New wave of schools will help raise standards and improve choice
Thousands of pupils in England are set to benefit from high-quality academic study combined with practical learning as more studio schools and university technical colleges (UTCs) open this September.
The 11 new studio schools and three UTCs have the backing of business and industry, and offer young people an education that equips them with the skills employers want.
The figures also mean that, between September 2011 and September 2012, a total of 97 new UTCs, studio schools and free schools have been opened by passionate teachers, parents, charities, employers and education groups. These schools are helping to give power back to teachers to raise standards in education, and are providing greater choice for parents.
Studio schools offer academic and vocational qualifications, but teach them in a practical way. Study is combined with work placements - which are often paid placements - with local and national employers who are involved in the school. These include Fulham FC, the BBC, and the National Grid.
UTCs are sponsored by a local university and employers, and they focus on providing technical education that meets the needs of modern business. Each has one or two specialisms - ranging from engineering, to manufacturing, to construction or bio-medical sciences.
Both UTCs and studio schools are part of the government’s drive to ensure the education system responds to demands from employers for the skills they need to grow and prosper.
Education Secretary Michael Gove said:
New studio schools and university technical colleges will ensure more young people get great jobs. They are a brilliant way for employers to get more involved in education so that young people can be better prepared than ever before for the world of work.
The UTCs and studio schools opening this September include:
-
Aston University Academy of Engineering UTC, Birmingham, which will focus on engineering and science through a partnership between Aston University, the Science Technology, Engineering and Mathematics Network (STEMNET) and a range of industry partners, including the National Grid.
-
Hackney UTC, London, sponsored by Hackney Community College, the University of East London, BT and Homerton University Hospital, will specialise in medical technologies and new digital technologies, working closely with the pioneering start-up companies based in Hoxton.
-
Hull Studio School, Hull, sponsored by outstanding-rated Hull College, will focus on business and enterprise and will provide young people with the essential employability skills they need to enter the world of work, by working with local employers such as British Land and Humberside Police.
-
The Studio College for Construction and Building Excellence, Stoke-on-Trent, will specialise in construction and give students the opportunity to learn in a small, supportive environment to get the qualifications and training they need to be work ready. Sponsored by Stoke-on-Trent College, the studio school will work with a network of construction industry partners including Wates Construction.
UTCs and studio schools are new schools for 14- to 19-year-olds. Pupils of all abilities can choose to go to them at ages 14 or 16. These schools typically operate on business hours, and many have shorter school holidays.
Studio schools offer academic and vocational qualifications to around 300 pupils. Study is combined with work placements (which may be paid placements at post-16) with local and national employers who are involved in the school. Learning in this way encourages students to develop skills like punctuality, good communication, reliability and team working, whilst gaining a strong grounding in English, maths and science.
David Frost CBE, Chair of the Studio Schools Trust, said:
I am delighted that eleven new studio schools are opening this September, and the enthusiasm of parents and students for these schools is extremely heartening.
Lack of work readiness amongst school leavers is a key issue for businesses up and down the country, and studio schools are designed to address this concern. With their unique combination of mainstream qualifications, real work, and the development of employability skills and entrepreneurialism, studio schools will play a vital role in providing young people with the skills and experience that our economy needs.
UTCs are sponsored by a local university and employers, and they focus on providing technical education. Each has one or two specialisms, and students split their time between studying core academic subjects and learning specific technical skills and qualifications.
Lord Baker, Chair of the Baker Dearing Educational Trust, said:
The UTC curriculum is built around projects created by employers. This brings education to life - students understand not just what they are learning, but why - and where they can go next. It’s hugely exciting, hugely motivating and just what young people want.
Employers report that they are struggling to find the skills they are looking for in school leavers. In the May 2010 CBI employer survey, more than two thirds of employers (70%) wanted to see the new government make the employability skills of young people its top education priority.
Both UTCs and Studio Schools are part of the Government’s drive to ensure the education system responds to demands from employers for the skills they need to grow and prosper. They will also increase choice for parents and pupils in communities across the country.
ENDS
This press notice relates to England only.
Notes to editors
-
Full list of University Technical Colleges opening this month:
-
Aston University Academy of Engineering UTC will specialise in engineering and science and is being delivered in partnership between Aston University, the Science Technology, Engineering and Mathematics Network (STEMNET) and a range of industrial partners including the National Grid. In addition to delivering an integrated curriculum to both 14 and 16 year olds in the first year, it will also offer up to 15 apprenticeships, which will be delivered in conjunction with RS Fleet as the employer and the Sector Skills Council for Science, Engineering and Manufacturing Technologies (Semta).
-
The Central Bedfordshire UTC is based in Houghton Regis, close to the new Junction 11a of the M1. It will specialise in engineering and manufacturing, with design the key prism through which these will be delivered throughout the curriculum. It is sponsored by Central Bedfordshire College, Cranfield University, the University of Bedfordshire and B/E Aerospace (UK) Ltd.
-
Hackney UTC is sponsored by Hackney Community College, the University of East London, BT and Homerton University Hospital. It will specialise in medical technologies and new digital technologies, working closely with the pioneering start-up companies based in Hoxton.
-
Full list of studio schools opening this month:
-
Bournemouth Learning and Achievement Foundation School (LeAF) is a new Academy within The North Bournemouth Learning and Achievement Federation. The Studio School specialises in construction, health and social care and elite sport. Students will study for an academic core of GCSEs and A levels but will follow the progression route that works best for them, choosing either an academic or vocational emphasis, an apprenticeship, or a specialist sports programme. Students will work with local employers to build their knowledge and confidence of the world of work.
-
Bradford International Food and Travel Studio School will be sponsored by Bradford College. The school will offer a range of academic and vocational qualifications taught principally through enterprise projects with the support of local and national employers in the hospitality and tourism sectors.
-
Da Vinci Studio School of Science and Engineering is based in Stevenage and is sponsored by North Hertfordshire College. The school will offer students the opportunity to access a curriculum specialising in science, technology, engineering and maths. It will have a close connection with local and national science and engineering employers such as the European space company Astrium and Nelson Thornes publishing, who will be involved in all aspects of the curriculum.
-
The Studio College for construction and building excellence is sponsored by Stoke on Trent College and offers a unique opportunity for 14-19 year old students to learn in a small, supportive environment to get the qualifications and training they need to be work ready. The curriculum is based around topics within the modern construction industry but the mix of academic and vocational learning will enable pupils to succeed in any modern working environment. A network of industry partners - all leading organisations in the construction sector including Wates Construction, Seddon and Keir - will work with the school to provide unique access to training and work experience for students.
-
The Fulham Enterprise Studio School is part of the Fulham College Federation and specialises in construction, engineering and performing arts production. Students aged 14 to 16 will study the National Curriculum, working towards a minimum of five GCSEs, a BTEC in Business Studies as well as a specialist option subject. Students aged 16 and over will be able to study for BTEC level 3 and A level subjects relevant to general construction and performing arts production. The studio school is engaged with high-profile employers, including the BBC, Fulham FC and Age UK (Hammersmith and Fulham).
-
The Hull Studio School is sponsored by Hull College, which has been recognised by Ofsted as ‘outstanding’. The main focus of the Hull Studio School will be business and enterprise and the aim will be to provide young people with the essential employability skills they need to enter the world of work. Students will have access to the College’s range of industry standard facilities in hospitality and hair and beauty sectors, by working with employers such as British Land and Humberside Police.
-
Hyndburn Studio School is sponsored by Accrington and Rossendale College, in partnership with Rhyddings Business and Enterprise School. The school will tackle the challenge of skills shortages within the Hyndburn area by offering a curriculum that will combine academic and vocational qualifications aligned to the service industries which make up the local employer base. It will offer a wide range of specialisms in business and finance, sport, leisure, hospitality and catering, automotive technologies and media and marketing sectors.
-
The Midland Studio College is proposed by North Warwickshire and Hinckley College (NWHC) whose partners include Motor Industry Research Association (MIRA Ltd) and George Eliot Hospital NHS Trust. The school will offer project-based, practical learning alongside mainstream academic study for 300 14- to 19-year-olds and specialise in engineering and health and social care. Its vision is to offer young people a fast track route into employment and a strong foundation for a successful career.
-
Ockendon Studio School opened in July as part of Ockendon Academy which has an Ofsted rating of ‘outstanding’. The studio school aims to establish a centre for academic excellence and enterprise in South Ockendon, an area of high deprivation. The Studio School will offer a rigorously academic curriculum taught through practical learning opportunities presented in the form of community and business projects and work placements with local employers. This approach will bridge the gap between the skills needed by local businesses and those provided by a traditional school environment.
-
Parkside Studio School is part of a Multi-Academy Trust with Rosedale College and Hewens College. It will offer an academic curriculum and practical work-based learning to 300 students in six specialisms; creative media, construction, hairdressing and beauty therapy, health and social care, hospitality and catering and sport. The curriculum will be taught through practical learning opportunities presented in the form of community and business projects with work placements with local and national employers, such as the Intercontinental Hotel Group.
-
Tendring Enterprise Studio School (TESS) is sponsored by Academies Enterprise Trust, a sponsor of 14 secondary schools. It will specialise in enterprise and will focus on delivering vocational qualifications geared to the needs of the local SME economy, alongside core qualifications and employability skills. TESS is working with employers from the engineering, construction, hospitality and leisure sectors including Carillion Construction, JTRS (Apple Regional Training Centre) and Chelsea FC Foundation.
-
About University Technical Colleges.
UTCs are academies for 14- to 19-year-olds. They focus on providing technical education that meets the needs of modern employers. They offer technical courses and work-related learning, combined with academic studies.
All UTCs:
-
are sponsored by a local university and employers. It is also usual for FE colleges and other educational institutions - like established academy trusts - to work in partnership with them
-
specialise in two curriculum areas (e.g. engineering and science)
-
teach core GCSEs alongside technical qualifications, and we expect them to offer young people the opportunity to achieve the English Baccalaureate
-
focus on disciplines that require highly specialised equipment, for example, engineering, manufacturing and construction
-
teach these disciplines alongside developing young people’s business, ICT and design skills to prepare students for a range of careers and continuing education at 19
-
have 500 to 800 students
The Baker Dearing Educational Trust plays a key role in developing partnerships and advising on applications for UTCs. Two UTCs are already open - the first UTC, the JCB Academy in Staffordshire, opened in 2010 and then the Black Country UTC in Walsall opened in September 2011. A further 28 new UTCs are in the pre-opening phase and plan to open in 2013 and 2014.
September 2011: 24 free Schools; 3 studio schools; and 1 UTC.
September 2012: 55 free Schools; 3 studio schools; and 3 UTCs.
In addition, 2 studio schools and 1 UTC opened in September 2010.
Website:
www.education.gov.uk/help/contactus


Inspired by my Service Jam win, my colleague and I decided to introduce a similar intiative in the workplace to encourage creative ideas, innovation and collaboration at work. We called it “Bagel Morning”, which involves a sumptuous bagel, its cream cheese culprit and coffee.
For our first test, we launched the first Bagel Morning amongst a few colleagues we collaborate with on a regular basis including design leads, project managers, designers and a customer experience specialist.
Based on our existing collaborations, we decided to address design principles as a first topic. At that moment in time, our shared pain point is in the different processes and protocols when launching features for projects, from the mobile app to redesigning the desktop experience. As our products evolved, we needed a set of standards and principles to guide us and fall back on.
We started by looking at examples of other design practices such as Airbnb on "Belong Anywhere", Microsoft's inclusive design and Google's material design. Subsequently, we discussed our pain points and used those as pointers for agreeing on the principles that are most relevant for us and our work.
The Googlers kicked off the session with our first memory of the Internet. Clearly, our first times were very different from emerging market users, who likely only used mobile devices and skipped desktop.
Designing for emerging markets requires an open mind and a much deeper understanding of their ways of life.
Just like ethnographic research, immersing in the user’s environment help you understand their habits and what the artefacts at home symbolize.
Google’s design team embarked on an immersion trip to understand how motorbikers interact with Google Maps when using Go-Jek, the Indonesian motorcycle ride-hailing service.
To share these insights with team mates who weren't there, they used immersive storytelling to illustrate the motorbikers' interactions and constraints using Google Maps on the road. They were a series of 10-second videos and first-person photos.
Tasked to design a better experience for buyers and sellers, we were given the persona of Abagail, a talented entrepreneur and seller in Nairobi, Africa. Based on her profile, we extracted keywords that summarized her pain points, challenges and aspirations.
Given the luxury of an immersion trip, we would use the following research methodologies to further understand her needs:
1:1 Conversations to understand the current selling process online and offline.
Diary studies for sellers to record their operational pain points.
Shadow shopping both buyers and sellers at physical marketplaces to get a sense of their interactions and preferences.
For Abagail to grow her business, her core needs are a mobile phone with a decent camera, stable Internet to promote her goods on social media and get inspiration online.
Ultimately though, Abagail's motivation is to promote the African culture through her dresses and accessories.
As part of Google's design process, our team did a brain dump of all the adjectives to identify our design principles. It was a hard exercise especially when the closest synonyms make the subtlest difference.
We wanted to speak to Abagail's underlying motivation and settled on three key design principles - Connected, Communal and Easy.
When connectivity is not a pre-condition, another app or a better phone isn't enough. She needs to be empowered, perhaps through a service solution. Coincidentally, one of our ideation sessions had a "no-screen" constraint.
After several rounds of individual and group ideation, our team dot votted my initial idea of a dedicated seller's hotspot, which later morphed into the Guru Bar.
Think of the Guru Bar as the seller's Genius Bar where you have both the technology and human smarts (virtually in this case) to support seller needs in various ways.
This is only the conceptual mock-up of the Guru Bar and not representative of the physical environment of a marketplace.
From left to right, the hot spot provides a stable Internet connection for sellers to get on social media, browse for inspiration online and to set up shop.
The high-quailty camera is provided alongside a photo light box to optimize product shots.
There will also be online guides on photoshooting and social media best practices.
Ideally, this Guru Bar will be stationed in the marketplace as a communal way for seller peers to support each other.
Being an empathetic designer is more than understanding user pain points, but also being mindful that the everyday interactions we experience are often taken for granted.
This workshop has helped hone my craft tremendously and I'm excited to adopt this practice in my design toolkit.


| 1 | /* | |
| 2 | * Licensed to the Apache Software Foundation (ASF) under one or more | |
| 3 | * contributor license agreements. See the NOTICE file distributed with | |
| 4 | * this work for additional information regarding copyright ownership. | |
| 5 | * The ASF licenses this file to You under the Apache License, Version 2.0 | |
| 6 | * (the "License"); you may not use this file except in compliance with | |
| 7 | * the License. You may obtain a copy of the License at | |
| 8 | * | |
| 9 | * http://www.apache.org/licenses/LICENSE-2.0 | |
| 10 | * | |
| 11 | * Unless required by applicable law or agreed to in writing, software | |
| 12 | * distributed under the License is distributed on an "AS IS" BASIS, | |
| 13 | * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. | |
| 14 | * See the License for the specific language governing permissions and | |
| 15 | * limitations under the License. | |
| 16 | */ | |
| 17 | package org.apache.commons.math3.exception; | |
| 18 | ||
| 19 | import org.apache.commons.math3.exception.util.LocalizedFormats; | |
| 20 | import org.apache.commons.math3.exception.util.Localizable; | |
| 21 | ||
| 22 | /** | |
| 23 | * Exception to be thrown when some argument is out of range. | |
| 24 | * | |
| 25 | * @since 2.2 | |
| 26 | * @version $Id: OutOfRangeException.java 1364378 2012-07-22 17:42:38Z tn $ | |
| 27 | */ | |
| 28 | public class OutOfRangeException extends MathIllegalNumberException { | |
| 29 | /** Serializable version Id. */ | |
| 30 | private static final long serialVersionUID =<PHONE_NUMBER>94403609L; | |
| 31 | /** Lower bound. */ | |
| 32 | private final Number lo; | |
| 33 | /** Higher bound. */ | |
| 34 | private final Number hi; | |
| 35 | ||
| 36 | /** | |
| 37 | * Construct an exception from the mismatched dimensions. | |
| 38 | * | |
| 39 | * @param wrong Requested value. | |
| 40 | * @param lo Lower bound. | |
| 41 | * @param hi Higher bound. | |
| 42 | */ | |
| 43 | public OutOfRangeException(Number wrong, | |
| 44 | Number lo, | |
| 45 | Number hi) { | |
| 46 | this(LocalizedFormats.OUT_OF_RANGE_SIMPLE, wrong, lo, hi); | |
| 47 | } | |
| 48 | ||
| 49 | /** | |
| 50 | * Construct an exception from the mismatched dimensions with a | |
| 51 | * specific context information. | |
| 52 | * | |
| 53 | * @param specific Context information. | |
| 54 | * @param wrong Requested value. | |
| 55 | * @param lo Lower bound. | |
| 56 | * @param hi Higher bound. | |
| 57 | */ | |
| 58 | public OutOfRangeException(Localizable specific, | |
| 59 | Number wrong, | |
| 60 | Number lo, | |
| 61 | Number hi) { | |
| 62 | super(specific, wrong, lo, hi); | |
| 63 | this.lo = lo; | |
| 64 | this.hi = hi; | |
| 65 | } | |
| 66 | ||
| 67 | /** | |
| 68 | * @return the lower bound. | |
| 69 | */ | |
| 70 | public Number getLo() { | |
| 71 | 1 | return lo; |
| 72 | } | |
| 73 | /** | |
| 74 | * @return the higher bound. | |
| 75 | */ | |
| 76 | public Number getHi() { | |
| 77 | 1 | return hi; |
| 78 | } | |
| 79 | } | |
Mutations | ||
| 71 |
mutated return of Object value for org/apache/commons/math3/exception/OutOfRangeException::getLo to ( if (x != null) null else throw new RuntimeException ) : KILLED -> org.apache.commons.math3.exception.OutOfRangeExceptionTest.testAccessors(org.apache.commons.math3.exception.OutOfRangeExceptionTest) |
|
| 77 |
mutated return of Object value for org/apache/commons/math3/exception/OutOfRangeException::getHi to ( if (x != null) null else throw new RuntimeException ) : KILLED -> org.apache.commons.math3.exception.OutOfRangeExceptionTest.testAccessors(org.apache.commons.math3.exception.OutOfRangeExceptionTest) |


A bee suit is important for your protection but also for the comfort of your bees.
A bee suit is white because bees perceive that color as less of a threat and are
therefore less disturbed when you approach them in the suit. While sooner or later
every beekeeper is going to be stung proper protective clothing will reduce the frequency.
(A helpful tip from experienced beekeepers in the event you are stung is to use your thumbnail
to scrap the stinger off rather than attempting to pluck it out with your fingers which will
only cause you to squeeze the venom sac and inject more of the venom into yourself resulting in
more painful stings!)
It is possible to reduce costs by using a painters suit instead however you will need to
duct tape the arms and legs to ensure bees are unable to climb inside of your clothing.
Your most important tool is your smoker. While they are sold in various sizes it is
recommended that you use a larger one as running out of fuel in the middle of inspecting
your bees can be a problem. Smoke from the smoker is used to calm the bees while you work.
You can use many different kinds of fuel in the smoker such as burlap, pine shavings, baling twin,
or pine needles.
Additionally it is a good idea to have a hive tool in order to pry open your hive as the
bees will build their combs onto the top making it difficult to open. A frame grip is helpful
in pulling frames up and out of the hive. A bee brush can be used to wipe bees off of a surface
such as when trying to close the hive back up so you do not squash them. An entry reducer can be
used during the winter or other times when the hive is weak in order to give them less of an opening
that they have to defend from invaders. And finally an adrenaline shot can be useful to have on hand
in the event of allergic reaction to a sting.


I am a sophomore Computer Science student at University of North Texas. etc
Languages and experience
Github


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According to the thinking style test I took for Dev Bootcamp prior to Phase 0, I am a Concrete Random Thinker, which means that I fall into the experimental bucket of thinkers. I definitely don’t fit every condition of this type of thinker, but I can see why I would lean more in this direction. Some of the key traits of a Concrete Random Thinker include: create new things or products from scratch, prefer hands-on experiences, enjoy proving that their method to solve a problem works, like self-directed learning, and are very competitive. Notice that I only listed a few of the key traits. This is mainly because these are the traits that tie me to this line of thinking style more than any other. I also don't want to bore you to death!
Out of all of the key traits I mentioned above, my preference for hands-on experiences and self-directed learning will be invaluable to my learning experience at Dev Bootcamp. I can learn by listening, but when it comes to something very nuanced like programming, I need to listen and do either at the same time or in quick succession. Since lectures are a smaller part of the daily Dev Bootcamp experience, I feel like I will thrive by being able to get condensed bits of information and immediately focus on implementing whatever is being taught that day. For our final projects, my self-directed learning skills will be extremely useful when trying to figure out how to implement new concepts.
My thinking style has been beneficial in some ways and detrimental in others. For example, I probably spent way too much time experimenting with the website you are reading at this very second. The benefit is that I learned a lot of things that were probably beyond that basic HTML and CSS that we learned and I think my site looks pretty decent as well. The downside? Because I was having so much fun experimenting with the website after completing the week-2 work, I continued tweaking my website on the Sunday before week-3 and the first day of week-3 as well. I probably should have taken the opportunity to get ahead on week-3 material before continuing to tinker with the week-2 website. For me, the takeaway is that I need to focus on improving my ability to bounce from challenge to challenge without going to crazy over one topic that interests me. I can easily go back to these topics of interests once I finish my work for the week ahead of time.
Another element of the pre-Phase 0 prep was researching the differences between a growth mindset and a fixed Mindset. I thought this exercise was extremely helpful and helped me identify the strengths and weaknesses of my current mindset. My guess is that many people ebb and flow between a fixed and growth mindsets depending on the circumstances. I think this is OK, but my goal is to shift the pendulum so that the range is tightened and it swings towards growth more often than not. Deep down, I think everyone knows that the characteristics of a growth mindset are the path to success, whether you have read the differences between growth and fixed mindsets before or not. However, it’s helpful to have them down as a reminder for how I want to consistently approach living and learning through Dev Bootcamp and beyond. Everyone needs a reminder from time to time.


About us.
We are Bosses.
-
1Satement 1
somthing
-
2 Satement 2
Somthing here
-
3 Satement 3
Something here
{% load static %}
We are Bosses.
somthing
Somthing here
Something here


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$jsnbt is an easy one.
It just injects to your controllers the jsnbt.js object configuration as we described in previous chapters.


Sprint 8
Content Updates
- INFUND-2423 Password guidance for applicants
Partner view during project setup
-
INFUND-1577
As partners within a project I want to be informed of who my MO is and their contact details so we can arrange a first meeting
- INFUND-2484 Create a view that allows applicants to see information on monitoring officers before they are assigned
- INFUND-2485 Create a view that allows applicants to view their assigned MO and information on the role
-
INFUND-2425
Create view that allows the applicant to confirm the change to their organisation details
- INFUND-2536 Create a view that informs business applicants that they have not signed up to companies house
- INFUND-2537 Create a view that allows applicants add their companies house information
- INFUND-2538 Create view that allows the applicant to confirm the change to their organisation details
-
INFUND-1592
As each partner I need to be able to query these forecasts and implement changes to these
Partner before submission
- INFUND-2353 Create a table that allows the applicant or project finance to review the organisations forecast spend
- INFUND-2353 Showing where spend profile is too high
- INFUND-2354 Create a table that allows the applicant to edit the organisations forecast spend
- INFUND-2354 Showing editable table where spend profile is too high
- INFUND-2523 Create a view showing profile spend after it an applicant has submitted their profile spend
Lead before submission
- INFUND-2472 Create a view where the project lead can review their own forecast or the forecast of other members of their consortium
- INFUND-2524 Create a view that allows the Lead to view and submit their Spend Profile
- INFUND-2525 Create a view that allows the lead to edit their spend profile
- INFUND-2526 Create a view that allows the lead to their profile spend after it has been submitted
- INFUND-2527 Create a view that allows the lead to review the profile spend of their collaborators and to return editing rights to them
- INFUND-2528 Create an email informing designated finance that the profile spend has been returned by the lead
- INFUND-2473 Create a read only view that the lead applicant can use to review individual applicants profile spend
All applicant view after submission
- INFUND-2529 Create a view for applicants showing their spend profile, after it has been sent to InnovateUK by the lead
- INFUND-2530 Create a view for the lead allowing them to review the profile spends for the project, either individually(by partner) or overall
- INFUND-2531 Create a view for the lead of the partner spend profile after it has been submitted
- INFUND-2532 Create a view for the partnerspend profile after it has been submitted to Innovate UK
- INFUND-2533 Create a view for the lead to view the overall profile spend after it has been submitted to Innovate UK
INFUND-2655
- INFUND-2659 Create a view that allows the lead applicant to review, add and Submit project details and organisation details
- INFUND-2660 Create a view that allows lead applicants and partners to save Organisation details
- INFUND-2661 Create a view that allows partners to view project details and add their own Organisation Details
- INFUND-2662 Create a view that allows applicants and the internal team to view submitted Project details and organisation details
Comp admin - MVP
-
INFUND-1973
As an internal user I want to check and review / confirm the bank details for the organisation


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Brian Zhang (bhz)
Favorite algorithm: Union-Find Data Structure
Anna Zhu (annazhu)
Favorite algorithm: Ensembling


Javascript Quiz
Javascript included in an HTML file would be within which of the following tags?
Which of the following is the correct syntax to link an external js file?
How do you declare a function in Javascript?
Which of the following functions has a parameter of x?
How do you write the operator for (not equal to) in Javascript?
How do you call a function in Javascript?
What is the proper syntax for multi-line comments in Javascript?
What is the correct function to round a number down to the nearest integer?
How do you declare a variable in Javascript?
Which of the following operators will assign a new value to a variable


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Edson Zandamela
<EMAIL_ADDRESS>App shows details of each sandwich once it is selected.
App allows users to discover most recent and popular movies.
App makes cofee orders and prints receipts.
Keeps track of two basketball teams scores.
Translates words and numbers.


the correctness of the returned value is tested by reproducing results available in literature, and results obtained using a discrete average approximation.
the correctness of the returned greeks is tested by reproducing numerical derivatives.
the correctness of the returned value is tested by reproducing results available in web/literature, testing against QuantLib's analytic Heston, the Black-Scholes-Merton Hull-White engine and the finite difference Heston-Hull-White engine
the correctness of the returned value is tested by reproducing results available in web/literature, testing against QuantLib's analytic Heston and Black-Scholes-Merton Hull-White engine
the correctness of the returned value is tested by reproducing results available in web/literature, testing against QuantLib's jump diffusion engine and comparison with Black pricing.
the correctness of the returned value in case of Asset-or-nothing embedded option is tested by pricing the digital option with Cox-Rubinstein formula.
the correctness of the returned value in case of deep-in-the-money Asset-or-nothing embedded option is tested vs the expected values of coupon and option.
the correctness of the returned value in case of deep-out-of-the-money Asset-or-nothing embedded option is tested vs the expected values of coupon and option.
the correctness of the returned value in case of Cash-or-nothing embedded option is tested by pricing the digital option with Reiner-Rubinstein formula.
the correctness of the returned value in case of deep-in-the-money Cash-or-nothing embedded option is tested vs the expected values of coupon and option.
the correctness of the returned value in case of deep-out-of-the-money Cash-or-nothing embedded option is tested vs the expected values of coupon and option.
the correctness of the returned value is tested checking the correctness of the call-put parity relation.
the correctness of the returned value is tested by the relationship between prices in case of different replication types.
the correctness of the returned value is tested by checking it against numerical calculations. Cross-checks are also performed against the CumulativeNormalDistribution and InverseCumulativeNormal classes.
the correctness of the returned value is tested by checking that the price of a payer (resp. receiver) swaption decreases (resp. increases) with the strike.
the correctness of the returned value is tested by checking that the price of a payer (resp. receiver) swaption increases (resp. decreases) with the spread.
the correctness of the returned value is tested by checking it against that of a swaption on a swap with no spread and a correspondingly adjusted fixed rate.
the correctness of the returned value is tested by checking it against a known good value.
the correctness of the returned value of cash settled swaptions is tested by checking the modified annuity against a value calculated without using the Swaption class.
the correctness of the returned value is tested by reproducing results in literature with flat as well as upward and downward sloping volatility term structures.
the pricing of trades with guaranteed exercise/OTM is also tested.


Like the best things in life, our business is a simple one: We acquire, renovate, and liquidate residential real estate. We leverage our 20 years combined experience and robust network to maximize the performance of our investments.
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Want to get involved? Give us a call or send us an email and we will get back to you as soon as possible!


This website was hand coded by William Kyle Greer it has taken a total of 5 hours to make this website look as good as it does.


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Fund me is a website that was developed to provide a link between people living with disabilities and organizations/well-wishers willing to donate funds to assist them. Organizations and well-wishers can donate through the website and the donations will be updated accordingly. The disabled can then apply for funds that they may require. They can then use those funds to cater for their personal needs, such as food,essential necessities,medical care for them as well as their families.
0712567921
<EMAIL_ADDRESS>Nairobi, Kenya


Till now, we’ve learned about the following complex data structures:
But that’s not enough for real life. That’s why Map
and Set
also exist.
Map is a collection of keyed data items, just like an Object
. But the main difference is that Map
allows keys of any type.
Methods and properties are:
new Map()
– creates the map.map.set(key, value)
– stores the value by the key.map.get(key)
– returns the value by the key, undefined
if key
doesn’t exist in map.map.has(key)
– returns true
if the key
exists, false
otherwise.map.delete(key)
– removes the value by the key.map.clear()
– removes everything from the map.map.size
– returns the current element count.For instance:
```js run let map = new Map();
map.set(“1”, “str1”); // a string key map.set(1, “num1”); // a numeric key map.set(true, “bool1”); // a boolean key
// remember the regular Object? it would convert keys to string // Map keeps the type, so these two are different: alert(map.get(1)); // ‘num1’ alert(map.get(“1”)); // ‘str1’
alert(map.size); // 3 ```
As we can see, unlike objects, keys are not converted to strings. Any type of key is possible.
``smart header="
map[key]isn't the right way to use a
Map" Although
map[key]also works, e.g. we can set
map[key] = 2, this is treating
map` as a plain JavaScript object, so it implies all corresponding limitations (only string/symbol keys and so on).
So we should use map
methods: set
, get
and so on.
**Map can also use objects as keys.**
For instance:
```js run
let john = { name: "John" };
// for every user, let's store their visits count
let visitsCountMap = new Map();
// john is the key for the map
visitsCountMap.set(john, 123);
alert( visitsCountMap.get(john) ); // 123
Using objects as keys is one of the most notable and important Map
features. The same does not count for Object
. String as a key in Object
is fine, but we can’t use another Object
as a key in Object
.
Let’s try:
```js run let john = { name: “John” }; let ben = { name: “Ben” };
let visitsCountObj = {}; // try to use an object
visitsCountObj[ben] = 234; // try to use ben object as the key visitsCountObj[john] = 123; // try to use john object as the key, ben object will get replaced
! // That’s what got written! alert( visitsCountObj[“[object Object]”] ); // 123 /! ```
As visitsCountObj
is an object, it converts all Object
keys, such as john
and ben
above, to same string "[object Object]"
. Definitely not what we want.
``smart header="How
Mapcompares keys" To test keys for equivalence,
Mapuses the algorithm [SameValueZero](https://tc39.github.io/ecma262/#sec-samevaluezero). It is roughly the same as strict equality
===, but the difference is that
NaNis considered equal to
NaN. So
NaN` can be used as the key as well.
This algorithm can’t be changed or customized.
````smart header="Chaining"
Every `map.set` call returns the map itself, so we can "chain" the calls:
```js
map.set('1', 'str1')
.set(1, 'num1')
.set(true, 'bool1');
## Iteration over Map
For looping over a `map`, there are 3 methods:
- `map.keys()` -- returns an iterable for keys,
- `map.values()` -- returns an iterable for values,
- `map.entries()` -- returns an iterable for entries `[key, value]`, it's used by default in `for..of`.
For instance:
```js run
let recipeMap = new Map([
['cucumber', 500],
['tomatoes', 350],
['onion', 50]
]);
// iterate over keys (vegetables)
for (let vegetable of recipeMap.keys()) {
alert(vegetable); // cucumber, tomatoes, onion
}
// iterate over values (amounts)
for (let amount of recipeMap.values()) {
alert(amount); // 500, 350, 50
}
// iterate over [key, value] entries
for (let entry of recipeMap) { // the same as of recipeMap.entries()
alert(entry); // cucumber,500 (and so on)
}
```
```smart header="The insertion order is used"
The iteration goes in the same order as the values were inserted. `Map` preserves this order, unlike a regular `Object`.
```
Besides that, `Map` has a built-in `forEach` method, similar to `Array`:
```js
// runs the function for each (key, value) pair
recipeMap.forEach( (value, key, map) => {
alert(`${key}: ${value}`); // cucumber: 500 etc
});
```
## Object.entries: Map from Object
When a `Map` is created, we can pass an array (or another iterable) with key/value pairs for initialization, like this:
```js run
// array of [key, value] pairs
let map = new Map([
['1', 'str1'],
[1, 'num1'],
[true, 'bool1']
]);
alert( map.get('1') ); // str1
```
If we have a plain object, and we'd like to create a `Map` from it, then we can use built-in method [Object.entries(obj)](mdn:js/Object/entries) that returns an array of key/value pairs for an object exactly in that format.
So we can create a map from an object like this:
```js run
let obj = {
name: "John",
age: 30
};
*!*
let map = new Map(Object.entries(obj));
*/!*
alert( map.get('name') ); // John
```
Here, `Object.entries` returns the array of key/value pairs: `[ ["name","John"], ["age", 30] ]`. That's what `Map` needs.
## Object.fromEntries: Object from Map
We've just seen how to create `Map` from a plain object with `Object.entries(obj)`.
There's `Object.fromEntries` method that does the reverse: given an array of `[key, value]` pairs, it creates an object from them:
```js run
let prices = Object.fromEntries([
['banana', 1],
['orange', 2],
['meat', 4]
]);
// now prices = { banana: 1, orange: 2, meat: 4 }
alert(prices.orange); // 2
```
We can use `Object.fromEntries` to get a plain object from `Map`.
E.g. we store the data in a `Map`, but we need to pass it to a 3rd-party code that expects a plain object.
Here we go:
```js run
let map = new Map();
map.set('banana', 1);
map.set('orange', 2);
map.set('meat', 4);
*!*
let obj = Object.fromEntries(map.entries()); // make a plain object (*)
*/!*
// done!
// obj = { banana: 1, orange: 2, meat: 4 }
alert(obj.orange); // 2
```
A call to `map.entries()` returns an iterable of key/value pairs, exactly in the right format for `Object.fromEntries`.
We could also make line `(*)` shorter:
```js
let obj = Object.fromEntries(map); // omit .entries()
```
That's the same, because `Object.fromEntries` expects an iterable object as the argument. Not necessarily an array. And the standard iteration for `map` returns same key/value pairs as `map.entries()`. So we get a plain object with same key/values as the `map`.
## Set
A `Set` is a special type collection - "set of values" (without keys), where each value may occur only once.
Its main methods are:
- `new Set(iterable)` -- creates the set, and if an `iterable` object is provided (usually an array), copies values from it into the set.
- `set.add(value)` -- adds a value, returns the set itself.
- `set.delete(value)` -- removes the value, returns `true` if `value` existed at the moment of the call, otherwise `false`.
- `set.has(value)` -- returns `true` if the value exists in the set, otherwise `false`.
- `set.clear()` -- removes everything from the set.
- `set.size` -- is the elements count.
The main feature is that repeated calls of `set.add(value)` with the same value don't do anything. That's the reason why each value appears in a `Set` only once.
For example, we have visitors coming, and we'd like to remember everyone. But repeated visits should not lead to duplicates. A visitor must be "counted" only once.
`Set` is just the right thing for that:
```js run
let set = new Set();
let john = { name: "John" };
let pete = { name: "Pete" };
let mary = { name: "Mary" };
// visits, some users come multiple times
set.add(john);
set.add(pete);
set.add(mary);
set.add(john);
set.add(mary);
// set keeps only unique values
alert( set.size ); // 3
for (let user of set) {
alert(user.name); // John (then Pete and Mary)
}
```
The alternative to `Set` could be an array of users, and the code to check for duplicates on every insertion using [arr.find](mdn:js/Array/find). But the performance would be much worse, because this method walks through the whole array checking every element. `Set` is much better optimized internally for uniqueness checks.
## Iteration over Set
We can loop over a set either with `for..of` or using `forEach`:
```js run
let set = new Set(["oranges", "apples", "bananas"]);
for (let value of set) alert(value);
// the same with forEach:
set.forEach((value, valueAgain, set) => {
alert(value);
});
```
Note the funny thing. The callback function passed in `forEach` has 3 arguments: a `value`, then *the same value* `valueAgain`, and then the target object. Indeed, the same value appears in the arguments twice.
That's for compatibility with `Map` where the callback passed `forEach` has three arguments. Looks a bit strange, for sure. But may help to replace `Map` with `Set` in certain cases with ease, and vice versa.
The same methods `Map` has for iterators are also supported:
- `set.keys()` -- returns an iterable object for values,
- `set.values()` -- same as `set.keys()`, for compatibility with `Map`,
- `set.entries()` -- returns an iterable object for entries `[value, value]`, exists for compatibility with `Map`.
## Summary
`Map` -- is a collection of keyed values.
Methods and properties:
- `new Map([iterable])` -- creates the map, with optional `iterable` (e.g. array) of `[key,value]` pairs for initialization.
- `map.set(key, value)` -- stores the value by the key, returns the map itself.
- `map.get(key)` -- returns the value by the key, `undefined` if `key` doesn't exist in map.
- `map.has(key)` -- returns `true` if the `key` exists, `false` otherwise.
- `map.delete(key)` -- removes the value by the key, returns `true` if `key` existed at the moment of the call, otherwise `false`.
- `map.clear()` -- removes everything from the map.
- `map.size` -- returns the current element count.
The differences from a regular `Object`:
- Any keys, objects can be keys.
- Additional convenient methods, the `size` property.
`Set` -- is a collection of unique values.
Methods and properties:
- `new Set([iterable])` -- creates the set, with optional `iterable` (e.g. array) of values for initialization.
- `set.add(value)` -- adds a value (does nothing if `value` exists), returns the set itself.
- `set.delete(value)` -- removes the value, returns `true` if `value` existed at the moment of the call, otherwise `false`.
- `set.has(value)` -- returns `true` if the value exists in the set, otherwise `false`.
- `set.clear()` -- removes everything from the set.
- `set.size` -- is the elements count.
Iteration over `Map` and `Set` is always in the insertion order, so we can't say that these collections are unordered, but we can't reorder elements or directly get an element by its number.


About the Celebration Brass Quintet
The Celebration Brass Quintet was founded in 2001 by members of the Minnetonka Symphony Orchestra and began its career as artists-in-residence at Gethsemane Lutheran Church in Hopkins. Drawing from a library of more than 700 arrangements, the quintet has developed a wide repertoire in a variety of musical genres, including jazz, Dixieland, ragtime, classical, show tunes, and "golden oldies." The Celebration Brass has played at numerous venues across the Twin Cities area, including Music Association of Minnetonka concerts, weddings, churches, arts centers, retail stores and senior residences.
Musicians
Betty Mackay, trumpet
Betty pursued her music studies at Augsburg College. She played for over 30 years with the Da Capo Brass Quintet, whose performances include the Prairie Home Companion and Minnesota Public Radio's "Live from Landmark" concert series, and numerous recitals at the Minneapolis Institute of Arts. She is a member of the Twin Cities Trumpet Ensemble, which typically performs 10 concerts each season at venues such as the Como Lakeside Pavilion, the Lake Harriet Band Shell, the Ives Auditorium, the Vintage Band Festival (Northfield) and the Phipps Theater (Hudson). Betty is also a member of the Minnetonka Symphony Orchestra and performs regularly with the Dakota Valley Symphony. She has performed with theater groups across the Twin Cities area, including the Gilbert and Sullivan Very Light Opera Company, the Lakeshore Players, the Cross Community Players, the Masquers Theater and the Morris Park Players.
Kevin Duggins, trombone
Kevin graduated from Indiana University with a Master of Music degree in trombone performance. He is a member of several local groups, including the Minnetonka Symphony Orchestra, the Minnetonka Concert Band, Minnetonka Jazz Band, and Toreadors 4. He has played with a number of other groups in the Twin Cities including the Kenwood Symphony Orchestra, The Cities Orchestra, Universal Jazz, Brio Brass, Cross Chamber Players, Lyric Arts of Anoka, Off Broadway Musical Theater of New Hope, Mounds View Community Theater, and the Calhoun-Isles Community Band. Kevin has also performed with many groups outside of Minnesota, including the South Dakota Symphony, the Sioux City (Iowa) Symphony, Columbus (Indiana) Pro Musica, Cumberland County (Tennessee) Playhouse and The Carpenters.
Jim Kodner, horn
Jim attended Indiana University where he studied with Robert Elworthy, Michael Hatfield, and Philip Farkas. He began working as a freelance musician in the early 1980's, performing in the Twin Cities. He has played many Broadway shows and musicals including 42nd Street, Camelot (with Richard Harris), Joseph and the Amazing Technicolor Dreamcoat (with Donny Osmond) and performed at both the Guthrie Theater and the Children's Theatre Company. He performed with the Joffrey Ballet and American Ballet Theatre and was in the orchestras backing up Ray Charles, Rod Stewart, the Moody Blues, Andy Williams, Julie Andrews, and Henry Mancini. He recently played with the Rochester MN Symphony and currently plays with the Bloomington Symphony and the Church of St Agnes (Twin Cities Catholic Chorale).
Peter Weissmann, trumpet
Peter was introduced to music by his father, an auto mechanic from Austria, who listened to the music of the great Viennese composers while working on the family car on weekends. Peter's first musical memory from childhood is the third movement of Haydn's Trumpet Concerto, so it was perhaps foreordained that he began to study the trumpet at age 10. Since then he has played and studied with some of the top musicians in the Twin Cities. His musical background is broad with experience in orchestras, large wind ensembles, chamber music, jazz big bands, and more. He has performed regularly at churches and other venues as a soloist and in ensembles. In his spare time, Peter is Professor of Medicine at the University of Minnesota.
Brian Knapp, bass trombone
Brian's love of music began in middle school when he picked up the trombone for the very first time. He pursued his music studies first at Southwest Minnesota State and then the University of Minnesota where he graduated with a degree in Music Education. He is a member of the Minnetonka Symphony Orchestra and Minnetonka Concert Band, and has served on the board of directors for the Music Association of Minnetonka. He studied with Tom Ashworth, Vern Kagarice, Jan Kagarice, and Alan Taylor.


Kong comes with an internal RESTful API for administration purposes. API commands can be run on any node in the cluster, and Kong will keep the configuration consistent across all nodes. The RESTful Admin API listens on port 8001 by default.


The Age of Innocence
by Edith Wharton
Part 2, Chapter 29
Additional Information
- Year Published: 1920
- Language: English
- Country of Origin: United States of America
- Source: Wharton, E. (1920) The Age of Innocence New York, NY: D. Appleton & Co.
-
Readability:
- Flesch–Kincaid Level: 12.0
- Word Count: 2,520
- Genre: Realism
- Keywords: 20th century literature, american literature
- ✎ Cite This
Downloads
His wife's dark blue brougham (with the wedding varnish still on it) met Archer at the ferry, and conveyed him luxuriously to the Pennsylvania terminus in Jersey City.
It was a sombre snowy afternoon, and the gas–lamps were lit in the big reverberating station. As he paced the platform, waiting for the Washington express, he remembered that there were people who thought there would one day be a tunnel under the Hudson through which the trains of the Pennsylvania railway would run straight into New York. They were of the brotherhood of visionaries who likewise predicted the building of ships that would cross the Atlantic in five days, the invention of a flying machine, lighting by electricity, telephonic communication without wires, and other Arabian Night marvels.
"I don't care which of their visions comes true," Archer mused, "as long as the tunnel isn't built yet." In his senseless school–boy happiness he pictured Madame Olenska's descent from the train, his discovery of her a long way off, among the throngs of meaningless faces, her clinging to his arm as he guided her to the carriage, their slow approach to the wharf among slipping horses, laden carts, vociferating teamsters, and then the startling quiet of the ferry–boat, where they would sit side by side under the snow, in the motionless carriage, while the earth seemed to glide away under them, rolling to the other side of the sun. It was incredible, the number of things he had to say to her, and in what eloquent order they were forming themselves on his lips ...
The clanging and groaning of the train came nearer, and it staggered slowly into the station like a prey–laden monster into its lair. Archer pushed forward, elbowing through the crowd, and staring blindly into window after window of the high–hung carriages. And then, suddenly, he saw Madame Olenska's pale and surprised face close at hand, and had again the mortified sensation of having forgotten what she looked like.
They reached each other, their hands met, and he drew her arm through his. "This way—I have the carriage," he said.
After that it all happened as he had dreamed. He helped her into the brougham with her bags, and had afterward the vague recollection of having properly reassured her about her grandmother and given her a summary of the Beaufort situation (he was struck by the softness of her: "Poor Regina!"). Meanwhile the carriage had worked its way out of the coil about the station, and they were crawling down the slippery incline to the wharf, menaced by swaying coal–carts, bewildered horses, dishevelled express–wagons, and an empty hearse—ah, that hearse!
"If only it doesn't mean—poor Granny!"
"Oh, no, no—she's much better—she's all right, really. There—we've passed it!" he exclaimed, as if that made all the difference. Her hand remained in his, and as the carriage lurched across the gang–plank onto the ferry he bent over, unbuttoned her tight brown glove, and kissed her palm as if he had kissed a relic. She disengaged herself with a faint smile, and he said: "You didn't expect me today?"
"Oh, no."
"I meant to go to Washington to see you. I'd made all my arrangements—I very nearly crossed you in the train."
"Oh—" she exclaimed, as if terrified by the narrowness of their escape.
"Do you know—I hardly remembered you?"
"Hardly remembered me?"
"I mean: how shall I explain? I—it's always so.
"Oh, yes: I know! I know!"
"Does it—do I too: to you?" he insisted.
She nodded, looking out of the window.
"Ellen—Ellen—Ellen!"
She made no answer, and he sat in silence, watching her profile grow indistinct against the snow–streaked dusk beyond the window. What had she been doing in all those four long months, he wondered? How little they knew of each other, after all! The precious moments were slipping away, but he had forgotten everything that he had meant to say to her and could only helplessly brood on the mystery of their remoteness and their proximity, which seemed to be symbolised by the fact of their sitting so close to each other, and yet being unable to see each other's faces.
"What a pretty carriage! Is it May's?" she asked, suddenly turning her face from the window.
"Yes."
"It was May who sent you to fetch me, then? How kind of her!"
He made no answer for a moment; then he said explosively: "Your husband's secretary came to see me the day after we met in Boston."
In his brief letter to her he had made no allusion to M. Riviere's visit, and his intention had been to bury the incident in his bosom. But her reminder that they were in his wife's carriage provoked him to an impulse of retaliation. He would see if she liked his reference to Riviere any better than he liked hers to May! As on certain other occasions when he had expected to shake her out of her usual composure, she betrayed no sign of surprise: and at once he concluded: "He writes to her, then."
"M. Riviere went to see you?"
"Yes: didn't you know?"
"No," she answered simply.
"And you're not surprised?"
She hesitated.  He told me in Boston that he knew you; that he'd met you in England I think."
"Ellen—I must ask you one thing."
"Yes."
"I wanted to ask it after I saw him, but I couldn't put it in a letter. It was Riviere who helped you to get away—when you left your husband?"
His heart was beating suffocatingly. Would she meet this question with the same composure?
"Yes: I owe him a great debt," she answered, without the least tremor in her quiet voice.
Her tone was so natural, so almost indifferent, that Archer's turmoil subsided. Once more she had managed, by her sheer simplicity, to make him feel stupidly conventional just when he thought he was flinging convention to the winds.
"I think you're the most honest woman I ever met!" he exclaimed.
"Oh, no—but probably one of the least fussy," she answered, a smile in her voice.
"Call it what you like: you look at things as they are."
"Ah—I've had to. I've had to look at the Gorgon."
"Well—it hasn't blinded you! You've seen that she's just an old bogey like all the others."
"She doesn't blind one; but she dries up one's tears."
The answer checked the pleading on Archer's lips: it seemed to come from depths of experience beyond his reach. The slow advance of the ferry–boat had ceased, and her bows bumped against the piles of the slip with a violence that made the brougham stagger, and flung Archer and Madame Olenska against each other. The young man, trembling, felt the pressure of her shoulder, and passed his arm about her.
"If you're not blind, then, you must see that this can't last."
"What can't?"
"Our being together—and not together."
"No. You ought not to have come today," she said in an altered voice; and suddenly she turned, flung her arms about him and pressed her lips to his. At the same moment the carriage began to move, and a gas–lamp at the head of the slip flashed its light into the window. She drew away, and they sat silent and motionless while the brougham struggled through the congestion of carriages about the ferry–landing. As they gained the street Archer began to speak hurriedly.
  Look: I'm not even trying to touch the sleeve of your jacket. Don't suppose that I don't understand your reasons for not wanting to let this feeling between us dwindle into an ordinary hole–and–corner love–affair. I couldn't have spoken like this yesterday, because when we've been apart, and I'm looking forward to seeing you, every thought is burnt up in a great flame. But then you come; and you're so much more than I remembered, and what I want of you is so much more than an hour or two every now and then, with wastes of thirsty waiting between, that I can sit perfectly still beside you, like this, with that other vision in my mind, just quietly trusting to it to come true."
For a moment she made no reply; then she asked, hardly above a whisper: "What do you mean by trusting to it to come true?"
"Why—you know it will, don't you?"
"Your vision of you and me together?" She burst into a sudden hard laugh. "You choose your place well to put it to me!"
"Do you mean because we're in my wife's brougham?  I don't suppose you mind a little snow?"
She laughed again, more gently. "No; I shan't get out and walk, because my business is to get to Granny's as quickly as I can. And you'll sit beside me, and we'll look, not at visions, but at realities."
"I don't know what you mean by realities. The only reality to me is this."
She met the words with a long silence, during which the carriage rolled down an obscure side–street and then turned into the searching illumination of Fifth Avenue.
 she asked.
The crudeness of the question startled him: the word was one that women of his class fought shy of, even when their talk flitted closest about the topic. He noticed that Madame Olenska pronounced it as if it had a recognised place in her vocabulary, and he wondered if it had been used familiarly in her presence in the horrible life she had fled from. Her question pulled him up with a jerk, and he floundered.
"I want—I want somehow to get away with you into a world where words like that—categories like that—won't exist. Where we shall be simply two human beings who love each other, who are the whole of life to each other; and nothing else on earth will matter."
She drew a deep sigh that ended in another laugh. "Oh, my dear—where is that country? Have you ever been there?" she asked; and as he remained sullenly dumb she went on: "I know so many who've tried to find it; and, believe me, they all got out by mistake at wayside stations: at places like Boulogne, or Pisa, or Monte Carlo—and it wasn't at all different from the old world they'd left, but only rather smaller and dingier and more promiscuous."
He had never heard her speak in such a tone, and he remembered the phrase she had used a little while before.
"Yes, the Gorgon HAS dried your tears," he said.
"Well, she opened my eyes too; it's a delusion to say that she blinds people. What she does is just the contrary—she fastens their eyelids open, so that they're never again in the blessed darkness. Isn't there a Chinese torture like that? There ought to be. Ah, believe me, it's a miserable little country!"
The carriage had crossed Forty–second Street: May's sturdy brougham–horse was carrying them northward as if he had been a Kentucky trotter. Archer choked with the sense of wasted minutes and vain words.
"Then what, exactly, is your plan for us?" he asked.
"For US? But there's no US in that sense! We're near each other only if we stay far from each other. Then we can be ourselves. Otherwise we're only Newland Archer, the husband of Ellen Olenska's cousin, and Ellen Olenska, the cousin of Newland Archer's wife, trying to be happy behind the backs of the people who trust them."
"Ah, I'm beyond that," he groaned.
"No, you're not! You've never been beyond. And I have," she said, in a strange voice, "and I know what it looks like there."
He sat silent, dazed with inarticulate pain. Then he groped in the darkness of the carriage for the little bell that signalled orders to the coachman. He remembered that May rang twice when she wished to stop. He pressed the bell, and the carriage drew up beside the curbstone.
"Why are we stopping? This is not Granny's," Madame Olenska exclaimed.
"No: I shall get out here," he stammered, opening the door and jumping to the pavement. By the light of a street–lamp he saw her startled face, and the instinctive motion she made to detain him. He closed the door, and leaned for a moment in the window.
"You're right: I ought not to have come today," he said, lowering his voice so that the coachman should not hear. She bent forward, and seemed about to speak; but he had already called out the order to drive on, and the carriage rolled away while he stood on the corner. The snow was over, and a tingling wind had sprung up, that lashed his face as he stood gazing. Suddenly he felt something stiff and cold on his lashes, and perceived that he had been crying, and that the wind had frozen his tears.
He thrust his hands in his pockets, and walked at a sharp pace down Fifth Avenue to his own house.


What's Human Startup?
Human Startup is a mindset that I've adopted over the years while working at numerous startups 👨💻. The idea is to be a curious learner 🐯, constantly improving 🛠 and driven to innovate 💡. All the while thinking about how I can positively impact people's lives ✨. That's what I really care about ❤. Join me and live life like a startup! 🚀
About me
Hey there 👋, I'm Toby – a human startup 🚀. I study Software Engineering at the University of Waterloo 🇨🇦, where I spend my time building things 💻. In my spare time, I enjoy taking photos 📸, making music 🎵 and learning 📚. My goal is to explore life, inside and out, contribute where I can, and learn what it means to be human 🦋. Read about my journey here!
Thanks for visiting! 🖖


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Before Change
self.reader = reader
self.windows_per_image = windows_per_image
self.shuffle = bool(shuffle_buffer)
Layer.__init__(self, name="input_buffer")
InputBatchQueueRunner.__init__(
self,
After Change
tf.logging.info("initialised sampler output {} "
" [-1 for dynamic size]".format(self.window.shapes))
def layer_op(self, *args, **kwargs):
This function generates sampling windows to the input buffer
image data are from self.reader()
it first completes window shapes based on image data,
then resize each image as window and output
a dictionary (required by input buffer)
:return: output data dictionary {placeholders: data_array}


|
iDreamSky Game Engine
v1.0.0
|
PerspectiveCameraComponent. 更多...
#include <PerspectiveCameraComponent.h>
公開方法(Public Methods) | |
| PerspectiveCameraComponent (Component::Owner &owner_) | |
| PerspectiveCameraComponent Constructor. 更多... | |
| virtual | ~PerspectiveCameraComponent () |
| PerspectiveCameraComponent Destructor. 更多... | |
| PROPERTY_CUSTOM_FUNC (float, Fovy,{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return fovy *Math::RAD_2_DEG;},{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(value *Math::DEG_2_RAD, aspect, nearPlane, farPlane);}) | |
| Set the Field of View in Y Direction of the camera. 更多... | |
| PROPERTY_CUSTOM_FUNC (float, Aspect,{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return aspect;},{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(fovy, value, nearPlane, farPlane);}) | |
| Set the Aspect Ratio of the camera. 更多... | |
| PROPERTY_CUSTOM_FUNC (float, NearPlane,{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return nearPlane;},{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(fovy, aspect, value, farPlane);}) | |
| Set the Near Plane of the camera. 更多... | |
| PROPERTY_CUSTOM_FUNC (float, FarPlane,{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return farPlane;},{float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(fovy, aspect, nearPlane, value);}) | |
| Set the Far Plane of the camera. 更多... | |
| void | setProjection (float left_, float right_, float bottom_, float top_, float nearPlane_, float farPlane_) |
| Set the coordinate of project plane of at the near plane of camera. 更多... | |
| void | setProjection (float fovy_, float aspect_, float nearPlane_, float farPlane_) |
| Set the coordinate of project plane of at the near plane of camera. 更多... | |
| void | getProjection (float &left_, float &right_, float &bottom_, float &top_, float &nearPlane_, float &farPlane_) const |
| Get the coordinate of project plane of at the near plane of camera. 更多... | |
| void | getProjection (float &fovy_, float &aspect_, float &nearPlane_, float &farPlane_) const |
| Get the coordinate of project plane of at the near plane of camera. 更多... | |
| 公開方法(Public Methods) 繼承自 IDreamSky::CameraComponent | |
| CameraComponent (Component::Owner &owner_) | |
| CameraComponent Constructor. 更多... | |
| virtual | ~CameraComponent () |
| CameraComponent Destructor. 更多... | |
| PROPERTY (int, Order) | |
| Set the Rendering Order of this Camera. 更多... | |
| PROPERTY (unsigned int, TargetLayer) | |
| Set the value of the TargetLayer of this Camera. 更多... | |
| PROPERTY (int, ClearFlags) | |
| Set the Clearing Flags of this Camera. 更多... | |
| PROPERTY (ColorRGBA, ClearColor) | |
| Set the Clear Color of this Camera. 更多... | |
| PROPERTY (float, ClearDepth) | |
| Set the Clear Depth of this Camera. 更多... | |
| PROPERTY (unsigned int, ClearStencil) | |
| Set the Clear Stencil of this Camera. 更多... | |
| PROPERTY (Vector4, Viewport) | |
| Set the Viewport of this Camera. 更多... | |
| void | setProjectionPlanes (float left_, float right_, float bottom_, float top_, float nearPlane_, float farPlane_) |
| Set the coordinate of project plane of at the near plane of camera. 更多... | |
| void | getProjectionPlanes (float &left_, float &right_, float &bottom_, float &top_, float &nearPlane_, float &farPlane_) const |
| Get the coordinate of project plane of at the near plane of camera. 更多... | |
| const Matrix4 & | getProjectionTransform () |
| Get the project transform of this camera. 更多... | |
| bool | isLayerMatched (unsigned int layer) const |
| Check if the parameter layer matches TargetLayer to this camera. 更多... | |
| 公開方法(Public Methods) 繼承自 IDreamSky::Component | |
| Component (Component::Owner &owner_) | |
| CLASS (Component, agm::reflection::NullClass) | |
| PROPERTY (bool, Enabled) | |
| Set the Enabled State of Owner, if the component is not active, it become non functional. 更多... | |
| PROPERTY (String, Name) | |
| Set the Name of Owner. 更多... | |
| Component::Owner & | getOwner () |
| const Component::Owner & | getOwner () const |
| virtual bool | isEditorModeActive () const =0 |
保護方法(Protected Methods) | |
| virtual void | onDebugRender (IComponentDebugRenderer &debugRenderer) |
| Handle Debuger Rendering Event of the Component. | |
| 保護方法(Protected Methods) 繼承自 IDreamSky::CameraComponent | |
| virtual bool | onConstruct () |
| Handle Construct Event of the Component. 更多... | |
| virtual void | onStart () |
| Handle Start Event of the Component. | |
| virtual void | onUpdate (float dt) |
| Handle Update Event of the Component. 更多... | |
| virtual void | onPause () |
| Handle Pause Event of the Component. | |
| virtual void | onResume () |
| Handle Resume Event of the Component. | |
| virtual void | onStop () |
| Handle Stop Event of the Component. | |
| virtual void | onDestruct () |
| Handle Destruct Event of the Component. | |
| void | inValidateProjectionTransform () |
| mark the member variable projectTransformValid is invalide and should be update before next render | |
額外的繼承成員 | |
| 公開型態 繼承自 IDreamSky::CameraComponent | |
| enum | ClearFlag { CLEAR_NONE = 0x00, CLEAR_COLOR = 0x01, CLEAR_DEPTH = 0x02, CLEAR_STENCIL = 0x04, CLEAR_SKYBOX = 0x08 } |
| 靜態公開方法(Static Public Methods) 繼承自 IDreamSky::CameraComponent | |
| static int | compare (const void *left, const void *right) |
PerspectiveCameraComponent is a base class for all Orthographic Camera
| PerspectiveCameraComponent::PerspectiveCameraComponent | ( | Component::Owner & | owner_ | ) |
PerspectiveCameraComponent Constructor.
To Construct the PerspectiveCameraComponent for the owner.
| owner_,the | Component::Owner which owns this component. |
|
virtual |
PerspectiveCameraComponent Destructor.
To Destruct PerspectiveCameraComponent and remove from its owner.
| void PerspectiveCameraComponent::getProjection | ( | float & | left_, |
| float & | right_, | ||
| float & | bottom_, | ||
| float & | top_, | ||
| float & | nearPlane_, | ||
| float & | farPlane_ | ||
| ) | const |
Get the coordinate of project plane of at the near plane of camera.
| left_,float,return | the left side frustum x coordinate in this camera space |
| right_,float,return | the right side frustum x coordinate in this camera space |
| bottom_,float,return | the bottom side frustum y coordinate in this camera space |
| top_,float,return | the top side frustum y coordinate in this camera space |
| nearPlane_,float,return | the near side frustum z coordinate in this camera space |
| farPlane_,float,return | the far side frustum z coordinate in this camera space |
| void PerspectiveCameraComponent::getProjection | ( | float & | fovy_, |
| float & | aspect_, | ||
| float & | nearPlane_, | ||
| float & | farPlane_ | ||
| ) | const |
Get the coordinate of project plane of at the near plane of camera.
| fovy_,float,return | the field of view in y direction of the camera |
| aspect_,float,return | the aspect ratio of the camera |
| nearPlane_,float,return | the near side frustum z coordinate in this camera space |
| farPlane_,float,return | the far side frustum z coordinate in this camera space |
| IDreamSky::PerspectiveCameraComponent::PROPERTY_CUSTOM_FUNC | ( | float | , |
| Fovy | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return fovy *Math::RAD_2_DEG;} | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(value *Math::DEG_2_RAD, aspect, nearPlane, farPlane);} | |||
| ) |
Set the Field of View in Y Direction of the camera.
| value_,float,the | Field of View in Y Direction of the camera Get the Field of View in Y Direction of the camera |
| IDreamSky::PerspectiveCameraComponent::PROPERTY_CUSTOM_FUNC | ( | float | , |
| Aspect | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return aspect;} | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(fovy, value, nearPlane, farPlane);} | |||
| ) |
Set the Aspect Ratio of the camera.
| value_,float,the | Aspect Ratio of the camera Get the Aspect Ratio of the camera |
| IDreamSky::PerspectiveCameraComponent::PROPERTY_CUSTOM_FUNC | ( | float | , |
| NearPlane | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return nearPlane;} | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(fovy, aspect, value, farPlane);} | |||
| ) |
Set the Near Plane of the camera.
| value_,float,the | Near Plane of the camera Get the Near Plane of the camera |
| IDreamSky::PerspectiveCameraComponent::PROPERTY_CUSTOM_FUNC | ( | float | , |
| FarPlane | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);return farPlane;} | , | ||
| {float fovy;float aspect;float nearPlane;float farPlane;getProjection(fovy, aspect, nearPlane, farPlane);setProjection(fovy, aspect, nearPlane, value);} | |||
| ) |
Set the Far Plane of the camera.
| value_,float,the | Far Plane of the camera Get the Far Plane of the camera |
| void PerspectiveCameraComponent::setProjection | ( | float | left_, |
| float | right_, | ||
| float | bottom_, | ||
| float | top_, | ||
| float | nearPlane_, | ||
| float | farPlane_ | ||
| ) |
Set the coordinate of project plane of at the near plane of camera.
| left_,float,the | left side frustum x coordinate in this camera space |
| right_,float,the | right side frustum x coordinate in this camera space |
| bottom_,float,the | bottom side frustum y coordinate in this camera space |
| top_,float,the | top side frustum y coordinate in this camera space |
| nearPlane_,float,the | near side frustum z coordinate in this camera space |
| farPlane_,float,the | far side frustum z coordinate in this camera space |
| void PerspectiveCameraComponent::setProjection | ( | float | fovy_, |
| float | aspect_, | ||
| float | nearPlane_, | ||
| float | farPlane_ | ||
| ) |
Set the coordinate of project plane of at the near plane of camera.
| fovy_,float,the | field of view in y direction of the camera |
| aspect_,float,the | aspect ratio of the camera |
| nearPlane_,float,the | near side frustum z coordinate in this camera space |
| farPlane_,float,the | far side frustum z coordinate in this camera space |