What is i18n and l10n?
Internationalization, abbreviated i18n, is the process of developing products in such a way that they can be localized for languages and cultures easily. Localization, abbreviated l10n, is the process of adapting applications and text to enable their usability in a particular cultural or linguistic market. For application developers, internationalizing an application means abstracting all of the strings and other locale-specific bits (such as date or currency formats) out of the application. Localizing an application means providing translations and localized formats for the abstracted bits.
What level of support for i18n/l10n is currently in Angular?
Currently, Angular supports i18n/l10n for datetime, number and currency filters.
Additionally, Angular supports localizable pluralization support provided by the ngPluralize directive
.
All localizable Angular components depend on locale-specific rule sets managed by the $locale service
.
For readers who want to jump straight into examples, we have a few web pages that showcase how to use Angular filters with various locale rule sets. You can find these examples either on Github or in the i18n/e2e folder of Angular development package.
What is a locale id?
A locale is a specific geographical, political, or cultural region. The most commonly used locale ID consists of two parts: language code and country code. For example, en-US, en-AU, zh-CN are all valid locale IDs that have both language codes and country codes. Because specifying a country code in locale ID is optional, locale IDs such as en, zh, and sk are also valid. See the ICU website for more information about using locale IDs.
Supported locales in Angular Angular separates number and datetime format rule sets into different files, each file for a particular locale. You can find a list of currently supported locales here
There are two approaches to providing locale rules to Angular:
1. Pre-bundled rule sets
You can pre-bundle the desired locale file with Angular by concatenating the content of the
locale-specific file to the end of angular.js
or angular.min.js
file.
For example on *nix, to create a an angular.js file that contains localization rules for german locale, you can do the following:
cat angular.js i18n/angular-locale_de-ge.js > angular_de-ge.js
When the application containing angular_de-ge.js
script instead of the generic angular.js script
starts, Angular is automatically pre-configured with localization rules for the german locale.
2. Including locale js script in index.html page
You can also include the locale specific js file in the index.html page. For example, if one client requires German locale, you would serve index_de-ge.html which will look something like this:
<html ng-app> <head> …. <script src="angular.js"></script> <script src="i18n/angular-locale_de-ge.js"></script> …. </head> </html>
Comparison of the two approaches Both approaches described above requires you to prepare different index.html pages or js files for each locale that your app may be localized into. You also need to configure your server to serve the correct file that correspond to the desired locale.
However, the second approach (Including locale js script in index.html page) is likely to be slower because an extra script needs to be loaded.
Currency symbol "gotcha"
Angular's currency filter allows
you to use the default currency symbol from the locale service
,
or you can provide the filter with a custom currency symbol. If your app will be used only in one
locale, it is fine to rely on the default currency symbol. However, if you anticipate that viewers
in other locales might use your app, you should provide your own currency symbol to make sure the
actual value is understood.
For example, if you want to display account balance of 1000 dollars with the following binding
containing currency filter: {{ 1000 | currency }}
, and your app is currently in en-US locale.
'$1000.00' will be shown. However, if someone in a different local (say, Japan) views your app, her
browser will specify the locale as ja, and the balance of '¥1000.00' will be shown instead. This
will really upset your client.
In this case, you need to override the default currency symbol by providing the currency filter with a currency symbol as a parameter when you configure the filter, for example, {{ 1000 | currency:"USD$"}}. This way, Angular will always show a balance of 'USD$1000' and disregard any locale changes.
Translation length "gotcha"
Keep in mind that translated strings/datetime formats can vary greatly in length. For example,
June 3, 1977
will be translated to Spanish as 3 de junio de 1977
. There are bound to be other
more extreme cases. Hence, when internationalizing your apps, you need to apply CSS rules
accordingly and do thorough testing to make sure UI components do not overlap.
Timezones
Keep in mind that Angular datetime filter uses the time zone settings of the browser. So the same application will show different time information depending on the time zone settings of the computer that the application is running on. Neither Javascript nor Angular currently supports displaying the date with a timezone specified by the developer.


As part of the move to Eclipse the AdoptOpenJDK will no longer produce new builds. It is therefore recommended that projects should migrate to using api.adoptium.net as soon as possible. Please see the Migration Guide for more details.
Clients that require OpenJ9/Semeru builds for now can continue to use AdoptOpenJDK. However, should look out for the upcoming Semeru api that will be the future delivery channel for Semeru builds.
The AdoptOpenJDK API provides a way to consume JSON information about the AdoptOpenJDK releases and nightly builds. Sign up to the mailing list where major API updates will be announced, and visit adoptopenjdk.net to find out more about the community.
View usage at swagger-ui docs
For more information, including example queries, please look at STRUCTURE.md


Photo by Farah Nosh
Interview by Madeleine Johnsson
Text by Hadley Stack
Style by Layla Soeker
By day, she is Jayda Guy, an environmental toxicologist, studying how pollution affects marine mammals; by night, she is “Jayda G” - spinning records on dance floors from Vancouver to Berlin. Performing across the world wasn’t Jayda G’s intended path, but the Canadian DJ follows no rules but her own. I first caught Jayda performing in Berlin along side DJ Fett Burger and Double Dancer; the venue – which party-goers access by way of a dark graffitied staircase - could barely contain the energy of her set. Overlooking the buzzing, grimy streets of Kottbusser Tor in Kreuzberg, the dance floor was hopping until the sun came up. There’s no denying that Jayda G knows how to throw a good party: her energy is as infectious as her music is groovy. Jayda’s taste in music draws from that of her parents and their extensive and lovingly assembled record collection. Having grown up surrounded by such musical depth and diversity – soul and funk from dad; jazz from mom - Jayda has forged a unique sound, one that makes it impossible not to dance along with her. Studying piano and violin into adulthood, Jayda’s musical influences draw, also, from a classical foundation - not surprising given her discipline in both music and academia.
On the phone, Jayda is effusive and warm, taking time to chat between playing shows and interviewing with her hometown Gazette. While she’s not performing or studying, Jayda spends her time amassing a vinyl collection of her own, searching for records from Berlin to Oslo. The mention of her record collection leads us to the million-dollar question for any DJ: “What is your favorite record?” Jayda answers humbly – she laughs and admits that Aretha Franklin probably takes the cake; “The tracks that I love aren’t anything out of the ordinary. I just think that sometimes people forget how awesome they are.” Jayda’s sincere love and appreciation for music, in every genre, is apparent in her live sets. Her lack of pretension has allowed her to leap ahead of DJs who perform more standard, predictable sets. “When I’m on tour and I come into a new city, the first thing I do is ask the promoters where the best record store is. I love to dig!” And what happens when Jayda finds a record she loves? God forbid you’re nearby. “I get way too excited, I just start jumping up and down. And whoever is around me has to hear about it for the rest of the day!” But any self-proclaimed music lover can understand the true thrill that accompanies finding that tune.
As fun as it is, the DJ lifestyle can also be taxing; sleeping during the day, working through the night, and waking up in different cities week in and week out. Parties, particularly in Berlin, are wild, and playing at clubs until the wee hours of the morning can be draining. Even for Jayda, a ball of sincere and unbridled energy, the lifestyle is exhausting. “I love to party, I love to dance. But I am a morning person! Staying up until four and five in the morning is no easy feat.” How does she stay focused, excited, and inspired to keep plowing ahead? “The biggest thing that has inspired me is being at home and centering myself – getting in touch with myself and my needs and what makes up Jayda.”
While the community of DJs and producers is traditionally male dominated, Jayda and other pioneering female DJs across the world are making slow but steady inroads into the field, a battle she could not have won without a strong community back home. “I have been really fortunate. I was lucky to find a community [in Vancouver] that was receptive to me, and I can say that for a lot of the Vancouver crews for sure.” The mantra, she says, is simple: “If you’re a good DJ, you’re a good DJ.” And good DJ, she is. Last year, Jayda G collaborated with Sex Tags label co-founder DJ Fett Burger on her debut EP NYC Party Track, before releasing tracks of her own: Jaydaisms and Sixth Spirit of the Bay.
Even as she moves further into the spotlight, Jayda never loses a sense of her roots: she opened her latest two-hour sonic trip at NYC’s iconic Boiler Room with the unearthly sounds of killer whales. “You have to be confident in yourself. If the audience is there for the right reasons, they’re going to pick up on that. I try to bring my own personal energy. The message – 'music has no boundaries' – is to really get people out of their heads and into their hearts and feel the music! Music is supposed to move you – it makes you feel inspired and alive! When you put boundaries around it, you lose that a lot.” Bouncing and grooving until the sun comes up over the gritty streets of Kreuzberg, there’s no denying that Jayda Guy has found her element.


ASSASSINS A film review by James Berardinelli Copyright 1995 James Berardinelli
RATING (0 TO 10): 4.1
United States, 1995 U.S. Availability: 10/6/95 (wide) Running Length: 2:12 MPAA Classification: R (Violence, profanity) Theatrical Aspect Ratio: 1.85:1
Cast: Sylvester Stallone, Antonio Banderas, Julianne Moore, Anatoly Davydov Director: Richard Donner Producers: Joel Silver, Bruce A. Evans, Raynold Gideon, Andrew Lazar, and Jim Van Wyck Screenplay: Andy Wachowski and Larry Wachowski Cinematography: Vilmos Zsigmond Music: Mark Mancina U.S. Distributor: Warner Brothers
Some time ago, I wrote that Sylvester Stallone was a better actor than Steven Seagal. While that was once true, the recent difference between the two might be likened to that of oak and maple: despite dissimilar textures, each is still wood(en). Oddly, Stallone, who once shone in ROCKY, seems to have adopted the non-emotive state in response to the desire of his most ardent fans, who want action, not character. Those Stallone die-hards should be pleased with their idol's latest, ASSASSINS. It effectively fills the above mandate.
One of the most serious gaps in this film is that the script calls for a hero suffering through a deep moral crisis--with the cold war over, hired killer and ex-government operative Robert Rath (Stallone) is re-evaluating his life and career choice--but Stallone is ill-equipped to play someone engaged in a deep inner struggle. It's like Arnold Schwarzenegger essaying an existentialist--laughably absurd. And "absurd" is precisely what a good portion of ASSASSINS is. In addition to Stallone's inflexible facial expression, the film is saddled with a preposterous script and hideous dialogue. Plus, it weighs in at a too- long one-hundred thirty-two minutes.
The plot is an excuse for gun fights. Rath is trying to get out of the hit business after one final $2,000,000 score. He has an adversary, however, in the person of Miguel Bain (Antonio Banderas), who is a great admirer of Rath's, but intends to take him out anyway. After all, there can only be one #1, and Bain intends to be it. Rath (like the audience) could care less. He just wants to get out rich and alive.  Of course, once Rath actually meets his quarry, he decides she's too attractive to kill. Thus begins one of the great screen romances of the last five minutes...
The cast is interesting. Aside from Stallone, there's Antonio Banderas, who's fast becoming a big-time sex symbol (quite a feat for someone who started out as a Pedro Almodovar regular). It's Banderas' pecs, however, not his acting, on display here. His Bain is a pure caricature--he laughs, sneers, and sweats his way through the part. As for the presence of a solid talent like Julianne Moore in this living comic book... at least she got a nice paycheck.
Director Richard Donner, of LETHAL WEAPON trilogy fame, might do better going back to Mel Gibson as his leading man. Come to think of it, though, even an accomplished actor couldn't do much with this screenplay. The action scenes are competently constructed, and the climactic shootout provides a few moments of tension, but that's scarcely reason to sit through the rest of ASSASSINS' drivel. It all amounts to nothing, anyway--these two indestructible supermen are both guaranteed to be on their feet until the final showdown, which inevitably happens during the last five minutes. There are plenty of more exciting, reasonably intelligent action films (including the aforementioned LETHAL WEAPONs) available to the adrenaline junkie. Of course, with all the gunplay, the body count here goes pretty high, but the biggest casualty of ASSASSINS is the viewer who expects to get something remotely original out of this recycled formula with its stony star.
- James Berardinelli<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Motion Picture
Imagin Dragon
Simple Plan
Röyksopp
01
The Mother’s Portrait - Bruno Coulais
02
The Sea Scene - Bruno Coulais
03
Song of the Sea - Lisa Hannigan
Album by Motion Picture - 2014
01
The Mother’s Portrait - Bruno Coulais
02
The Sea Scene - Bruno Coulais
03
Song of the Sea - Lisa Hannigan


Wiki ▸ [[API Reference]] ▸ [[Layouts]] ▸ Hierarchy ▸ Cluster Layout
The cluster layout produces dendrograms: node-link diagrams that place leaf nodes of the tree at the same depth. For example, a cluster layout can be used to organize software classes in a package hierarchy:
Like other classes in D3, layouts follow the method chaining pattern where setter methods return the layout itself, allowing multiple setters to be invoked in a concise statement.
# d3.layout.cluster()
Creates a new cluster layout with the default settings: the default sort order is null; the default children accessor assumes each input data is an object with a children array; the default separation function uses one node width for siblings, and two node widths for non-siblings; the default size is 1×1.
# cluster(root)
# cluster.nodes(root)
| Runs the cluster layout, returning the array of nodes associated with the specified root node. The cluster layout is part of D3’s family of [[hierarchical | Hierarchy-Layout]] layouts. These layouts follow the same basic structure: the input argument to the layout is the root node of the hierarchy, and the output return value is an array representing the computed positions of all nodes. Several attributes are populated on each node: |
Although the layout has a size in x and y, this represents an arbitrary coordinate system; for example, you can treat x as a radius and y as an angle to produce a radial rather than Cartesian layout.
# cluster.links(nodes)
Given the specified array of nodes, such as those returned by nodes, returns an array of objects representing the links from parent to child for each node. Leaf nodes will not have any links. Each link is an object with two attributes:
This method is useful for retrieving a set of link descriptions suitable for display, often in conjunction with the diagonal shape generator. For example:
javascript
svg.selectAll("path")
.data(cluster.links(nodes))
.enter().append("path")
.attr("d", d3.svg.diagonal());
# cluster.children([children])
If children is specified, sets the specified children accessor function. If children is not specified, returns the current children accessor function, which by default assumes that the input data is an object with a children array:
javascript
function children(d) {
return d.children;
}
Often, it is convenient to load the node hierarchy using d3.json, and represent the input hierarchy as a nested JSON object. For example:
javascript
{
"name": "flare",
"children": [
{
"name": "analytics",
"children": [
{
"name": "cluster",
"children": [
{"name": "AgglomerativeCluster", "size": 3938},
{"name": "CommunityStructure", "size": 3812},
{"name": "MergeEdge", "size": 743}
]
},
{
"name": "graph",
"children": [
{"name": "BetweennessCentrality", "size": 3534},
{"name": "LinkDistance", "size": 5731}
]
}
]
}
]
}
The children accessor is first invoked for root node in the hierarchy. If the accessor returns null, then the node is assumed to be a leaf node at the layout traversal terminates. Otherwise, the accessor should return an array of data elements representing the child nodes.
# cluster.sort([comparator])
If comparator is specified, sets the sort order of sibling nodes for the layout using the specified comparator function. If comparator is not specified, returns the current group sort order, which defaults to null for no sorting. The comparator function is invoked for pairs of nodes, being passed the input data for each node. The default comparator is null, which disables sorting and uses tree traversal order. For example, to sort sibling nodes in descending order by the associated input data’s string name attribute, say:
javascript
function comparator(a, b) {
return d3.ascending(a.name, b.name);
}
See d3.ascending or d3.descending for details.
# cluster.separation([separation])
If separation is specified, uses the specified function to compute separation between neighboring nodes. If separation is not specified, returns the current separation function, which defaults to:
javascript
function separation(a, b) {
return a.parent == b.parent ? 1 : 2;
}
A variation that is more appropriate for radial layouts reduces the separation gap proportionally to the radius:
javascript
function separation(a, b) {
return (a.parent == b.parent ? 1 : 2) / a.depth;
}
The separation function is passed two neighboring nodes a and b, and must return the desired separation between nodes. The nodes are typically siblings, though the nodes may also be cousins (or even more distant relations) if the layout decides to place such nodes adjacent.
# cluster.size([size])
If size is specified, sets the available layout size to the specified two-element array of numbers representing x and y. If size is not specified, returns the current size, which defaults to 1×1, or null if a nodeSize is in use. Although the layout has a size in x and y, this represents an arbitrary coordinate system. For example, to produce a radial layout where the tree breadth (x) in measured in degrees, and the tree depth (y) is a radius r in pixels, say [360, r].
# cluster.nodeSize([nodeSize])
If nodeSize is specified, sets a fixed size for each node as a two-element array of numbers representing x and y. If nodeSize is not specified, returns the current node size, which defaults to null, meaning that the layout has an overall fixed size, which can be retrieved using size.
# cluster.value([value])
If value is specified, sets the value accessor to the specified function. If value is not specified, returns the current value accessor which defaults to null, meaning that the value attribute is not computed. If specified, the value accessor is invoked for each input data element, and must return a number representing the numeric value of the node. This value has no effect on the cluster layout, but is generic functionality provided by hierarchy layouts.


Memoization and the Fibonacci Sequence
Table of Contents
What It Is
This is a note on using memoization with recursion - specifically with the generation of a Fibonacci Number. The fibonacci numbers form a sequence where
\[ F_0 = 0, F_1 = 1 \]
and then for the rest of the numbers greater than 1
\[ F_n = F_{n-1} + F_{n-2} \]
So, starting from 0 you get 0, 1, 1, 2, 3, 5, 8, etc.
Recurse
Calculating the sequence is often done with recursion because you can pretty much take the definition and convert it to a function with little translation.
def fibonacci(n: int) -> int:
"""Calculates the n-indexed fibonacci number
Args:
n: the index of the number in the (zero-based) sequence to get
Returns:
fibonacci number at index n
"""
assert n >= 0
if n < 2:
return n
return fibonacci(n - 1) + fibonacci(n - 2)
expected = 55
actual = fibonacci(10)
print(actual)
assert expected == actual, actual
55
Remember that n is the index for number, not the count (the second number in the sequence has index 1).
The problem here is that recursion like this has memory limits and takes a long time.
from graeae import Timer
TIMER = Timer()
expected = 102334155
n = 40
with TIMER:
actual = fibonacci(n)
print(n)
assert actual == expected, actual
2020-11-09 21:11:05,852 graeae.timers.timer start: Started: 2020-11-09 21:11:05.852071 2020-11-09 21:11:50,249 graeae.timers.timer end: Ended: 2020-11-09 21:11:50.249808 2020-11-09 21:11:50,251 graeae.timers.timer end: Elapsed: 0:00:44.397737 40
Less than a minute might not seem like a big deal, but even pushing it up to 45 makes the wait too long (I gave up and killed the process so I don't know how long it ran). So what's the solution? Let's try memoization.
Memoize
So, what's memoization? Is it what Elmer Fudd does when he memorizes? No, memoization comes from the latin word memorandum which means "to be remembered". What we're going to do is create a cache dictionary that will match arguments to our function call to their outputs. Then if a function call comes in that uses arguments that were used before, we can just grab it from the cache instead of re-doing the calculations.
We're going to use a python decorator from functools named wraps
that allows you to build a decorator that looks like the original function. It isn't necessary for the decorator to work, but it makes it look more like the original functior passed to the decorator so it's a good practice to use it.
from functools import wraps
def memoize(function):
"""Adds caching
Args:
function: the callable to memoize
Returns:
callable with caching and the original function
"""
cache = {}
@wraps(function)
def wrapped(*args):
if args not in cache:
cache[args] = function(*args)
return cache[args]
return wrapped
Although it works as a decorator, since we already defined the fibonacci
function we can just pass it to memoize
to add the cache.
fibonacci = memoize(fibonacci)
Now let's see what happens.
with TIMER:
actual = fibonacci(100)
print(actual)
2020-11-10 15:45:08,117 graeae.timers.timer start: Started: 2020-11-10 15:45:08.117332 2020-11-10 15:45:08,118 graeae.timers.timer end: Ended: 2020-11-10 15:45:08.118691 2020-11-10 15:45:08,120 graeae.timers.timer end: Elapsed: 0:00:00.001359<PHONE_NUMBER>79261915075
Note: I originally tried renaming the memoized function, but since the recursive calls go to the original function name, this doesn't produce and improved function. You have to use the same name as you did when you defined the function.
So memoization really helps, even more than you might expect. The reason why is that the first recursion term (fibonacci(n - 1)
) gets evaluated first, so each recursive call goes backwards by one until it hits the base-case where n < 2
and then all the rest of the calls are evaluated, but after one run through the indexes you've already hit all the cases you need for these other calls so rather than making more recursive calls, everything gets pulled from the cache.
Once Again With Python
As is often the case, when you implement something useful in python you'll find that it's already been implemented, in this case as part of the python standard library.
from functools import lru_cache
@lru_cache(maxsize=None)
def fib_o_nacci(n: int) -> int:
"""Calculates the n-indexed fibonacci number
Args:
n: the index of the number in the (zero-based) sequence to get
Returns:
the nth fibonacci number
"""
assert n >= 0
if n < 2:
return n
return fib_o_nacci(n - 1) + fib_o_nacci(n - 2)
Note: in python 3.9 there is a cache
decorator that is the same thing as the lru_cache
with maxsize=None
but I'm running this on python 3.8 right now so I can't use it.
with TIMER:
print(fib_o_nacci(500))
2020-11-09 21:53:19,405 graeae.timers.timer start: Started: 2020-11-09 21:53:19.405955 2020-11-09 21:53:19,407 graeae.timers.timer end: Ended: 2020-11-09 21:53:19.407891 2020-11-09 21:53:19,409 graeae.timers.timer end: Elapsed: 0:00:00.001936<PHONE_NUMBER>61697880139724382870407283950070256587697307264108962948325571622863290691557658876222521294125
Okay, so, I think it works, although I'm not checking the values, the speed seems to be an improvement.


Contents |
What is missing
|
VariablesThe syntax of a variable name is $<Identifier>. $a=<value> , defines a variable. A variable can't be removed yet. When a new script is started the variables are not shared with the new process. Numbers and Strings Numbers are stored and handled as 64 bit signed integers Strings can start and end with single or double quotes. In double quoted strings variables (starting with a $) are substituted by their value. The shell variables doesn't have a type, it can contain a string or a number. It is not possible to mix strings and numbers in formula's. More info: Operators When a value is a string or a number, depends on how they are defined and not on their contents: $a='1', $a contains a string. $b= 1 , $b contains a number $c=$a+$b this fails because $a contains a string and $b contains a number. Built in variables
Parameters are stored as strings. When parameters are used with numbers they must be cast: if(number($p1) == 1) goto the_end or if($p1 == "1") goto the_end following will fail: if($p1 == 1) goto the_end |
OperatorsThe shell can handle the following operators: +, -, /, *, =, <=, =, =>, <, >, !=, == All operators can be used with numerical values, and are calculated as integers. String values can only be used with the compare operators(=,<=,=> etc..) and the load operator(=). The compare operator returns a value 1 or 0 for true of false It is not possible to mix strings and numbers in formulas, the program fails with an error messages. But a string can be cast into a number or vice versa This is neccesary because some operator handle strings different as numbers :
|
| This page copyright 2002 |


HELLO! I'M
GITAU ISAAC MAINA
HELLO! I'M
GITAU ISAAC MAINA
it has been a journey getting this farand yet going through .requires skills and consistency
WHAT I DO
PORTFOLIO
Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text.
view projectEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text.
view projectEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text.
view projectEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text.
view projectEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text.
view projectEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text.
view projectPORTFOLIO
1000
<EMAIL_ADDRESS>Copyright ©2018 All rights reserved | This template is made with ♥ by Colorlib


Datamapper is a set of development tools, used for designing and building conversion
programs. The conversion programs are then used in integrations and executed on the XIB Server.
A conversion program translates between different file formats,
but its operation can also include program access to various applications.
With Datamapper you can design conversion programs that can:
- Read standard EDI documents
- Write standard EDI documents
- Read XML documents
- Write XML documents
- Read application specific documents (in-house files)
- Write application specific documents
- Access applications through their Application Programming Interface (hereafter abbreviated to API)
Datamapper Client is a program that runs on a PC It has no direct connection with the XIB server. Datamapper produces files that are used to generate components that executes on the XIB Server.
Locally on the PC, Datamapper Client:
- Creates and revises files describing application documents or application interfaces (ADF
files).
- Creates and revises files describing the mapping.
- Reads the EDI standard tables describing the EDI documents.
- Creates files specifying the map (Map files).
- Creates files describing how to perform the mapping (Run-Time Macro files, hereafter abbreviated to RTM).
The ADF(Application Data Format) files, RTM files, and the EDI standard tables are required for generating the components. The ADF
files and RTM files are automatically copied to the server whenever they are revised by Datamapper Client.
The component is built, tested with Datamapper Builder, and registered as a component to be run on the
XIB Server.
Introduction
ADF is Application Data Format.
The ADF file defines the document structure of your data. It is built with records and fields.
The records group different fields together into logical groups. The fields contain the data.
An ADF can be of several types, for example EDI, inhouse, XML.
Create ADF
-
File > New > Application[show]
-
Fill the General:[show]
- Title: the same as ADF name, please see the naming
convertion.
- Description: type the description
- Directives: see the Directives tab
-
Fill the Delimiters:
[show].
This is the default setting, you can overwrite the delimiters when you define the Record/Field.
-
Record Delimiter: Fixed / Character / String / Implicit
- Fixed: each Record has fixed length and system will read the Record by length.
- Character: each Record ends with the specify character and system will trade
the value after the character as a new Record.
- String: each Record ends with the specify string and system will trade the
value after the string as a new Record.
- Implicit: system will read the Records depend on the field delimiter setting.
-
Field Delimiter:
- Fixed: each Field has fixed length and system will
read the Field by length.
- Character: each Field ends with the specify chara
cter and system will trade the value after the character as a new Field.
- String: each Field ends with the specify string and
system will trade the value after the string as a new Field.
-
Fill the Characters:
[show]
Coming soon...
Complete the ADF
There are two elements you can choose to create a ADF, but they have different types:
-
Record, there are two types:
-
Record, if you are familiar with FF/X12/EDIFACT, this
stands for segment or XML tag.
-
Component, it is a child of Record. If you are familiar with
FF/X12/EDIFACT, this stands for component or XML tag.
-
Field, there are three types:
-
Landmark, this is the identifier of the Record.
-
Normal, it is a normal field in Record.
-
Breakpoint, it is a normal field, but it will group the same
Record depends on this field.
Let's begin how to set the Record properties:
- Name: the record name.
- Description: the record description.
- Directives: see the Directives part.
- Delimiter: Type/Value refer to the ADF properties above.
- Record Occurrences: input the number you want, if max is 0, it means no limit.
Let's begin how to set the field properties:
- Name: the record name.
- Description: the record description.
- Directives: see the Directives part.
- Delimiter: Type/Value refer to the ADF properties above.
- Record Occurrences: input the number you want, if max is 0, it means no limit.
In order to let you know these elements more intuitively. Here is an example:
Here is a Flat File: record delimiter is ~, field delimiter is *, component delimiter is |.
Format is RECORDID*FIELD1*COMPONENT1|COMPONENT2*FIELD2
A*A01*A02|A03*A04~
A*A11*A12|A13*A04~
A*A21*A22|A23*A05~
A*A31*A32|A33*A04~
A*A41*A42|A43*A05~
Mauris eleifend est et turpis. Duis id erat. Suspendisse potenti. Aliquam vulputate, pede vel vehicula accumsan, mi neque rutrum erat, eu congue orci lorem eget lorem. Vestibulum non ante. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Fusce sodales. Quisque eu urna vel enim commodo pellentesque. Praesent eu risus hendrerit ligula tempus pretium. Curabitur lorem enim, pretium nec, feugiat nec, luctus a, lacus.
Duis cursus. Maecenas ligula eros, blandit nec, pharetra at, semper at, magna. Nullam ac lacus. Nulla facilisi. Praesent viverra justo vitae neque. Praesent blandit adipiscing velit. Suspendisse potenti. Donec mattis, pede vel pharetra blandit, magna ligula faucibus eros, id euismod lacus dolor eget odio. Nam scelerisque. Donec non libero sed nulla mattis commodo. Ut sagittis. Donec nisi lectus, feugiat porttitor, tempor ac, tempor vitae, pede. Aenean vehicula velit eu tellus interdum rutrum. Maecenas commodo. Pellentesque nec elit. Fusce in lacus. Vivamus a libero vitae lectus hendrerit hendrerit.


Standard
Edition
Champions
Edition
Ultimate
Edition
FIFA 21 Ultimate Team Packs
5 Rare Gold Packs
10 Rare Gold Packs
Kylian Mbappé Loan Item
For 5 FUT matches
Career Mode Homegrown Talent
Local youth prospect with world-class potential
FUT Ambassador Loan Item
Choose 1 of 3 player items (Trent Alexander-Arnold, João Félix, Erling Haaland) for 3 FUT matches
Soundtrack Artist FUT Kits and Stadium Items
500 FIFA Points
Exclusive to FIFA 20 owners, get 500 FIFA Points with your purchase of FIFA 21. Use FIFA Points to purchase packs and build your Ultimate Team.
FIFA 21 Base Game
Standard Edition
Champions Edition
Ultimate Edition


--- # jekyll header --- {% include header.html %}
{% include container-start.html %}| Name | Definition |
| AnatomicalDirectionVS | Anatomical location or specimen further detailing directionality. Codes are from NCI |
| AnatomicalLocationVS | Codes that describe normal and pathologic anatomic systems, regions, cavities, and spaces. |
| BreastCancerDetectionVS | Basis for cancer detection, from HL7 CDA® R2 Implementation Guide: Clinical Oncology Treatment Plan and Summary, Release 1 - US Realm Standard for Trial Use Release 3, October 2016, Volume 2 — Templates and Supporting Material. |
| BreastCancerStageVS | Codes representing the overall stage of the cancer, based on criteria defined by the staging system being used. The preferred staging system is American Joint Committee on Cancer, 8th Edition, Breast Cancer Chapter. Codes and descriptions have been redacted due to copyright restrictions. |
| BreastCancerTypeVS | Histologic types of breast cancer. Codes are drawn from ICD-O-3. Codes are presented as local codes due to the lack of a ICD-O-3 terminology server available to the FHIR IG publisher. |
| BreastSiteVS | Topography of the breast. Codes are drawn from ICD-O-3. Codes are presented as local codes due to the lack of a ICD-O-3 terminology server available to the FHIR IG publisher. |
| BreastSpecimenCollectionMethodVS | The surgical method used to obtain the tissue sample. |
| BreastSpecimenTypeVS | The type of specimen obtained from the breast. |
| ClockDirectionVS | The relative direction of an object described using the analogy of a 12-hour clock to describe angles and directions. One imagines a clock face lying either upright or flat in front of oneself, and identifies the twelve hour markings with the directions in which they point. |
| DeltaFlagVS | Indicators for degree of change (delta) from the last or previous measurement. |
| DiagnosticServiceVS | The type of laboratory service used in producing a laboratory result |
| ExceptionValueVS | Reasons that a value associated with a test or other finding is missing. Extended set based on http://hl7.org/fhir/ValueSet/observation-valueabsentreason |
| HER2IHCMethodVS | Value set containing methods of determining HER2 status by immunohistochemistry |
| HER2ISHMethodVS | Value set containing In Situ Hybridization methods of determining HER2 status |
| HER2StatusVS | HER2 status overall result |
| HER2byIHCScoreVS | Value set containing possible scores resulting from determining HER2 status by immunohistochemistry. Based on LNC#LL4396-9 answer list. |
| MammaprintRiskScoreInterpretationVS | Intepretation of Mammaprint Recurrence Score |
| MitoticCountScoreVS | Value set containing the scores for Nottingham Histologic Score Mitotic Rate |
| MorphologyBehaviorVS | The morphologic behavior of the cancer. These are the suffix to the ICD-O-3 histologic type codes. Codes are presented as local codes due to the lack of a ICD-O-3 terminology server available to the FHIR IG publisher. |
| NottinghamCombinedGradeVS | Combined score from the Nottingham grading system. |
| NuclearGradeVS | The nuclear grade describes how closely the nuclei of cancer cells look like the nuclei of normal breast cells. In general, the higher the nuclear grade, the more abnormal the nuclei are and the more aggressive the tumor cells tend to be. The nuclear grade is a part of overall tumor grade. |
| NuclearPleomorphismScoreVS | Value set containing the scores for nuclear pleomorphism. |
| OncotypeDxDCISRiskScoreInterpretationVS | Intepretation of OncotypeDX DCIS (Ductal Carcinoma In Situ) Recurrence Score |
| OncotypeDxInvasiveRiskScoreInterpretationVS | Intepretation of OncotypeDX Recurrence Score for invasive cancers. |
| PositiveNegativeEquivocalVS | Interpretation of a test result as positive, negative or equivocal. |
| PositiveNegativeVS | Value set containing the values positive and negative. Values are from National Library of Medicine Metathesaurus. |
| PresenceContextVS | A code describing whether the finding in question is present, possible, suspected, etc. |
| RecurrenceRiskScoreInterpretationVS | Interpretations of risk as high, intermediate, or low. Answer set taken from LOINC LL3198-0 |
| StageTimingPrefixVS | When staging was done, relative to treatment events. |
| StagingMethodVS | The methodology or standard used to assign the cancer's overall stage. |
| StainingIntensityVS | Part of the Allred scoring, based on the intensity of that staining, on a scale of 0 (Negative) to 3 (Strong). |
| TubuleFormationScoreVS | Value set containing the extent (scope) of tubule formation. |
| YesNoUnknownVS | A simple value set containing the values Yes (or true), No (or false), and Unknown |


Why Homebrew?
- Fun hobby
- Community
- C'mon, BEER!
Water
Malted Barley
Hops
Yeast
Other Stuff
- Specialty grains, oats, wheat, etc
- Spices: cinammon, corriander, pepper
- Fruit: cherry, peach, orange peel
- Coffee, chocolate... the list goes on
- (Also love)
So... How Do You Make It?
Step 1: Gather Your Supplies
Ingredients
Tools
- Carboy (fermenter)
- Racking cane + tubing
- Mesh filter + funnel
- Pots, pans, cups
- Bottles + caps
- Sanitizer
Step 2: Steep the Grains
Step 3: Add the Malt Extract
Step 5: Cool and Filter
Step 6: "Pitch" the Yeast
Step 7: Fermentation
Step 9: Bottle the Beer
Step 10: Enjoy!
So... How Do I Get Started?


---
layout: post
title: wooden frames constructed
date: '2007-07-27T02:18:00.000+02:00'
author: Steven Van Acker
tags:
modified_time: '2008-01-19T21:37:41.974+01:00'
blogger_id: tag:blogger.com,1999:blog-5513234137363262204.post-7231468327925346811
blogger_orig_url: http://www.singularity.be/2007/07/wooden-frames-constructed.html
---
I finished building 2 wooden frames to hold the plastic. Pictures can be found here:
[G2:11574]
A couple of things to note:
First, don't believe anything coming from a hardwarestore. Well, maybe not anything, but still it's a good idea to doublecheck it.
As you can see on this picture [G2:11592], the width of my planks is not 36 but 35mm.
Also, it doesn't look like any of the planks I bought was straight. I didn't notice it at the store because all 10 were tied well together. So keep that in mind...
This is what my frames look like in the vacuform rack
[G2:11613]


Checks open file with Dialyzer.
Please specify correct path to your
plt
file in
Settings > Erlang External Tools


C
lear
H
ead
Ask your queries freely in the chatbot we are not storing your data so keep chill.
SEND


House consumption has no prediction pattern yet.
This building has no energy sources.
Configure energy sources under "Configuration" "Data Processing" "Energy Sources".
This energy source has no prediction pattern yet.


Robertson, Sandy Edwin John
| Birth Name | Robertson, Sandy Edwin John |
| Gender | female |
Narrative
SMH - Robertson, Sandy Edwin John A.M. - 14 July, 1988, at home, (M.B.B.S., F.R.C.P., F.R.A.C.P.) cherished husband of Gwenda, father of Edwina & Vicki, father-in-law of Tjerk & Ian, beloved grandaddy of Teya, Marta, Alice, Chloe, William, Joseph & Thomas.
FUNERAL - ROBERTSON - The Rels & friends of the late SANDY EDWIN JOHN ROBERTSON are invited to attend his funeral service to be held in St. Mark's Anglican Church, Darling Point, next Monday morning (18 July, 1988), at 10 o'clock.
At the conclusion of service the funeral will leave for Northern Suburbs Crematorium.
Events
| Event | Date | Place | Description | Sources |
|---|---|---|---|---|
| Death | 1988-07-14 | at home | ||
|
|
||||
| Burial | 1988-07-18 | Northern Suburbs Crematorium Ryde NSW | ||
|
|
Families
Family of Ashcroft, [Living] and Robertson, Sandy Edwin John |
|||||||||||
| Married | Husband | Ashcroft, [Living] ( * + ... ) | |||||||||
| Children |
| Name | Birth Date | Death Date |
|---|---|---|
| Robertson, [Living] | ||
| Robertson, [Living] |
| Type | Value | Notes | Sources |
|---|---|---|---|
| _UID | 8FCF53285205DB1195228E0D8F2B6147D0CA |
Attributes
| Type | Value | Notes | Sources |
|---|---|---|---|
| _UID | 8ECF53285205DB1195228E0D8F2B6147CFBA |
Pedigree
-
- Robertson, Sandy Edwin John


Algorithm:
Greedy
Knuth & Plass
Knuth & Plass Variable
Alignment:
Measure:
Hyphenation:
Show charts:
Highlight space:


Table Name: tabLeave Type
| Sr | Fieldname | Type | Label | Options |
|---|---|---|---|---|
| 1 | leave_type_name |
Data | Leave Type Name | |
| 2 | max_leaves_allowed |
Int | Max Leaves Allowed | |
| 3 | applicable_after |
Int | Applicable After (Working Days) | |
| 4 | max_continuous_days_allowed |
Int | Maximum Continuous Days Applicable | |
| 5 | column_break_3 |
Column Break | ||
| 6 | is_carry_forward |
Check | Is Carry Forward | |
| 7 | is_lwp |
Check | Is Leave Without Pay | |
| 8 | is_optional_leave |
Check | Is Optional Leave | |
| 9 | allow_negative |
Check | Allow Negative Balance | |
| 10 | include_holiday |
Check | Include holidays within leaves as leaves | |
| 11 | is_compensatory |
Check | Is Compensatory | |
| 12 | encashment |
Section Break | Encashment | |
| 13 | allow_encashment |
Check | Allow Encashment | |
| 14 | encashment_threshold_days |
Int | Encashment Threshold Days | |
| 15 | earning_component |
Link | Earning Component | Salary Component |
| 16 | earned_leave |
Section Break | Earned Leave | |
| 17 | is_earned_leave |
Check | Is Earned Leave | |
| 18 | earned_leave_frequency |
Select | Earned Leave Frequency |
Monthly Quarterly Yearly |
| 19 | rounding |
Select | Rounding |
0.5 1.0 |
Inherits from frappe.model.document.Document


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To view results you will need to click the 'sync' button () in the left-side menu bar.


The Geometrixx Communities reference demonstration for AEM Communities is now available on your environment.
The primary demonstration users are:


Ready to play Event Roulette?
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WELCOME TO ALL ABOUT MARATHON TRAINING!
This is just a random brainless idea.-- My hobbies include:
Running
Photography
Photoshop
Let's stop wasting time and get moving! We've got half marathon + full marathon training plans, information and tips, everything to get you from the couch to the finish line. There is so much to learn and experience in the world of running. Which is why you're going to find so much in these pages to completely make you want to unplug and go for a run. (You know that feeling too, huh? :))
14+
Partners
55+
Projects Done
89+
Meetings
1500+
Happy Runners
Partners
Projects Done
Meetings
Happy Runners
WHAT DO YOU WANT TO DO
BECOME A BETTER RUNNER
I HAVE TIPS FOR EVERYONE
Click an image for more info.
Why you should start marathon training...
Just look at what running is.
It's peaceful runs out in the beauty of nature. It's running for the sheer joy of running. It’s training not only your body but also your mind. It's the feeling of accomplishment, passion and discovery.
It's meeting new people and making new friends, it's anxious pre-race nights and thrilling early mornings.
It's blisters and sores, it's old shoes and new. It's starting lines and finish lines and everything in between.
It's the difference between feeling good and feeling that we need to do something, give something. It's being able to eat that fifth chocolate chip cookie.
It's bringing out the best in yourself so that you can give others your best.
It's fun, it's exhausting, it's complicated, it's exciting.
It's hard but it is worth every ounce of effort.
Trust me, you won't regret your decision to run a marathon whether its your first or one hundreth. If you put in the time and the effort you will reap the rewards and prove to yourself that you can do anything.
Anything.
Before you hit the road running...
Remember that as Benjamin Franklin said, “By failing to prepare, you are preparing to fail”. Commit yourself to your running and the marathon and use his adage in a positive light, “Successfully preparing is preparing for success.”
You will succeed if you train properly. And in doing so you will find an incredible outlet that you can enjoy for many years to come.
So lace up your running shoes, hit the road and discover or keep discovering the joys of running and marathon training!
Time to be epic!
P.S. Don't be a stranger. Every runner needs a support system
and I would love to be on your cheering squad!
Sign up to receive training tips and tools 2x a month and turn into a full blooded runner!
Have your say about what you just read! Leave me a comment in the box below.


|
Affordable Medical Ultrasound Training Simulator
a medical ultrasound training simulator built in Unity3D.
|
Class responsible for detecting which organs can possibly be hit by raycasts. More...
Public Member Functions | |
| HorayOrganCuller () | |
| Instantiate a new HorayOrganCuller. | |
| IList< GameObject > | HitableOrgansOnScanlines (IList< UltrasoundScanline > scanlines, UltrasoundProbeConfiguration config) |
| Based on a probe configuration, determine which organs can possibly appear in the image. More... | |
Private Member Functions | |
| void | CheckScanlines (IList< UltrasoundScanline > scanlines) |
| Checks a list of scanlines for visible objects. More... | |
| IList< GameObject > | ValidOrgansOnScanline (UltrasoundScanline scanline) |
| Checks an individual scanline for valid organs. More... | |
| void | RemoveExpiredObjects () |
| Removes organs that are visible, but haven't been seen recently enough. More... | |
Private Attributes | |
| readonly IList< GameObject > | allOrgansInScene |
| List of every GameObjects in the scene with a HorayMaterialProperties component. | |
| SortedDictionary< float, GameObject > | currentVisibleOrgans |
| When organs are detected as visible, they are added to this queue. More... | |
| IDictionary< GameObject, float > | reverseMapLookup |
| If a GameObject is already in currentVisibleOrgans, but we need to update its key, we need to be able to get the key for the object. More... | |
| int | SCANLINES_PER_FRAME = 5 |
| The number of scanlines to check per frame. More... | |
| float | EXPIRATION_TIME_IN_SECONDS = 5f |
| How long to wait to remove an organ. More... | |
| int | scanlineIndex |
| The last scanline checked during the previous frame. | |
Class responsible for detecting which organs can possibly be hit by raycasts.
This function is roughly analagous to "culling" in a traditional 3D renderings pipeline.
There may be a short (2-5 frame) delay before new objects are recognized as potentially visible.
|
private |
Checks a list of scanlines for visible objects.
If an object on the scanlines is hit by a raycast, it is marked as visible (added to the currentVisibleOrgans and reverseMapLookup dictionaries).
Visible objects are given an expiration time (EXPIRATION_TIME_IN_SECONDS after the present). If an object that is already known to be visible is detected, its expiration time is reset.
This method only checks a few scanlines each frame (as defined in the SCANLINES_PER_FRAME constant). We attempt to check scanlines that are spread apart, rather than checking sequentially, so that new objects are detected more quickly. For example, if there are 10 scanlines in total, it is more helpful to check scanlines (0, 3, 6, 9) in a single frame than to check (0, 1, 2, 3).
| scanlines | The set of all scanlines sent out by this probe. |
| IList<GameObject> HorayOrganCuller.HitableOrgansOnScanlines | ( | IList< UltrasoundScanline > | scanlines, |
| UltrasoundProbeConfiguration | config | ||
| ) |
Based on a probe configuration, determine which organs can possibly appear in the image.
| scanlines | The list of scanlines to be checked. |
| config | The current UltrasoundProbeConfiguration |
|
private |
Removes organs that are visible, but haven't been seen recently enough.
(i.e. the time that the organ was last hit by a raycast is more than EXPIRATION_TIME_IN_SECONDS ago)
|
private |
Checks an individual scanline for valid organs.
| scanline | The UltrasoundScanline being tested |
|
private |
When organs are detected as visible, they are added to this queue.
The Key for the organ should be the time that it was added (as measured by Time.time). Organs are removed from the dictionary after EXPIRATION_TIME.
|
private |
How long to wait to remove an organ.
If the probe is configured for a large number of scanlines then this time may need to be increased.
|
private |
If a GameObject is already in currentVisibleOrgans, but we need to update its key, we need to be able to get the key for the object.
.NET does not have a two-way SortedDictionary, so we must create another dictionary structure to hold the inverse relationship.
|
private |
The number of scanlines to check per frame.
This may be increased on faster machines so that newly visible organs are recognized more quickly.


Verify that acquires and releases are balanced when using semaphors.
If a semaphore becomes unbalanced it could either block system execution (too many acquires) or it could allow too many threads to access a resource (too many releases). Other reference counting mechanisms could cause other unexpected results such as memory leaks or release of interfaces before your code is done using them.
Use the following steps to verify that acquires and releases are balanced when using semaphors:
Trace execution paths. Trace each execution path and verify that each acquire is matched with a release.
Check error paths. Pay particular attention to error paths. Trace all error paths to verify that each acquire is matched with a release.
Perform the following actions to assure that semaphores are used correctly:
Trace execution paths. Trace your execution paths to make sure that each aquire is matched with a release. It is easiest to do this if the match is always made in the same function so that you don't have to trace between multiple functions or components. In the case of a semaphore it is best practice to use the resource for as little time as possible so matching a release closely to an acquire can help you kill two birds with one stone.
Check error paths. Be especially careful with error paths. When using exceptions place the release call in a finally block to ensure it is called in the course of normal execution or in the case of an exception. When using normal error handling logic, ensure that each return path out of a function releases the correct number of references.
In the following example, the semaphore is acquired before the read call and is released after the parseBuffer call. However, it is not released in the case of an error with the read.
bool ReadFromSocket(SOCKET socket, char *recvBuffer, int len)
{
//first read from the socket
gSemaphore.Aquire();
int ret = read(socket, recvBuffer, len, 0);
if (ret >= 0)
{
//now parse the buffer
parseBuffer(recvBuffer, len);
gSemaphore.Release();
return true;
}
else
{
//can call WSAGetLastError if we need error details
return false;
}
}
In the following example, the semaphore is acquired before the read call and is released after the parseBuffer call and also in the error handler.
bool ReadFromSocket(SOCKET socket, char *recvBuffer, int len)
{
//first read from the socket
gSemaphore.Aquire();
int ret = read(socket, recvBuffer, len, 0);
if (ret >= 0)
{
//now parse the buffer
parseBuffer(recvBuffer, len);
gSemaphore.Release();
return true;
}
else
{
gSemaphore.Release();
return false;
}
}


Set a rowDetailsRenderer
to enable row details feature.
Adding items to grid.detailsOpenedItems
array or invoking openItemDetails(item)
will open details for the corresponding row.
Row Details can be enabled by providing a <template class="row-details">
and toggling item details by using {{detailsOpened}}
template variable,
detailsOpenedItems
property or openItemDetails(item)
and
closeItemDetails(item)
methods.
Hi! My name is [[item.name.first]]!
[[item.email]]


|
SphinxBase
5prealpha
|
Data Fields | |
| YY_EXTRA_TYPE | yyextra_r |
| FILE * | yyin_r |
| FILE * | yyout_r |
| size_t | yy_buffer_stack_top |
| index of top of stack. More... | |
| size_t | yy_buffer_stack_max |
| capacity of stack. More... | |
| YY_BUFFER_STATE * | yy_buffer_stack |
| Stack as an array. More... | |
| char | yy_hold_char |
| int | yy_n_chars |
| int | yyleng_r |
| char * | yy_c_buf_p |
| int | yy_init |
| int | yy_start |
| int | yy_did_buffer_switch_on_eof |
| int | yy_start_stack_ptr |
| int | yy_start_stack_depth |
| int * | yy_start_stack |
| yy_state_type | yy_last_accepting_state |
| char * | yy_last_accepting_cpos |
| int | yylineno_r |
| int | yy_flex_debug_r |
| char * | yytext_r |
| int | yy_more_flag |
| int | yy_more_len |
| YYSTYPE * | yylval_r |
Definition at line 623 of file jsgf_scanner.c.
| YY_BUFFER_STATE* yyguts_t::yy_buffer_stack |
Stack as an array.
Definition at line 633 of file jsgf_scanner.c.
| size_t yyguts_t::yy_buffer_stack_max |
capacity of stack.
Definition at line 632 of file jsgf_scanner.c.
| size_t yyguts_t::yy_buffer_stack_top |
index of top of stack.
Definition at line 631 of file jsgf_scanner.c.


Strikes resume in Iraq to bolster anti-regime protests
Sit-ins have become the go-to tactic for the rallies that erupted in early October in rage over corruption, a lack of jobs and an out-of-touch political class.
Iraqis flooded the streets of the capital and southern cities on Sunday in a general strike that bolstered the weeks-long movement demanding a government overhaul.
Sit-ins have become the go-to tactic for the rallies that erupted in early October in rage over corruption, a lack of jobs and an out-of-touch political class.
They have resisted efforts by security forces to snuff them out and on Sunday, thousands came out across the country after activists called for a general strike.
In the southern hotspots of Kut, Najaf, Diwaniyah and Nasiriyah, schools and government offices were shut as swelling crowds hit the streets.
Protesters cut roads in the oil-rich port city of Basra by burning tyres and in Hillah, south of Baghdad, students and other activists massed in front of the provincial headquarters.
"We'll keep up our protest and general strike with all Iraqis until we force the government to resign," said Hassaan al-Tufan, a lawyer and activist.
In Baghdad hundreds of students skipped class to gather in Tahrir (Liberation) Square, the beating heart of the protest movement.
"No politics, no parties, this is a student awakening!" read one banner carried by young Iraqis with rucksacks.
They waved the Iraqi tricolour, marching north from Tahrir to the nearby Khallani Square.
Security forces had pulled back from their positions along that street early Saturday and demonstrators spilled out into those neighbourhoods and onto the nearby Al-Sinek bridge.
They immediately set up tents on a first segment of the bridge, facing off against riot police stationed behind two layers of thick concrete blast walls.
Just beyond those barriers was the embassy of neighbouring Iran, which protesters have criticised for propping up the government they want to bring down.
"We students are here to help the other protesters, and we won't retreat a single step," said a teenager wearing thick black-framed glasses.
Speaking anonymously because he said he had been threatened for his involvement in the anti-government movement, he said hundreds of teenagers had skipped class.
Nearby, a volunteer medic in plastic surgeons' gloves urged labourers across Iraq to join the strike.
"Everyone should have a time set aside to take part in the protest," he said.
The government has proposed a laundry list of reforms in recent weeks but demonstrators have brushed them off as too little, too late in a country ranked the 12th most corrupt in the world by Transparency International.
"These steps, these reforms are just an opiate for the masses. Nothing more, nothing less," another protester said on Sunday.
Pointing across the river to the area where parliament, the premier's office and other key buildings are, he insisted the protesters wanted "new faces."
"There are so many capable young people in Iraq who are deprived -- and unfortunately those are the guys that rule us?" he said.


Confirmed
Active
Recovered
Death
Red zones
Orange zones
Green zones
by
Mayukh
🇮🇳
Getting geo coordinates.


LAW OF DESIRE (1987) A film review by Edwin Jahiel Copyright 1996 Edwin Jahiel
He-he. He-she. She-She. Hee, hee!
LAW OF DESIRE (La Ley del Deseo) (Spain, 1987) *** 1/4. Written and directed by Pedro Almodovar. Photography, Angel Luis Fernandez. Editing, Jose Salcedo. Costumes, Jose Maria Cossio. Decoration, Javier Fernandez. Cast: Eusebio Poncela, Carmen Mayra, Antonio Banderas, Miguel Molina, Manuela Velasco, Bibi Andersen, Fernando Guillen, Nacho Martinez, Helga Line, et al. Released by Cinevista (theatrically) and New Yorker Films (non-theatrically). In Spanish with subtitles. 100 minutes. No rating.
When years ago I revisited Italy, what impressed me most was that Italian women had suddenly become so beautiful and so chic that they were almost stealing the thunder from Parisians. When I returned to Spain after Generalissimo Francisco Franco's death (1975), a rise in street pulchritude was also evident. What really struck me though was that people were now talking openly in the cafes and that sex magazines were hanging on kiosks like leaves on the trees of a rain forest. It was astonishing but not unusual. Those things go together, as reaction (and overreaction) to generations of traditionalism, prudishness and repression .
These days in Madrid there is something that the media call a movement, and have baptized "La Movida," a no-holds -barred flowering of swinging art and lifestyles in which filmmaker Pedro Almodovar figures with outrageous prominence.
LAW OF DESIRE is Almodovar's sixth and latest feature. His WHAT HAVE I DONE TO DESERVE THIS? which was recently shown in the US, opens in a martial arts academy with the impromptu lovemaking between a charlady and a stranger.
LAW OF DESIRE 's start is an even greater provocation to the squeamish, with a prolonged autoerotic scene by a man. You may call it graphic or not-so-graphic as it does leaves enough to the imagination--it's a matter of semiological and semenological interpretation, and of cultural standards. Having, however, produced his initial shock, "enfant terrible" Almodovar seems satisfied and tones down the descriptions in the balance of the movie.
This first scene turns out to be a movie-within-a-movie, and a hit with its Movida-type public. The film's maker is Pablo Quintero, a writer-director of plays and films, and an idol of the avant-garde Madrilenos.
Pablo is a homosexual, although in his case and those of his companions, there are strong hints of bisexuality too. He is promiscuous, but, as I see it, not so much in absolute terms than as a form of autoeroticism, the psychological equivalent of the opening scenes. Just as any artist--including Pablo--wants to be admired, the private/public Pablo also wants to be desired. This is a rather messy state of mind.
To complicate matters further, Pablo is also in love with young Juan who responds yet is not quite sure that it's the way to go for him. To complicate the complication, Pablo has a beloved sister, Tina (Carmen Maura) who used to be his brother before he-she had a sex change.

Ada really belongs to another Ada, her mother, who used to be Tina's lover but is now searching for the perfect mate in Italy. Ada Senior is the most beautiful woman in the film. I thought for a moment that she was Ali MacGraw.  Later yet I was told that Bibi is a famous transvestite in Madrid.
More to come. ( I'll do what I can, even though I keep laughing as I write these lines. They have to be written because, in the odd, fragmented way people and events are presented, it takes a long time for them to sink in and be sorted out.)
Pablo and another admirer, Antonio, the son of a well-to-do politician, pick each other up. Antonio has slicked down black hair, so brilliantined that it's like the surface of a 78 rpm phonograph record. (This must be an in-joke, a throwback to the looks of male Spanish stars in films of earlier days).
Antonio is--or was until now--heterosexual. Pablo initiates him in the love that dare not speak its name, but shouts it from the rooftops in this movie. For Pablo this is another exercise in conquest (he's of the race of the Conquistadores), but for Antonio it's a "coup de foudre, " "l'amour fou" of the old surrealists, "el amor brujo" (love the magician).
Antonio becomes insanely jealous of Juan, finds him in the country and kills him. In the meantime, Pablo has given his sister the stage part in Cocteau's one-woman play, "The Human Voice," (which became Giancarlo Menotti's "The Telephone").
 (The critics have by and large decreed this second part weaker than the first, but I find it, on the contrary, a funny reinforcement to the movie's campiness). It's handled Spanishly, yet also like one of those French thrillers that imitate US thrillers. The movie advances in a series of intended howlers, getting lurider and insaner by the minute.
Antonio destroys a piece of evidence,(a garish shirt which is just like Pablo's) while finding phony alibis for his snoopy German mother. Comic inspectors suspect Pablo and search his place. The senior man finds coke. It's not enough for evidence, so he snorts it. He also has this advice for his young companion:" To be a good cop it is not enough to be unscrupulous, you got to have a sense of humor."
Pablo, disconsolate at his boyfriend's death, smashes into a tree and suffers (or does he really?) from amnesia. At the hospital, trying to bring back his memory, Tina out-lurids the lurid with the tale of her past, her love affair with their father who had Tina (Tino?) become a woman, took her to Morocco, then dropped her, leaving her with a distrust of men. Except that now she's found her ideal, who turns out to be Antonio, which leads to a superbly ridiculous, Wagnerian ending.
In between we have also witnessed a bizarre interview by one of the ugliest women in Spain (or is she a man?); a queer rehearsal (or was it?) of "The Human Voice";compromising letters by Juan signed "Laura P";an erotic gag of Tina asking to get doused by the hose of a street-cleaner; a befuddled priest; plus many more Almodovarian grotesqueries.
Almodovar claims he's a romantic making romantic films. I won't argue the point, since he works marginally along the lines of the melodramas by Douglas Sirk in Hollywood and of R.W. Fassbinder in Germany, while at the same time mocking them as well as overheated movies by other directors. Even his titles reflect this.Naming his films LABYRINTH OF PASSION or LAW OF DESIRE is an irreverent homage to those hard-breathing flicks that were reined in by the "good taste" of older times. But in Amodovar there's little of Sirk's commercial eagerness or of Fassbinder's despair and masochism. The Spaniard is at peace with himself and contemplates a world (his own) with a tongue within a cheek that must stretch from Castille to Catalonia.
Not only does Almodovar include a film within his film, he keeps throughout a running commentary (sometimes too indirect to be grasped immediately) about himself and the main film he is making. Serious points are not absent, but these are somewhat obscured by Almodovar's demented inventions.
Typically, these are set in garish surroundings and shot in garish color. To what extent the architecture and interior sets of this movie are intentionally awful, I cannot tell.I am ready and eager for the next movie by Almodovar, but not for his designer to redecorate my house.
Written Febr 24 1988
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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Related links: index of all rec.arts.movies.reviews reviews


This documentation relates to Opera's now deprecated .oex Extension API framework for Opera versions <= 12.15 and also provided by our OEX2NEX shim library.
For the latest Opera Extensions API documentation for Opera versions > 12.15 please consult the latest Opera Extensions API documentation online.
Localising an Opera extension is done, broadly speaking, in two parts:
Read on for an in-depth explanation, including an example extension showing localisation in practice.
Please Note: the Opera addons catalog supports all standard language and country codes defined in the ICU project, and our processing and interpretation via pyICU: a Python ICU wrapper. We support all standard language codes, but not script codes, variants and keywords as mentioned in the ICU user guide, except codes that we've made an exception for. Examples of non-supported codes are as follows:
es-419
: not a standard language code format, although we are aiming to support such codes in the future.iw
: An old code for Hebrew; he
should be used instead.If you find that a code you are using is not supported, and you feel that it should be, please let us know, by commenting on this article comment thread.
Authors who want to provide their extensions in different languages don't have to create separately packaged versions of their .oex
file. Opera's extensions use the same packaging and configuration as W3C Widgets, which includes built-in mechanisms for providing multilingual resources, all wrapped up in a single self-contained archive.
Make sure you grab all the source files for this article, wrapped up for your convenience in a single zip archive. It contains the packaged .oex
extensions - as well as separate folders with all the uncompressed files — to make it easy to follow the recommended Opera extensions developer workflow and take advantage of our Developer Mode.
Although this article deals specifically with Opera extensions, the general concepts and techniques outlined here will also apply to the localisation of traditional W3C Widgets.
By default, the version of Opera that you installed will be set to match the locale of your operating system. In order to test that our localised extension works correctly, we'll need to explicitly switch Opera to different locales.
In Windows and Linux, this is achieved by going to Menu > Settings > Preferences... and changing the Language option in the General tab. If you installed the international version of Opera, this will — for the most common languages — also change the language of the browser's user interface itself (including menus, dialog boxes, etc). For non-international versions, it will inform you that you don't have the appropriate language file available, but it will still send that language preference to websites to serve you content in that language if available, and it will switch the language on multilingual extensions.
After changing Opera's locale, even if the user interface language changes immediately you will need to close and reopen the browser for the change to affect extensions.
Figure 1: The language preferences dialogs on Windows.
Beyond choosing the primary language for the browser, on Windows/Linux we can also define a series of fallback locales, which will be used when content is not available for a specific language. This is done by selecting the Details... button next to the language dropdown and modifying the Preferred languages for webpages list.
The browser locale affects more than just the user interface. Information about the user's preferred locale(s) is sent as part of the browser's request headers. For instance, if the list of preferred locales was comprised of British English, English and German, Opera's Accept-Language
header would contain something like en-GB,en;q=0.9,de;q=0.8
. Websites can use this information in the request header to serve content to the browser in different languages, according to the user's preference.
Figure 2: Language & Text preferences dialog in OS X.
In OS X, Opera follows the platform convention, which is slightly different: instead of providing a way to change the locale and the list of preferred languages in the browser's preferences, it follows the OS-wide settings in System Preferences... > Language & Text (System Preferences... > International > Language in older versions of OS X). For changes made in this dialog to take effect in Opera, you will need to close and reopen the browser.
To illustrate the localisation process, in this article we'll be localising a fairly basic extension. To keep things simple, all this extension does is add a button to the browser's toolbar which brings up a pop-up containing some short text.
Our first version can be found in Localisation test — version 1.1.
Figure 3: Our example extension in action.
This version of the extension contains the following files, all placed in the root of the archive:
button.png
config.xml
general.css
icon.png
index.html
popup.html
And here's the config.xml
:
<?xml version="1.0" encoding="utf-8"?>
<widget xmlns="http://www.w3.org/ns/widgets" version="1.1">
<name>Localization test</name>
<description>Localization test</description>
<author href="http://dev.opera.com"
<EMAIL_ADDRESS>H. Lauke</author>
</widget>
In its current state, this extension is unlocalised — there are no provisions for different languages, and no information has been given in the configuration file as to what the current language being used is. So, from this simple starting point, let's get cracking and turn this into a localised, multilingual extension.
The W3C Widget Packaging and Configuration specification defines two complementary methods that are used to provide extension content in different languages: element-based localisation, which takes care of the extension metadata, and folder-based localisation, which lets us provide different versions of our content for specific languages.
config.xml
metadataThe config.xml
file contains metadata that describes an extension — information about the name of the extension, who the author is, a short description, licensing, etc. This information is presented to the user in the extension manager and any browser dialogs relating to that extension.
For a more in-depth look at the contents and purpose of config.xml
, see our extensive guide on The ins and outs of config.xml
.
Figure 4: config.xml
metadata used in the extension manager.
Our first step in localising our extension is to provide part of this metadata in different languages through element-based localisation. In our configuration file, we simply need to add multiple versions of our elements, specifying their respective language — using the standard IANA language subtags — with an xml:lang
attribute.
<?xml version="1.0" encoding="utf-8"?>
<widget xmlns="http://www.w3.org/ns/widgets" version="1.2">
<name>Localization test</name>
<name xml:lang="en-gb">Localisation test</name>
<name xml:lang="fr">Test de localisation</name>
<name xml:lang="it">Test di localizzazione</name>
<name xml:lang="de">Lokalisierungstest</name>
<name xml:lang="ru">тест локализации</name>
<name xml:lang="ja">ローカリゼーションテスト</name>
<description>Localization test</description>
<description xml:lang="en-gb">Localisation test</description>
<description xml:lang="fr">Test de localisation</description>
<description xml:lang="it">Test di localizzazione</description>
<description xml:lang="de">Lokalisierungstest</description>
<description xml:lang="ru">тест локализации</description>
<description xml:lang="ja">ローカリゼーションテスト</description>
<author href="http://dev.opera.com"
<EMAIL_ADDRESS>H. Lauke</author>
</widget>
The only elements that allow this form of localisation are:
name
description
license
To keep things neat and tidy, I want to explicitly set the language of our default elements to xml:lang="en"
as well. When doing this, we need to also include the defaultlocale
attribute to our <widget>
element, so the browser knows what the default/fallback is.
<?xml version="1.0" encoding="utf-8"?>
<widget xmlns="http://www.w3.org/ns/widgets" defaultlocale="en" version="1.2">
<name xml:lang="en">Localization test</name>
<name xml:lang="en-gb">Localisation test</name>
<name xml:lang="fr">Test de localisation</name>
<name xml:lang="it">Test di localizzazione</name>
<name xml:lang="de">Lokalisierungstest</name>
<name xml:lang="ru">тест локализации</name>
<name xml:lang="ja">ローカリゼーションテスト</name>
<description xml:lang="en">Localization test</description>
<description xml:lang="en-gb">Localisation test</description>
<description xml:lang="fr">Test de localisation</description>
<description xml:lang="it">Test di localizzazione</description>
<description xml:lang="de">Lokalisierungstest</description>
<description xml:lang="ru">тест локализации</description>
<description xml:lang="ja">ローカリゼーションテスト</description>
<author href="http://dev.opera.com"
<EMAIL_ADDRESS>H. Lauke</author>
</widget>
You can find this updated version of config.xml
in Localisation test — version 1.2.
Now, when installing the extension, the browser will attempt to find the version of each element that most closely matches the user's selected locale and language preference, with a series of fallback steps:
en-gb
, Opera will first attempt to find elements that are marked as xml:lang="en-gb"
.xml:lang="en"
.defaultlocale
was not defined in the widget
element, any unlocalised elements.Note that if config.xml
contains multiple versions of the same element localised for a specific language, or multiple versions of an unlocalised element, only the first one of those (in source order) will be processed. For example, if our configuration contained
<description xml:lang="en">Localization test</description>
<description xml:lang="en">Some other description</description>
…
<description xml:lang="en">Yet another description</description>
only the first description
would be used.
We're off to a good start. Now, if you switch your browser to different locales, you'll notice that the metadata (when installing or managing the extension) is presented in different languages.
Figure 5: Our extension now shows properly localised metadata in the install, management and uninstall dialogs, but the icon is still the same.
However, element-based localisation doesn't allow us to set different, language-specific icons and most importantly, the actual functionality of our extension is still only available in the default English version. We'll tackle this more fundamental part of localisation in a moment but first, let's organise our files a little better — this will hopefully make things clearer as we proceed.
The way extensions are packaged gives authors a lot of flexibility in how they want to organise their files. At the simplest level, we can keep all our files in the root of the .oex
archive and, if we stick to some basic naming conventions, the browser will automatically find standard components like our index.html
start file and icon.png
. However, we can also be a lot more methodical and structured, adding any number of subdirectories to our extensions to better organise our content. Personally, I like to keep a separate folder for images
and styles
. So, let's tidy up our extension as follows:
images
button.png
icon.png
styles
general.css
config.xml
index.html
popup.html
Jumping into our extension's HTML files for a moment, we now obviously need to change the references to our toolbar icon in index.html
<!DOCTYPE html>

and our stylesheet in popup.html
<!DOCTYPE html>

<title>Localization test</title>
<link rel="stylesheet" href="/styles/general.css">

Localization test

As with regular web pages, references to external resources (like the src
attribute on an
element, or the href
pointing a stylesheet on a <link>
element) can be relative to the current file, or relative to the root of the extension itself (starting the reference with a slash, e.g. /images/button.png
), as we've done in our example above.
As our icon.png
has now moved from its default location at the root of the extension to the images
subfolder, we need to edit the config.xml
file to explicitly tell the browser where to find it. Once again, I've opted for a reference that's relative to the root of the extension:
<?xml version="1.0" encoding="utf-8"?>
<widget xmlns="http://www.w3.org/ns/widgets" defaultlocale="en" version="1.3">
…
<icon src="images/icon.png"/>
</widget>
You can find these further organizational updates in Localisation test — version 1.3.
You might now think that, in order to provide a custom icon for a specific language, we can just add separate icon
elements with different xml:lang
attributes but unfortunately icon
does not allow for element-based localisation.
For this, as well as for more fundamental needs such as localising index.html
(which sets the title
tooltip associated with the button that appears in the toolbar) and popup.html
, and having language-specific resources like the button.png
, we need to use a different method — folder-based localisation.
Folder-based localisation is used when we want to provide completely separate files and resources, depending on the user's locale and language settings.
First, we need to create a special locales
folder in the root of our extension.
locales
is a reserved folder name, as it serves the specific purpose of containing content for folder-based localisation. It must not be used for any other type of content.
In this folder we then create subfolders that match the IANA language subtags for each locale that we want to provide localised content for.
Although language tags don't usually need to be in any particular case (uppercase, lowercase, or even mixed), these folder names must all be lowercase to account for differences in case-sensitive file handling on different operating systems.
So, after we set up our various folders and create the separate, localised versions of our files, our extension is now structured as follows:
locales
de
index.html
popup.html
en
images
button.png
icon.png
index.html
popup.html
en-gb
index.html
popup.html
fr
index.html
popup.html
it
index.html
popup.html
ja
images
button.png
icon.png
index.html
popup.html
ru
images
button.png
icon.png
index.html
popup.html
styles
general.css
config.xml
You can find this version inside Localisation test — version 1.4.
Notice that I didn't make separate copies for every individual file in the various language subfolders. For instance, I only provided different icon.png
and button.png
images for the English (default locale), Russian and Japanese versions (the word "Test" that appears in the English version works fine for all the other languages I want to cater for as well). Also, as my stylesheet for the popup doesn't do anything locale-specific and applies to all languages, I only have a single copy of it outside of the locales
folder, meaning that it's regarded as unlocalised content.
This works because when the browser needs to find a particular file or resource, it will apply the same language-matching algorithm we saw above:
en-gb
, Opera will look for a /locales/en-gb/
folder, and use this folder as a new root context. Unless otherwise specified in config.xml
, it will start to look for default files like index.html
and icon.png
in this folder. Any references relative to the location of the config.xml
file in the root of the extension, like images/icon.png
, are internally translated to be relative to this locale folder, e.g. /locales/en-gb/images/icon.png
.locales
subfolders in the same language range. In the case of our icon, it would start to look in /locales/en/images/icon.png
.locales
subfolder matching the defaultlocale
value, or failing that in the actual root of the .oex
archive as unlocalised content (as is the case with /styles/general.css
).This may appear confusing at first, so let's work through this algorithm for all the files that are being referenced. Let's assume that I've set my preference to en-gb
. First of all, the browser will need to find the icon for our extension:
config.xml
says the icon should be found in <icon src="images/icon.png"/>
. As there is a locales
folder, let's use our preferred locale as a root context and see if /locales/en-gb/images/icon.png
exists./locales/en/images/icon.png
.Next, the default index.html
file:
config.xml
doesn't mention any custom location for the start file, so let's begin by looking in /locales/en-gb/index.html
.In index.html
, our JavaScript references /images/button.png
for the toolbar button:
/locales/en-gb/images/button.png
./locales/en/images/button.png
.When the user presses the toolbar button, the JavaScript in index.html
will try to open the popup.html
file:
/locales/en-gb/popup.html
.Lastly, popup.html
references a stylesheet at /styles/general.css
:
/locales/en-gb/styles/general.css
./locales/en/styles/general.css
.en-gb
, de
and it
, the above steps would be repeated to look for the stylesheet in /locales/de/styles/general.css
and in /locales/it/styles/general.css
.widget
definition in config.xml
contain a defaultlocale
attribute? Yes, it's set to defaultlocale="en"
, but we already checked there and /locales/en/styles/general.css
doesn't exist. As a last resort, let's see if the stylesheet can be found from the root of the widget as unlocalised content, at /styles/general.css
.Admittedly, this algorithm may seem quite daunting at first, and there are certain complex situations where (particularly because of the third step, which loops through the various fallback locales first before resorting to default/unlocalised versions) Opera will behave in apparently unexpected ways.
Figure 6: Opera is set to French, but the extension shows the Japanese version of the icon due to the language fallback list in our preferences.
If you're getting strange results after changing the Language settings a few times, check the list of fallback locales and make sure the order of those locales is still correct — see the Preferred languages for webpages dialog on Windows/Linux, or the Languages & Text preference in OS X.
In the example shown in Figure 6, our Language is set to French, but the browser is showing the localised icon of the Japanese version. Looking at the Preferred languages... list (after an extensive round of testing different locales), we see that the fallback stack now contains fr
, ja
, ru
, it
, en-gb
, en
. When looking for the icon, the browser will first try to locate it in /locales/fr/images/icon.png
, and after that it will loop through the remaining languages in the stack before resorting to the default. As the next language in our stack does have an icon at /locales/ja/images/icon.png
, it's the Japanese icon that is displayed.
Very few users are likely to have this sort of overloaded fallback list of languages, but if you're testing your extensions, you can quickly end up in these strange situations — at which point I'd recommend simply deleting (on Windows/Linux) or unchecking (using the Edit List... option in OS X) the majority of those fallbacks to more closely match what "real" users are likely to have.
Figure 7: Our finished extension now shows both localised text and a locale-specific icon in the various extension installation, management and uninstall dialogs.
Once you manage to wrap your head around this algorithm, you'll be able to keep your multilingual extensions lean and minimal, without unnecessary duplication — only "patching in" those files that are actually different from language to language.
Figure 8: Our finished extension, showing appropriately localised buttons, tooltips and content for Japanese, German and Russian locales.
And there we have it. Using the two complementary techniques of element-based and folder-based localisation, we now have a single .oex
extension file that works in a variety of different languages. The dialog shown when the extension is first installed, the listing in the extension manager, the button in the browser's toolbar, and of course the popup that is shown when the button is activated, are all available in localised flavours. So what are you waiting for? If you've already created your own extension, why not try to make it work even better for your international users?
Did you create a great multilingual extension and are planning to submit it to Opera's extensions catalogue? Then make sure that you also add multilingual descriptions as part of the submission process.


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On the Minimum Audible Angle
Author: A. W. Mills
Date: April, 1958
The Minimum Audible Angle (MAA)
...the "minimum audible angle," which is defined as the smallest detectable difference between the azimuths of two identical sources of sound...The minimum audible angle is the angle formed at the center of the head by lines projecting to two sources of sound whose positions are just noticeably different, when they are sounded in succession.
Experiment 1
Subjects Tested: 3
...twenty pairs of stimuli [per] series, one pair every 6 sec. In any one series the size of the angle between the first and second pulses was constant, but the direction of the angle followed a quasi-random sequence of 10 rights and 10 lefts. For the first series of each session, the experimenter selected an angle sufficiently large to yield all, or nearly all, correct responses. The succeeding series were ¾, ½, ¼, ¼, ½, and ¾ the size of those in the first series. The angles in the eighth and final series were the same size as the first.
How were the start angles for the experiment chosen?
...the minimum audible angle was [determined through] forced-choice ... pulses were sounded in pairs with an interval of 1 sec between the two members of a pair, and an interval of 3 sec between pairs. During the first pulse of each pair the sound source was always at the reference azimuth. During the 1-sec interval the experimenter moved the source to the right or left, where it remained during the second pulse. After each pair of pulses the subject judged whether the second pulse had been to the right or left of the first. If he was uncertain he guessed. The angle between the first and second pulses was increased on each successive trial until the subject gave correct responses, or decreased until he began to make errors.
| Variable | Description | Value(s) |
|---|---|---|
| Azimuth | Horizontal angular distance from median plane. | 0°-90° @ various° increments |
| Elevation | Vertical angular distacne from horizontal plane. | 0° (transverse or horizontal plane) |
| Distance | Distance from central point of head. | 50 cm |
| Sound Frequency | The sound frequency tested. | Pure tones, 250 Hz - 10000 Hz |
| Sound Length | The sound types used. | 1 sec long w/ a rise-fall of 70 msec. |
Results
...the number of directions that can be discriminated between two successive sources is not proportional to their apparent separation.
MAAs generally increase with azimuth (e.g a sound source at 75° will sound similar to one within ±10°). At 90°, front-back confusion plays a large role, with MAAs of close to 40°. At lower azimuths the chnage needed is reduced to almost 1°. Low frequencies have the smaller MAAs than high frequencies.
Design Decisions
The author avoids introducing perception localization error by using forced choice and measuring relative position, or resolution, of sound sources. Absolute error of auditory localization would be measure via observers indicating direction of sound source. Only azimuths are tested, no data is collected on distance or elevation changes.
Extras
The remainder of the paper is dedicated to validation of previous theories on sound localization with respect to the MAA results. It is further confirmed that for auditory localization the audible spectrum can be divided into three parts. A low-frequency range (<1400 Hz) in which phase difference is the effective cue and a high-frequency range (>1400 Hz) in which intensity difference is the effective cue.


Cancer, now the leading cause of human death, is hard to discover,
control and cure. The circulating tumor cells (CTCs) circulate via
normal vessels and capillaries formed through tumor-induced
angiogenesis. They are very small in number, hidden in the blood cells,
waiting for opportunities to invade tissues like surreptitious snakes
seeking chances to bite. These cells may cause serious risks to human
health, especially to patients. However, they are the outposts for tumor
development and metastasis. Can we arrest these “bad guys” and let them
to become our undercovers to reveal earlier the development trend of
tumors? How can we arrest them?
Yes, in this project, our preys are the CTCs.
CTCs occur early during the formation and growth of a primary tumor (e.g. breast, colon, or prostate cancer), cells shed from the primary tumor and then circulate through the bloodstream. CTCs are essential to cancer metastasis, may create new tumors in different tissues or organs. Typically, an elevation in CTCs at any time during clinical treatment of cancers is an indicator of cancer progression. Due to the necessity of the CTCs in tumor metastasis, the detecting, capturing and isolation the CTCs can be a meaningful work both for clinical and research purposes.
CTCs are more valuable because they are promising candidates for detection and further study of tumor cells.
CTCs are very rare and admixed with a very large number of erythrocytes, leukocytes, and platelets in blood, making their isolation, capture, and detection a major technological challenge. In order to discover and capture living CTCs, we come to an idea: We are going to construct a DNA hydrogel cage for CTCs, which can recognize the CTCs, light up the CTCs, and coat the CTCs by auto-assemble hydrogels around the cells. Hydrogels are very soft materials and can exhibit large volume changes, thus are promising encapsulation materials to maintain long-term viability of the CTCs.


Bowling takes new spin: Clip of SL's Kevin goes viral
by DH Web DeskAfter the jaw-dropping South African left-arm wrist-spinner Paul Adams, cricket fans are now baffled with 2019 version of the one of a kind style by Sri Lankan leg spinner Kevin Koththigoda.
Koththigoda's version of the "Frog In A Blender" or the "Chinaman" action - which was first dubbed as Paul Adams' style during a tour match against England in 1995-96 - has its added his unique twist to the ball game.
Koththiigoda is from Galle in the Island Country and is currently playing for the Bangla Tigers in the Abu Dhabi T10 League. The spinner conceded 22 runs in his two overs on Saturday against the Deccan Gladiators and even took Australian cricketer Shane Watson by surprise. But Watson managed to strike two sixes.
“He has a very unusual action. It’s like that of Paul Adams. The action wasn’t coached or anything, it came naturally to him. Initially, he was struggling with the length as he couldn’t see the pitch but he has improved tremendously,” his coach Dhammika Sudarshana had told Cricbuzz in 2017.
Earlier, in 2016, IPL player Shivil Kaushik of the Gujarat Lions team was also compared with Adams for replicating the legendary action.