |
getMonth()
Return the value of the month attribute.
|
java.lang.String |
getSecond()
Return the value of the second attribute.
|
java.util.Date |
getStart()
Return the start date, if set; otherwise null.
|
java.lang.String |
getTimezone()
Return the timezone, if set; otherwise null.
|
java.lang.String |
getYear()
Return the value of the year attribute.
|
ScheduleExpression |
hour(int h)
Set the hour attribute.
|
ScheduleExpression |
hour(java.lang.String h)
Set the hour attribute.
|
ScheduleExpression |
minute(int m)
Set the minute attribute.
|
ScheduleExpression |
minute(java.lang.String m)
Set the minute attribute.
|
ScheduleExpression |
month(int m)
Set the month attribute.
|
ScheduleExpression |
month(java.lang.String m)
Set the month attribute.
|
ScheduleExpression |
second(int s)
Set the second attribute.
|
ScheduleExpression |
second(java.lang.String s)
Set the second attribute.
|
ScheduleExpression |
start(java.util.Date s)
Set the start date.
|
ScheduleExpression |
timezone(java.lang.String timezoneID)
Set the timezone.
|
java.lang.String |
toString() |
ScheduleExpression |
year(int y)
Set the year attribute.
|
ScheduleExpression |
year(java.lang.String y)
Set the year attribute.
|
public ScheduleExpression()
public ScheduleExpression second(java.lang.String s)
s
- the attribute value as a String
public ScheduleExpression second(int s)
s
- the attribute value as an int
, if the value
is a simple integer valuepublic java.lang.String getSecond()
public ScheduleExpression minute(java.lang.String m)
m
- the attribute value as a String
public ScheduleExpression minute(int m)
m
- the attribute value as an int
, if the value
is a simple integer valuepublic java.lang.String getMinute()
public ScheduleExpression hour(java.lang.String h)
h
- the attribute value as a String
public ScheduleExpression hour(int h)
h
- the attribute value as an int
, if the value
is a simple integer valuepublic java.lang.String getHour()
public ScheduleExpression dayOfMonth(java.lang.String d)
d
- the attribute value as a String
public ScheduleExpression dayOfMonth(int d)
d
- the attribute value as an int
, if the value
is a simple integer valuepublic java.lang.String getDayOfMonth()
public ScheduleExpression month(java.lang.String m)
m
- the attribute value as a String
public ScheduleExpression month(int m)
m
- the attribute value as an int
, if the value
is a simple integer valuepublic java.lang.String getMonth()
public ScheduleExpression dayOfWeek(java.lang.String d)
d
- the attribute value as a String
public ScheduleExpression dayOfWeek(int d)
d
- the attribute value as an int
, if the value
is a simple integer valuepublic java.lang.String getDayOfWeek()
public ScheduleExpression year(java.lang.String y)
y
- the attribute value as a String
public ScheduleExpression year(int y)
y
- the attribute value as an int
, if the value
is a simple integer valuepublic java.lang.String getYear()
public ScheduleExpression timezone(java.lang.String timezoneID)
timezoneID
- the Time zone specified as an ID Stringpublic java.lang.String getTimezone()
public ScheduleExpression start(java.util.Date s)
s
- the start datepublic java.util.Date getStart()
public ScheduleExpression end(java.util.Date e)
e
- the end datepublic java.util.Date getEnd()
public java.lang.String toString()
toString
in class java.lang.Object


I love meeting new people and making friends.
Studying abroad provides me the chance to interact with people from different cultural and education background.
Feel free to send me a message via email or the contact form at the bottom of the page.
Currently, I am studying Health Informatics at the University of MIchigan. It is an awesome master program. I am learning new things everyday.
Before I came to UM, I was a health educator in Michigan State University Extension. My passion about improving people's life style empowers me to help people gain the knowledge and motivation to make healthier decisions.
I love travel. After I came to America, my favorite tour destination is national parts. I have been to 6 national parks in total. One of my wishes is to visit as many as national parks during my stay in the States as possible!


Magister Evelyn:
Welcome, traveler. I'm so glad that I can help you here at the center of Aden.
How shall we begin?
Learn skills.
Ask about Skill Enchanting.
Quest


@jeevan15498
एप्लीकेशन चालू हो गयी है
एप्लीकेशन को चालू करने के लिये क्लिक करे
| Active | User ID | Full Name | Father Name | Mother Name | Gender | Date of Birth | Action |
|---|---|---|---|---|---|---|---|
|
|
{{ index }} | {{ item.firstName }} {{ item.middleName }} {{ item.lastName }} | {{ item.fatherName }} | {{ item.motherName }} | {{ item.gender }} | {{ item.dob }} |
First Degree: degree1
Second Degree: degree2
Third Degree: degree3
Fourth Degree: degree4
Fifth Degree: degree5
First Work Experience: work.exp1
Second Work Experience: work.exp2
Third Work Experience: work.exp3
Fourth Work Experience: work.exp4
Fifth Work Experience: work.exp5
First Bank Details: bank1
Second Bank Details: bank2
First ATM Details: atm1
Second Bank Details: atm2
Drop your json file or click to import


{% extends 'disturbance/emails/apiary_base_email.html' %} {% block content %}
A referral for application {{proposal.lodgement_number}} has been completed:
Referral Comments: {{referral_comments}}
You can access this application using the following link:
Access application {% endblock %}


Mobile Browsing - Analysis
Introduction
I was asked to do all my non-homework-related browsing on my mobile phone for 24 hours using the mobile browser. I used Safari on my iPhone to do this. Normally I don't use the internet except for school and work, so I had to make up a couple excuses to have something to browse for. I browsed wikipedia to learn about Iceland's history, and I followed a link to icelandreview.com to learn about the Icelandic national anthem. I also listened to music on youtube.com.
Questions to consider:
- Can you still see what you want to see?
- Can you find what you're looking for?
- Can you do what you want to do?
- Any frustrations?
- Anything work better on the small screen?
Findings
Can you still see what you want to see?
On the sites that I visited, I didn't come across any situations where I couldn't see something I wanted to see.
Can you find what you're looking for?
I found what I was looking for just fine. In fact, it was more convenient to find those things on my phone instead of getting out my computer to look them up. The only thing that was less convenient to find was the name of the track in the youtube playlist I listened to--I had to scroll all the way down the playlist to see which track was highlighted to see what was playing. I wish it would have shown the track name at the top, where the video and playlist name were.
Can you do what you want to do?
I'm sure there are things I would be unable to do comfortably on the mobile browser, but as for the things I did during those 24 hours, none of them were inhibited by the mobile browser. One thing I am very pleased with is that the adblocker works just as well on the mobile browser as it does on the pc, so I was able to listen to music on youtube without being interrupted by ads. Gmail's mobile site even allowed me to add my tutoring appointments directly to google calendar from the notification email, which I was surprised at, since the gmail iPhone app doesn't allow that feature.
Any frustrations?
The only frustration I noticed was when icelandreview.com had a top nav-bar that toggled large and small as I approached/left the top of the page, causing the text to skip up and down, which made the first paragraph difficult to read.
Anything work better on the small screen?
I didn't find any such thing.
Summary
Overall, my experience with mobile browsing was fairly smooth; my phone accessed internet pages more quickly than my laptop does, but it is more inconvenient to type things on the small touch-screen than on my computer keyboard. I wasn't too surprised by anything, as I'm not a stranger to mobile browsing. I learned that mobile sites are fairly well designed, and they have come a long way in the past decade.


Onur Mutlu is a Professor of Computer Science at ETH Zurich.
He is also a faculty member at Carnegie Mellon University, where he previously held the William D. and Nancy W. Strecker Early Career Professorship.
His current broader research interests are in computer architecture, systems, and bioinformatics.
For more information, please see his webpage at https://people.inf.ethz.ch/omutlu/.
Roman Kaplan is a PhD candidate at the faculty of Electrical Engineering at the Technion, working under the supervision of Prof. Ran Ginosar.
His research interests are parallel computer architectures, in-data processing, and accelerator architectures for machine learning and bioinformatics.
For more information, please see his webpage at romankap.github.io.


Hello there. I am sure you think that you are very important, and that people care what you have to say.
You are wrong.
"Let us not overlook vital things because of the bulk of trifles confronting us." - Emma Goldman


--- layout: default title: "Contribution Guide" ---
Brief overview of the steps to take:
Fork and clone the repository:
Convert your jupyter notebook to an HTML document:
export notebook as
=> HTML
and that saves the notebook as an HTML document.YYYY-MM-DD-<post_name>.html
. For example, 2021-08-01-bar-chart-plot.html
._posts
directory.Add the front matter to the file:
Open the HTML in any old code editor. We need to add some YAML front matter to the HTML document to make sure the post is indexed by our template engine. The easiest way is to just copy the small section below, paste it to the very top of the HTML document and edit the relevant keys in place.
{% highlight yaml %}
title: "Add title to your post here" #"Bar Chart Plot of Goalscorers"
date: YYYY-MM-DD HH:MM:SS #2021-08-09 17:00:00
cover_image: "title
, date
, cover_image
, & author
keys. Do not change the categories
& tag
keys.
For the title
, put in the title that will show up on the home page as the title of your post.
The cover_image
is the one that will show up on the home page as the cover image of your post. The file format can any of .png
, .jpg
, or .jpeg
. Rename the image to <post_name>.png
(for example, bar-chart-plot.png
) and place it in the ./assets/images
directory. Make sure the image name is the same as the HTML post document (without the date part).
Push your branch and open a pull request
If you're ready to push and create a pull request, a quick checklist to go over to make sure you're set up correctly:
YYYY-MM-DD-post_name.html
in the ./_posts
directory.post_name.png
in the .assets/images/
directory. The idea for each post is to be a mini-project viz. This means showing the entire process of going from raw data to final viz. While the focus is certainly on the matplotlib
part of the code which is needed to build the viz, if there are relevant data wrangling and cleaning processes which are important to the viz, make sure you also include them.
There's no particular code-style but make sure you clean up the notebook to make it look neat.
Although the workflow to adding new posts is relatively simple enough that you can get away with pushing new posts to your remote fork, if you still wish to set up a local development environment, you can do that too. The site is a jekyll site so you can follow the instructions here to install Ruby and Jekyll and spin up a local server. You can then make changes to your post and have it live update on the server. This makes it easier to see how your post will look on the actual site and make small tweaks!


This is table with static data
| No. | Name | Gender | Address | Action | |
|---|---|---|---|---|---|
| 1 | Irfan | Male |<EMAIL_ADDRESS>| Kemayoran | |
| 2 | Irfan | Male |<EMAIL_ADDRESS>| Kemayoran | |
| 3 | Irfan | Male |<EMAIL_ADDRESS>| Kemayoran | |
| 4 | Irfan | Male |<EMAIL_ADDRESS>| Kemayoran | |
| 5 | Irfan | Male |<EMAIL_ADDRESS>| Kemayoran | |
| 6 | Irfan | Male |<EMAIL_ADDRESS>| Kemayoran |


A basic grid with compound columns
A grid with column sets and compound columns
Buttons to test resetting columnSets:
set 1
set 2
set 3
set 4
A grid with compound columns + column hiding, column resizing, and/or column sets
ColumnSet
ColumnHider
ColumnResizer
Re-create grid
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For any errors or issues, please feel free to contact me on twitter @benedwards44 or via email<EMAIL_ADDRESS>I am constantly trying to update and improve this application, as well as other apps I'm working on. Feel free to contact me if you'd like to contribute or have any ideas. All my applications are open sourced on GitHub at http://github.com/benedwards44.
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I had a strange experience a few nights ago, on Sunday April 20th on the night of the full moon, which I thought I would share with anyone who might be interested to hear such tales...
Me and my two companions drank 20g of slow brewed caapi, taken as a shot, following 1g of 4x Syrian Rue extract taken in a '00' gel cap. 20 minutes later a '00' gel cap of 250mg of very pure DMT extracted from Mimosa was taken.
I was a little apprehensive about using DMT extract again, I had used it twice before, but is much more keen on brewing with the plants the way nature intended, . However, this had been planned for a long time, and an opportunity had finally presented itself.
For me, the experience took a very long time to come on which itself was unusual. My friends were in quite a deep trance quite rapidly. One of my friends had an Indian looking down on him, which he said was providing some guidance.
Then, quite suddenly, around a few hours in, I was in a deep trance. It was literally like a switch had been flipped. 30 seconds after I was aware of this I felt this very powerful, slightly menacing electrical feeling creeping into my brain, and I knew it was time to purge.
However, this was a lot harder than it should have been. With caapi I always get a nice clean purge. With Syrian rue, I never purge. The few times I managed to take too much rue, I felt very nauseous but was actually unable to purge.
The caapi and the Syrian rue seemed to be clashing strongly - they DID NOT like each other. I failed to purge much at all, and the experience kept on building, and this is where feelings of terror made themselves known.
This was strange. I considers myself quite an experienced psychedelic adventurer, and there was nothing obvious producing these feelings, the experience was definitely intense but it was like a more basic, primal, animalistic part of my brain was screaming 'FLIGHT OR FIGHT', the foundations of the ego were being shaken, and simply overriding the more advanced parts of the brain.
Also during this trip I got to know the personality of the Syrian Rue a bit better. At times my awareness did seem heightened to near Jedi levels. Syrian Rue is a very powerful plant, and not one that should be taken lightly. I have heard caapi referred to as 'the light'. Well Syrian Rue is 'DARK', and I don't mean this in a bad way, but I felt this SO vividly. The 'light' of the caapi was also there, but much further off, while the rue was enveloping me, much closer.
The fact that the caapi and Syrian Rue were clashing, and the DMT was taken as an extract, not as the raw, admixture plant, meant the experience
HAD NO REAL GUIDANCE
There was a little, but for a good hour or more the experience resembled the chaotic intensity of a strong smoked DMT experience, I had no frame of reference or way of navigating. Music proved a good ally, and kept the experience moving. While peaking, everyone was in a very deep trance, and became aware of a humming, a bit like ommmmmmmmmm... Could the DMT act like a cosmic tuning fork, and this sound or vibration is the oscillation of all matter and energy... it was strange.
All in all, the experience lasted a good 5/6 hours, and was one of my strangest, and most interesting experiences.
My personal conclusions from the trip:
- I shall not be using Syrian rue when drinking ayahuasca in the future. It is a powerful plant in its own right, and belongs to a different part of the world, and should not be combined with ayahuasca. Just my opinion. I certainly wouldn't recommend combining it with Caapi.
- Extract is not the way to go. In this case taking a raw, purified chemical is very much a different experience to brewing the plants and drinking them that way. Au natural, brewing the authentic ayahuasca plants properly is the only way to go for me.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


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About Me
McMaster University graduate with a Bachelor's of Life Sciences, and currently attending a coding bootcamp at University of Toronto's Continuing Education program. Coding has always been one of my passions, and I just love the freedom to create new things and tackle challenging problems.
In my spare time I tend to play games, watch tutorial videos, or draw. I've spent a decent amount of time learning basic animation, 3D modeling, video editing.