QSignalBlocker Class
Exception-safe wrapper around QObject::blockSignals() More...
| Header: | #include <QSignalBlocker> |
| qmake: | QT += core |
| Since: | Qt 5.3 |
Note: All functions in this class are reentrant.
Public Functions
| QSignalBlocker(QObject *object) | |
| QSignalBlocker(QObject &object) | |
| QSignalBlocker(QSignalBlocker &&other) | |
| ~QSignalBlocker() | |
| void | reblock() |
| void | unblock() |
| QSignalBlocker & | operator=(QSignalBlocker &&other) |
Detailed Description
Exception-safe wrapper around QObject::blockSignals()
QSignalBlocker can be used whereever you would otherwise use a pair of calls to blockSignals(). It blocks signals in its constructor and in the destructor it resets the state to what it was before the constructor ran.
{ const QSignalBlocker blocker(someQObject); // no signals here }
is thus equivalent to
const bool wasBlocked = someQObject->blockSignals(true); // no signals here someQObject->blockSignals(wasBlocked);
except the code using QSignalBlocker is safe in the face of exceptions.
See also QMutexLocker and QEventLoopLocker.
Member Function Documentation
QSignalBlocker::QSignalBlocker(QObject *object)
Constructor. Calls object->blockSignals(true).
QSignalBlocker::QSignalBlocker(QObject &object)
This is an overloaded function.
Calls object.blockSignals(true).
QSignalBlocker::QSignalBlocker(QSignalBlocker &&other)
Move-constructs a signal blocker from other. other will have a no-op destructor, while repsonsibility for restoring the QObject::signalsBlocked() state is transferred to the new object.
QSignalBlocker::~QSignalBlocker()
Destructor. Restores the QObject::signalsBlocked() state to what it was before the constructor ran, unless unblock() has been called without a following reblock(), in which case it does nothing.
void QSignalBlocker::reblock()
Re-blocks signals after a previous unblock().
The numbers of reblock() and unblock() calls are not counted, so every reblock() undoes any number of unblock() calls.
void QSignalBlocker::unblock()
Temporarily restores the QObject::signalsBlocked() state to what it was before this QSignaBlocker's constructor ran. To undo, use reblock().
The numbers of reblock() and unblock() calls are not counted, so every unblock() undoes any number of reblock() calls.
QSignalBlocker &QSignalBlocker::operator=(QSignalBlocker &&other)
Move-assigns this signal blocker from other. other will have a no-op destructor, while repsonsibility for restoring the QObject::signalsBlocked() state is transferred to this object.
The object's signals this signal blocker was blocking prior to being moved to, if any, are unblocked except in the case where both instances block the same object's signals and *this
is unblocked while other is not, at the time of the move.


Forty students learning how to code in a classroom on the third floor of Pontifical Catholic University in downtown Rio de Janierio got an unusual assignment Friday: Nobel Prize winner Malala Yousafzai stopped by to ask if they might help her ensure girls around the world have access to quality education.
She challenged the students to create the digital tools needed to help the Malala Fund reach young women throughout Brazil. The students readily agreed, joining 460 classmates at nine other developer academies Apple runs throughout Brazil in honing their skills by tackling real-world problems.
The program is but one example of big tech companies lending their profits, products and profile to non-profit causes. Apple announced its partnership with the Malala Fund earlier this year after CEO Tim Cook met Yousafzai at Oxford University and the two "hit it off," said Lisa Jackson, Apple's VP of social initiatives.
Yousafzai is a Pakistani activist who at 17 became the youngest person to win a Nobel prize. She gained international attention after Taliban soliders shot her in the head because of her efforts to improve educational opportunities for young women. She started her eponymous fund four years ago.


Please complete this form to confirm your participation in the Digital Jobs Program.
Please read these terms and conditions carefully and ensure that the acknowledgement and agreement is submitted by an authorised officer of the Host Organisation.
Conditions of Subsidy
The Host Employer has applied to participate in the Digital Jobs Program (Program) and host one or more Interns for subsidised Internships of 12 weeks or as otherwise provided in this Agreement.
The Department has engaged InternMatch to manage the Program on its behalf. InternMatch has written to the Host Employer by email (Internship Confirmation Email) confirming that:
the Host Employer has been matched with one or more Interns
offering, on behalf of the Department, that the Host Employer may participate in the Program by employing the Intern/s or engaging the Intern/s through a Labour Hire Agency and receiving the Subsidy, and
providing the Intern Host Handbook.
The Internship Confirmation Email from InternMatch, on behalf of the Department, to the Host Employer constitutes an offer by the Department to the Host Employer. In the event the Host Employer accepts this offer by acknowledging and agreeing to these Conditions of Subsidy, an agreement is formed between the Host Employer and the Department (Agreement) which includes:
the Internship Confirmation Email from InternMatch
these Conditions of Subsidy
the Intern Host Handbook
the information supplied by the Host Employer in the Application.
In these Conditions of Subsidy, the following definitions apply:
Application means the application submitted by the Host Employer to the Department to participate in the Program, by undertaking one or more Internships and to receive a Subsidy.
Department or State means the State of Victoria through its Department of Jobs, Precincts and Regions
Host Employer means the applicant specified above, which has applied to the Department to participate in the Program, by undertaking one or more Internships and to receive a Subsidy.
InternMatch means Outcome.life Pty Ltd trading as InternMatch Australia, ABN 89 608 648 826 which has been engaged by the Department to manage the Program on its behalf.
Intern means the participants in the Program who are selected by InternMatch to receive training, work experience and mentoring to increase their skills and who are offered to the Host Employer for an Internship.
Internship means the employment or engagement through a Labour Hire Agency of one or more Interns by the Host Employer for a minimum of 12 weeks or as otherwise provided in this Agreement full-time (or part-time equivalent where agreed to by the Intern) for which the Subsidy is provided on the terms of this Agreement.
Labour Hire Agency means a labour hire provider as defined in section 7 of the Labour Hire Licensing Act 2018 (Vic.), being a business that has an arrangement in place with the Intern to supply the Intern to perform work in and as part of the Host Employer’s business or undertaking and is obliged to pay the Intern for the work performed for the Host Employer.
Program means the Digital Jobs Program.
Subsidy means the amount provided by InternMatch to the Host Employer under this Agreement for the Internship.
Survey means the survey required to be completed by the Host Employer to provide information to the Department on the conduct and outcomes of the Internship, as set out in clause 10.
Training Course means the training course arranged by InternMatch and undertaken by the Intern as part of the Program.
The Agreement commences on the date the Host Employer acknowledges and agrees to these Conditions of Subsidy and expires when the Internship is completed, and the Host Employer has provided all information requested by the Department and InternMatch pursuant to clause 10. Clauses 16, 17, 18, 19, 20, 21, 22, 23 and 24 survive expiry or termination of the Agreement.
InternMatch will pay the Host Employer a Subsidy of $5,000 (or pro rata amount if Internship term reduced), subject to the terms and conditions of the Agreement, in the manner set out in the payment schedule in clause 11.
The Host Employer must use the Subsidy only to subsidise the Intern’s wages in the course of their employment with the Host Employer or payments to the Labour Hire Agency for the engagement of the Intern.
The Host Employer will employ the Intern, or engage the Intern through a Labour Hire Agency, in a paid role that:
provides the Intern an opportunity to learn and apply the digital skills they have obtained from their Training Course;
is relevant to the subject area they have studied in their Training Course; and
is ideally project or product-based with defined deliverables.
The Host Employer will:
enter into a formal employment contract with the Intern or engage a Labour Hire Agency to provide the Intern on the Minimum Terms of Employment (Employment Contract).
employ the Intern, or ensure that the Labour Hire Agency employs the Intern, in accordance with the following minimum terms (to be recorded in the Employment Contract) (Minimum Terms of Employment):
duration of employment term must be a minimum of 12 weeks full-time (or part-time equivalent where agreed to by the Intern), unless the Intern’s employment term runs to the end of the calendar year, in which case the Intern’s employment may be concluded on 24 December by agreement with the intern
terms must comply with all industrial relations obligations for employers under the National Employment Standards in accordance with the Fair Work Act (2009) Cth; and
the Intern must be paid at least the relevant minimum wage.
comply with, and ensure that the Labour Hire Agency (if relevant) complies with, the Occupational Health and Safety Act 2004 (Vic), Equal Opportunity Act 2010 (Vic), Workplace Injury Rehabilitation and Compensation Act 2013 (Vic), all applicable superannuation guarantee legislation and all WorkSafe compliance codes and codes of practice in the employment of the Intern (visit https://www.worksafe.vic.gov.au/compliance-codes-and-codes-practice).
report any work health and safety incidents regarding the Intern to InternMatch within two working days.
be responsible for day-to-day management of the Intern and for all and any obligations regarding or in connection with the Intern, including requiring the Labour Hire Agency to comply with its obligations as an employer (if relevant).
provide the Intern adequate support, including:
a suitable manager/supervisor to provide direction and support to the Intern whilst work is being undertaken, and the provision of contact details; and
an appropriate induction and onboarding phase, providing relevant briefings on safety standards, site access, normal hours of work, emergency details and other elements as appropriate.
supply the Intern with necessary equipment and resources for undertaking the Internship.
in delivering the employment opportunity for the Intern, comply with, and ensure that the Labour Hire Agency (if relevant) complies with, the employer expectations and requirements set out in the Intern Host Handbook.
The Host Employer must provide to the Department such information as the Department or InternMatch may request from time to time in relation to the Internship, the Host Employer’s activities and the expenditure of the Subsidy, including information in relation to the evaluation of the Internship. In particular, the Host Employer must provide the following to InternMatch:
within one week of the completion of the Intern’s employment/engagement period, a Survey confirming information about the Intern’s employment including:
the Intern has been provided with an opportunity to learn and apply the digital skills they have obtained from their training course;
the Intern’s employment has been relevant to the subject area they have studied in their Training Course; and
the Intern’s employment has been project or product-based with defined deliverables.
Within one week of the completion of the Intern’s employment period, either a copy of the Intern’s payslips, invoices from the Labour Hire Agency or a Statutory Declaration (in the form of the template to be provided by InternMatch), confirming the Intern has been employed by the Host Employer, or engaged by the Host Employer through a Labour Hire Agency, for a period of not less than 12 weeks or as otherwise provided in this Agreement on a full-time basis (or part time equivalent where agreed to by the Intern).
InternMatch will pay the Subsidy to the Host Employer in accordance with the following payment schedule:
| When | Payment requirements | Amount | |
|---|---|---|---|
| 1 | Commencement of Internship | Upon the acknowledgement and agreement by the Host Employer to these Conditions of Subsidy | $2,500.00 |
| 2 | Completion of Internship |
|
$2,500.00 (or pro rata amount if Internship term reduced) |
|
Total |
$5,000.00(or pro ata amount if Internship term reduced) |
The Host Employer acknowledges and agrees that it is solely responsible and liable for the employment of the Intern, or engagement of the Intern through a Labour Hire Agency, and that the Host Employer and the Labour Hire Agency are responsible for all payments due to the Intern, howsoever arising, including without limitation for base rates of pay (and related on-costs such as annual leave and personal leave) and incentive-based payments and bonuses, loadings, monetary allowances, overtime or penalty rates, and any other separately identifiable amounts as well as for paying superannuation, payroll or any other tax, WorkCover levy or any similar payments or entitlements in relation to the Intern.
The Host Employer must promptly advise InternMatch if the Host Employer will not or may not perform or complete the Internship. In such event the Department may require the refund of the whole or part of the Subsidy as it determines appropriate, in its absolute discretion.
Nothing contained in the Agreement is to be construed as creating any obligation, commitment or undertaking by the Department or InternMatch to provide additional or further funding or assistance beyond that provided in this Agreement.
Neither the Host Employer, nor its employees, servants or agents shall by reason of the Subsidy, be or become an agent of or in the service or employment of the State of Victoria in relation to the Internship or for any other purpose whatsoever. The Host Employer agrees that nothing in this agreement creates an employment relationship between InternMatch or the Victorian government and the Intern.
The Host Employer grants to the Department a non-exclusive, fully paid up licence to reproduce, publish or otherwise use for non-commercial purposes the Survey and any other documents and materials provided by the Host Employer under this Agreement.
The Host Employer warrants that any intellectual property used by it in connection with the Survey and any other documents and materials provided by the Host Employer to the Department under this Agreement are the sole property of the Host Employer or the Host Employer is legally entitled to use that intellectual property for that purpose.
The Host Employer authorises and consents to the Department holding, using and disclosing personal information in the Survey and any other documents and materials provided by the Host Employer to the Department and InternMatch under this Agreement to other State government departments and agencies and where required, to the Department’s external consultants, for the purposes of administering and reviewing the Internship and the Program, evaluating the Program and for policy development and planning purposes in accordance with the Department’s processes and the Privacy and Data Protection Act 2014 (Vic).
Upon request, the Host Employer must permit the Department and/or the Auditor General of Victoria access to accounting and employment records relating to the Internship.
If the Host Employer breaches the Agreement or if the Department is of the reasonable opinion that:
the Internship is not proceeding satisfactorily; or
the Host Employer has engaged or may engage in any conduct which affects or may adversely affect the goodwill or reputation of the Host Employer, the Internship, the Department, a Minister, or the State,
the Subsidy have not been expended solely on the Internship; or
the Host Employer has provided any false or misleading information in the application process,
the Department may in its absolute discretion-:
withhold any payment due to be made under the Subsidy
require the repayment to InternMatch of the whole or part of the Subsidy as may be determined by the Department in its absolute discretion; and/or
by written notice terminate this Agreement.
Where the Department is of the reasonable opinion that-:
there has been a significant deterioration in the financial circumstances of the Host Employer;
the Host Employer is subject to an insolvency administration; or
continued association with the Internship or the Host Employer may bring a Minister, the Department or the State into disrepute,
the Department may in its absolute discretion, require InternMatch to withhold, suspend, cancel or terminate any payment or payments due or to fall due and/or by written notice terminate the Agreement.
The Department reserves the right to publicise the benefits accruing as the result of Internship. The Host Employer must cooperate with the Department in relation to all publicity associated with the Internship.
The Department may include the name of the Host Employer in its annual report.
The Host Employer hereby indemnifies the Department, its officers, employees and agents against any cost, loss, liability or expense incurred by the Department arising from any act or omission of the Host Employer in connection with the Internship or breach of this Agreement by the Host Employer.
Any variations to these conditions or to the Internship must be in writing and agreed by both parties.
Each provision of these conditions (or part thereof) will, unless the context requires otherwise, be read and construed as a separate or severable provision so that if any provision or part thereof is void or otherwise unenforceable for any reason then that provision or part thereof, will be severed and the remainder will be read and construed as if the severable provision or part thereof, had never existed.
The laws of the State of Victoria shall govern these conditions and the parties submit themselves to the jurisdiction of the courts in the State of Victoria.
Acknowledgement and agreement
The acknowledgement and agreement must be agreed and submitted by an authorised officer of the Host Employer.


37 II. Saving and Loading Projects and Media After you’ve created a project, you’ll want to save it, so that you can have access to it the next time you use Snap ! . There are two ways to do that. You can save a project on your own computer, or you can save it at the Snap ! web site. The advantage of saving on the net is that you have access to your project even if you are using a different computer, or a mobile device such as a tablet or smartphone. The advantage of saving on your computer is that you have access to the saved project while on an airplane or otherwise not on the net. Also, cloud projects are limited in size, but you can have all the costumes and sounds you like if you save locally. This is why we have multiple ways to save. In either case, if you choose “Save as…” from the File menu. You’ll see something like this: (If you are not logged in to your Snap ! cloud account, Computer will be the only usable option.) The text box at the bottom right of the Save dialog allows you to enter project notes that are saved with the project. A. Local Storage Click on Computer and Snap !’s Save Project dialog window will be replaced by your operating system’s standard save window.  Another, equivalent way to save to disk is to choose “Export project” from the File menu. B. Creating a Cloud Account The other possibility is to save your project “in the cloud,” at the Snap ! web site. In order to do this, you need an account with us. Click on the Cloud button ( ) in the Tool Bar. Choose the “Signup…” option. This will show you a window that looks like the picture at the right. You must choose a user name that will identify you on the web site, such as Jens or bh. If you’re a Scratch user, you can use your Scratch name for Snap ! too. If you’re a kid, don’t pick a user name that includes your family name, but ﬁrst names or initials are okay. Don’t pick something you’d be embarrassed to have other users (or your parents) see! If the name you want is already taken, you’ll have to choose another one. You must also supply a password.


If you would like to receive more info or book a wedding please use the form below.
We cater for all your corporate events, use the form below to contact us or to book us.


Guided project for Web Auth III Module.
npm i
npm run server
Please follow along as the instructor adds support for JSON Web Tokens (JWT) to the API.
JSON Web Tokens (JWT)


|
3D Beam Finite Element Code
1.0
|
The set of properties associated with an element. More...
#include <containers.h>
Public Member Functions | |
| Props () | |
| Props (double _EA, double _EIz, double _EIy, double _GJ, const std::vector< double > &_normal_vec) | |
| Constructor. More... | |
Public Attributes | |
| double | EA |
| double | EIz |
| double | EIy |
| double | GJ |
| Eigen::Vector3d | normal_vec |
The set of properties associated with an element.
The properties must define the extensional stiffness, \(EA\), bending stiffness parallel to the local z-axis \(EI_{z}\), bending stiffness parallel to the local y-axis \(EI_{y}\), the torsional stiffness, \(GJ\), and a vector pointing along the beam elements local y-axis.
|
inline |
|
inline |
Constructor.
Default constuctor
Allows properties to be set upon initialization.
| [in] | EA | double. Extensional stiffness. |
| [in] | EIz | double. Bending stiffness parallel to z-axis. |
| [in] | EIy | double. Bending stiffness parallel to y-axis. |
| [in] | GJ | double. Torsional stiffness. |
| [in] | normal_vec | std::vector<double>. Vector normal to element (normal_vec.size()==3 ). Direction should be parallel to the beam element's local y-axis. |
| double fea::Props::EA |
Extensional stiffness.
| double fea::Props::EIy |
Bending stiffness parallel to local y-axis.
| double fea::Props::EIz |
Bending stiffness parallel to local z-axis.
| double fea::Props::GJ |
Torsional stiffness.
| Eigen::Vector3d fea::Props::normal_vec |
Vector normal to element (size==3). Direction should be parallel to the beam element's local y-axis.


The Jenkins JIRA is not a support site. If you need assistance or have general questions, visit us in chat, or email one of the mailing lists.
How to report a bug, request an improvement, or propose a new feature
Please see the following wiki page for guidelines on how to create an issue: How to report an issue
Lifecycle of an issue
Issue States
Developers don't use the various issue states consistently. The following description just gives a broad overview. See here for a description of states in JIRA.
- Issues start out as Open.
- When work has begun but not finished, the Assignee will often mark the issue In progress.
- When finished and a solution is checked in, the Assignee (or a bot responding to commit messages) will mark the issue Resolved
- Some users also mark issues Closed after a fix is confirmed by others.
- When an issue was resolved or closed before, but users still experience the same problem, they may set the issue to Reopened.
Issues not requiring a change
If an issue is considered to be a Duplicate, it will be marked as resolved, and the original issue will be linked. It's not always the newer issue that gets closed as duplicate, sometimes it's the older one, e.g. when the description in the new one is better, or the new one has more watchers. This depends on the developer resolving as duplicate. Duplicate issues should only be reopened when you have determined that they are not actually a duplicate of the linked issue, and for no other reason.
Issues may be found to be Won't Fix or Not a Defect for various reasons, e.g. when a developer determines that the issue isn't actually a problem with Jenkins.
Issues may be resolved as Cannot Reproduce when the developer is unable to reproduce the issue as described, e.g. because it may have been resolved since it was reported, or it is believed the issue is not with Jenkins.
Issues resolved as Incomplete do not provide a sufficient description of the problem.
Issues requiring a change
When a developer decides to work on such an issue, the Assignee field is changed to that developer. It may be set to In progress while it's being worked on.
When a fix has been integrated, the issue is usually marked Resolved (using the resolution Fixed), and sometimes marked Closed after the fix has been verified.
Quick Links
If you want to link to a Jenkins bug with a short URL, use e.g.: http://jenkins-ci.org/issue/1234 instead of https://issues.jenkins-ci.org/browse/JENKINS-1234


Getting Started
Include jquery and emphasis plugin into html like this:
<script src="jquery-1.10.2.min.js"></script>
<script src="jquery.emphasis.js"></script>
<script>
$('em').emphasis('dot');
</script>
.emphasis(text-emphasis)
text-emphasis
- Type:
String
- A string representing text-emphasis style.
- For example:
filled
,dotted
,filled sesame red
,"@" #069
. You can also use valuenone
to remove the style. - It's using
navigator.language || navigator.browserLanguage
to define which language was used. And it's not supporting vertical writing-mode.
.emphasis(text-emphasis, text-emphasis-position)
text-emphasis
- Type:
String
- A string representing text-emphasis style.
text-emphasis-position
- Type:
String
- A string representing text-emphasis-position style. Currently it's not support "right" and "left" in vertical writing-mode.
Links
Know issues
- Not support "right" and "left" position.
- Not work right on
inline-block
element in some case. - If browser don't support
transform:scale(0.5);
, it will have the minimal font-size issue.
If you find more issue, welcome to report it.


All functions |
|
|---|---|
Authenticate against UMLS. |
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Filter results to include source vocabularies with a particular restriction level. |
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Get all of the children of a given source item. |
|
Get all of the parents of a given source item. |
|
Get information on all UMLS subsets. |
|
|
|
Get familial relationships for a given Atom. |
Get information about a given atom. |
|
Get UMLS concept atoms. |
|
Get UMLS concept info. |
|
Get the Metathesaurus Concept-Concept relationships for a given CUI. |
|
Get the internal codes for atoms from a list of vocabularies. |
|
Get information on a member of a given subset. |
|
Get the preferred atom for a concept. |
|
Get a service ticket. |
|
Get UMLS source info for a concept. |
|
Get source-asserted attributes. |
|
|
|
Get source familial relationships. |
Get UMLS source info for a concept. |
|
Get relations for source object. |
|
Get the attributes of a UMLS subset. |
|
Get the info on a UMLS subset. |
|
Get members of a given subset. |
|
Get a TGT token from the UMLS API. |
|
An R Interface To The NLM Unified Medical Language System |
|
Search the UMLS. |
|
Obtain source vocabularies with a given licensing restriction level. |
|
Get or set UMLS credentials. |


Documentation
ChocolateChip-UI version 3.5.3
Support Multiple Platforms
Theme Switching
ChocolateChip-UI was designed to allow you to write one app with data and user interactions which you can deploy to iOS, Android and Windows Phone 8. The only difference between each platform is the CSS file: chui.css. This means that when the user requests your app from the server, you can determine which browser and operating system they are on and provide them the appropriate theme. Because this is done on the server before the page is sent, the user sees only the appropriate theme load.
There are too server stacks to show how to do this for all of them. But if you have any experience writing back end code for your server, you should be able to figure out how to switch themes based on the examples here. We present two ways to do user agent sniffing on the server: with PHP and NodeJS.
Please note that these are very basic tests for the user agent. There are many solid solutions available for server-side user agent sniffing. You just need to find out what is available for your setup.
PHP
<!DOCTYPE html> <html lang="en"> <head> <meta charset="utf-8"> <meta name="viewport" content="initial-scale=1.0, maximum-scale=1.0, user-scalable=no"> <meta name="apple-mobile-web-app-capable" content="yes"> <title>Demo</title> <script src="/choco/scripts/chocolatechip.js"></script> <script src="/choco/scripts/iscroll.js"></script> <?php $agent = $_SERVER['HTTP_USER_AGENT']; $browser = null; $agent = $_SERVER['HTTP_USER_AGENT']; $browser = null; if (preg_match("/android/i", $agent)) { echo '<link rel="stylesheet" href="../c3/chui/chui.android-3.0.css">'; } elseif (preg_match("/Trident/i", $agent) && (preg_match("/MSIE 10/i", $agent) || pre_match("/MSIE 11/i", $agent)) { echo '<link rel="stylesheet" href="../chui/chui.win-3.0.css">'; } elseif (preg_match("/Apple/i", $agent)) { echo '<link rel="stylesheet" href="../chui/chui.ios-3.0.css">'; } echo '<link rel="stylesheet" href="../chui/chui.ios-3.0.css">'; { } ?> </head>
NodeJS
The following example uses the Express framework for NodeJS, with the EJS template engine. To get the user agent on the page being rendered is easy with Express. When handling the routing for the page, grab the user agent from the headers object and attach it to the response object being sent to your page. This will make the user agent available to the page during rendering.
exports.demo = function(req, res){ res.render('demo', { title: 'ChocolateChip-UI', userAgent: req.headers['user-agent'] }); };
Here we access the user agent string sent to the page in the userAgent variable. Based on whether we detect Android, iOS or Windows Phone, we output the appropriate stylesheet link:
<!DOCTYPE html> <html lang="en"> <head> <meta charset="utf-8"> <meta name="viewport" content="initial-scale=1.0, maximum-scale=1.0, user-scalable=no"> <meta name="apple-mobile-web-app-capable" content="yes"> <meta name="msapplication-tap-highlight" content="no"> <title>Demo</title> <!-- Examine header userAgent to decide which stylesheet to use --> <% if (/android/i.test(userAgent) || /chrome/i.test(userAgent)) { %> <link rel="stylesheet" href="/chui/chui.android-3.0.css"> <% } else if (/safari/i.test(userAgent)) { %> <link rel="stylesheet" href="/chui/chui.ios-3.0.css"> <% } else if (/trident/i.test(userAgent)) { %> <link rel="stylesheet" href="/chui/chui.win-3.0.css"> <% } %> </head>
Customized CSS per OS
OS-Specific Classes
When testing your app on multiple devices, you may find that you need to make some style adjustments for one operating system. ChocolateChip-UI makes these easy by automatically putting the following classes on the body tag when your document loads: isiOS, isAndroid and isWin. This allows you to write OS-specific styles in your app that will only be rendered when your app is on that OS.
isiOS will render for both iOS and desktop Safari. isAndroid will render for Android and desktop Chrome. isWin will render for Windows Phone 8 and IE10-11.
In the demo page we use the following code to style icons with or without border radii, depending on the operating system:
/* Border Radius for each OS: */ .isiOS .icon { /* rounded corners for iOS */ border-radius: 10px; } .isAndroid .icon { /* circular for Android */ border-radius: 50%; } .isWin .icon { /* square for Windows Phone 8 */ border-radius: 0; }
Android Branding
Android apps use the app icon along with the back button for navigation purposes. By default ChUI uses the default green Android logo for the back button's app icon. You will want to override this for your app.
The icon should be at least 35 pixels square. As long as your icon is squared, it will expand or contract to fit the back icon section. To handle different resolutions it would be best to use either a high resolution image scaled down by the CSS or an SVG. We are using an SVG as the icon for ChUI because SVG provided the maximum scallability for screen sizes and resolution density. Below are some typical examples of Android back buttons with app icons:
To change the app icon in the Back button, open up the Android stylesheet: src/themes/andoid/button.less
. Look for the line defining: &.back::after, &.backTo::after
. Change the image url to one pointing to your app's icon:
background: transparent url(../images/icons/MySuperAnroidAppIcon.svg) no-repeat;
If you want to change the color the the back caret mark to better match your branding, you can do so in the corresponding LESS file. Open up src/themes/android/buttons.less and look for @{buttonBoxShadow}
as both the stroke and fill value of @backButtonSVG on line 4. For its hover color, change the value of @{buttonTextHoverColor}
for the stroke and fill of @backButtonSVGHover on line 5. Then continue below to create the CSS.
Rebuild the CSS theme by running the following command in the terminal.
gulp less
This will recreate your Android theme in both normal and minified versions with the back button now displaying your own app icon.
Desktop testing
You can use desktop browsers for initial testing of respective operating systems. For iOS use Safari, for Android use Chrome, for Windows Phone 8 use IE10 or IE11. If you find a particular control not responding, you may need to open the browser's Web inspector to change the user agent to an appropriate mobile device.
Sometimes a layout or its controls will look fine on mobile, but be a little off on desktop browsers. To remedy this situation you can use the method $.UIDesktopCompat
. This will put a class of isAndroid isChrome isDesktopChrome
on desktop Chrome and a class of isiOS isDesktopSafari
on desktop Safari. Using these you can make adjustments to your local styles so that the layouts look alright on desktop while testing.
$(function() { $.UIDesktopCompat() });
On a Mac you can test iOS using Safari. After enabling the developer tools, you can go to the Developer menu and change the user agent to iOS. This will cause ChocolateChip-UI to work like on iOS, but with mouse interactions. To test for Android on the Mac, use Chrome. Open Chrome's Web inspector and then it's settings panel and set the user agent to Android. Touch events will be mapped to mouse events. If you need to test for Windows Phone 8 on a Mac, look into setting up Parallels, VMWare or any other virtual machine manager and install Windows 8. Using IE 10 or 11 should work just fine. If some touch interaction does not seem to be working, open IE DOM Explorer and set the user agent to Windows Phone.
On Windows you can use Chrome to test for both iOS and Android. Be aware that Chrome on Window 8 does not take full advantage of Microsoft's pointer events. As such, if the Windows device you are using supports mouse and touch, you may find that Chrome becomes confused about which events to track. You can get around this issue by opening the Web inspector, then the settings panel. There you can set the user agent to iOS or Android. In the lower right part of the settings screen is a checkbox: "Emulate touch events". Check this and Chrome will switch all mouse interactions to emulate touch events. From there on your interactions with ChocolateChip-UI on Chrome for Windows 8 should be fine.
Regardless of how you test your app on the desktop, ultimately you will need to test it on devices. This will require that you host your app from a server to which your mobile devices can connect.
Desktop browser may sometimes render things differently than how they will look when displayed on actual mobile devices, so, if you see some visual glitch, before trying to compensate for it, check it on the target device platform. For example, running Windows Phone theme on the mac in Safari or Chrome will not display properly as these do not support features specific to IE. And the Windows Back button icon will be missing. Similarly, on Windows, iOS Back button will not display correctly either.


The Kid's Learning Hub is an application made for young people to learn the basic lessons in an interactive way. It's like an interactive flash cards. It includes awesome graphics and audio that will capture the interest of the audiences.
The developers are students of College of Computer Studies, Columban College, Olongapo City, Philippines. This app is a project for our subject "System Analysis and Design".
We made this with the inspiration of helping young children learn in a fun way. Originally the app is produced for mobile devices so they can enjoy it even if they aren't at school. The original title of this app is Columban College Kids Learning Hub (CCKLH).


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| CS 341 - Survey of Programming Languages
Homework #5 |
Due: Tuesday 9/26 at the beginning of class #9
Note: This work is to be done in pairs. Each pair will submit one assignment. Although you may divide the work, both team members should be able to present/describe their partner's work upon request.
To submit your work, use the command "submit341 hw5".
Implement the 6 algorithms of http://cs.gettysburg.edu/~tneller/cs341/hw1.html in Scheme. Be sure that you are reading from the standard input and writing to the standard output. Name your scheme files as follows:
Hint: For quicksort, it will be useful to learn about Scheme vectors.


Trace
Fermion is currently connected to PID:
Input either a native pointer or a module & symbol (case sensitive) combination to trace.


{% extends 'base.html' %} {% load static %} {% load filter %} {% block extra_head %}
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int main( ) { int a = 22; int c; int * b; b = &a; a = 12; c = *b; }
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Chapter 2, "Search inside yourself" by Chade Meng-Tan, Google.
I thought that it is more difficult to start.
It is possible to meditate in different positions. It is also important to acknowledge any stymuli that arises during the meditation, accept it and if we really need to react then postpone the reaction by 5 breaths in order to increase the time period between the impuls and reaction.
Mindfulness meditatio when lying down, eyes half open seem the best for me.
I like that it is not that hard to start, and comparing meditation to sweating at the gym, just withoiut sweating, and without gym. Brain is like a mussle, need practice in order to achieve its default state, which is calmness and happiness.
#cultural


true-hacker
`Prev `__
T
`Next `__
--------------
**true-hacker**: n.
[analogy with ‘trufan’ from SF fandom] One who exemplifies the primary
values of hacker culture, esp. competence and helpfulness to other
hackers. A high compliment. “He spent 6 hours helping me bring up UUCP
and netnews on my FOOBAR 4000 last week — manifestly the act of a
true-hacker.” Compare `*demigod* <../D/demigod.html>`__, oppose
`*munchkin* <../M/munchkin.html>`__.
--------------
+-----------------------------+----------------------------+------------------------+
| `Prev `__ | `Up <../T.html>`__ | `Next `__ |
+-----------------------------+----------------------------+------------------------+
| troughie | `Home <../index.html>`__ | tty |
+-----------------------------+----------------------------+------------------------+


Functions | |
| int | ADL2_Overdrive8_Init_Setting_Get (ADL_CONTEXT_HANDLE context, int iAdapterIndex, ADLOD8InitSetting *lpInitSetting) |
| Function to retrieve the Overdrive8 initial settings. | |
| int | ADL2_Overdrive8_Current_Setting_Get (ADL_CONTEXT_HANDLE context, int iAdapterIndex, ADLOD8CurrentSetting *lpCurrentSetting) |
| Function to retrieve the Overdrive8 current settings. | |
| int | ADL2_Overdrive8_Setting_Set (ADL_CONTEXT_HANDLE context, int iAdapterIndex, ADLOD8SetSetting *lpSetSetting, ADLOD8CurrentSetting *lpCurrentSetting) |
| Function to set the Overdrive8 settings. | |
| int | ADL2_New_QueryPMLogData_Get (ADL_CONTEXT_HANDLE context, int iAdapterIndex, ADLPMLogDataOutput *lpDataOutput) |
| Function to retrieve the Overdrive8 current settings. | |
| int | ADL2_Overdrive8_Init_SettingX2_Get (ADL_CONTEXT_HANDLE context, int iAdapterIndex, int *lpOverdrive8Capabilities, int *lpNumberOfFeatures, ADLOD8SingleInitSetting **lppInitSettingList) |
| Function to retrieve the Overdrive8 current range settings. This is new versin of ADL2_Overdrive8_Init_Setting_Get. It supports new features and does not need to change the PAI. | |
| int | ADL2_Overdrive8_Current_SettingX2_Get (ADL_CONTEXT_HANDLE context, int iAdapterIndex, int *lpNumberOfFeatures, int **lppCurrentSettingList) |
| Function to retrieve the Overdrive8 current settings. This is new versin of ADL2_Overdrive8_Current_SettingX2_Get. It supports new features and does not need to change the PAI. |
| int ADL2_Overdrive8_Init_Setting_Get | ( | ADL_CONTEXT_HANDLE | context, | |
| int | iAdapterIndex, | |||
| ADLOD8InitSetting * | lpInitSetting | |||
| ) |
Function to retrieve the Overdrive8 initial settings.
This function retrieves the Overdrive8 initial settings for a specified adapter.
| [in] | context,: | Client's ADL context handle ADL_CONTEXT_HANDLE obtained from ADL2_Main_Control_Create. |
| [in] | iAdapterIndex | The ADL index handle of the desired adapter. |
| [out] | lpInitSetting | The pointer to the initial settings structure storing the retrieved Overdrive8 parameters. |
| int ADL2_Overdrive8_Current_Setting_Get | ( | ADL_CONTEXT_HANDLE | context, | |
| int | iAdapterIndex, | |||
| ADLOD8CurrentSetting * | lpCurrentSetting | |||
| ) |
Function to retrieve the Overdrive8 current settings.
This function retrieves the Overdrive8 current settings for a specified adapter.
| [in] | context,: | Client's ADL context handle ADL_CONTEXT_HANDLE obtained from ADL2_Main_Control_Create. |
| [in] | iAdapterIndex | The ADL index handle of the desired adapter. |
| [out] | lpCurrentSetting | The pointer to the current settings structure storing the retrieved Overdrive parameters. |
| int ADL2_Overdrive8_Setting_Set | ( | ADL_CONTEXT_HANDLE | context, | |
| int | iAdapterIndex, | |||
| ADLOD8SetSetting * | lpSetSetting, | |||
| ADLOD8CurrentSetting * | lpCurrentSetting | |||
| ) |
Function to set the Overdrive8 settings.
This function set the Overdrive8 settings for a specified adapter.
| [in] | context,: | Client's ADL context handle ADL_CONTEXT_HANDLE obtained from ADL2_Main_Control_Create. |
| [in] | iAdapterIndex | The ADL index handle of the desired adapter. |
| [in] | lpSetSetting | The pointer to the current settings structure set by user |
| [out] | lpCurrentSetting | The pointer to the current settings structure storing the retrieved Overdrive parameters. |
| int ADL2_New_QueryPMLogData_Get | ( | ADL_CONTEXT_HANDLE | context, | |
| int | iAdapterIndex, | |||
| ADLPMLogDataOutput * | lpDataOutput | |||
| ) |
Function to retrieve the Overdrive8 current settings.
This function retrieves the Overdrive8 current settings for a specified adapter.
| [in] | context,: | Client's ADL context handle ADL_CONTEXT_HANDLE obtained from ADL2_Main_Control_Create. |
| [in] | iAdapterIndex | The ADL index handle of the desired adapter. |
| [out] | lpDataOutput | The pointer to the ADLPMLogDataOutput structure storing the retrieved performance metrics parameters. |
| int ADL2_Overdrive8_Init_SettingX2_Get | ( | ADL_CONTEXT_HANDLE | context, | |
| int | iAdapterIndex, | |||
| int * | lpOverdrive8Capabilities, | |||
| int * | lpNumberOfFeatures, | |||
| ADLOD8SingleInitSetting ** | lppInitSettingList | |||
| ) |
Function to retrieve the Overdrive8 current range settings. This is new versin of ADL2_Overdrive8_Init_Setting_Get. It supports new features and does not need to change the PAI.
This function retrieves the Overdrive8 current range settings for a specified adapter.
| [in] | context,: | Client's ADL context handle ADL_CONTEXT_HANDLE obtained from ADL2_Main_Control_Create. |
| [in] | iAdapterIndex | The ADL index handle of the desired adapter. |
| [out] | lpOverdrive8Capabilities | The pointer to the bit-vector which indicates wich OD8 feature is supported. |
| in/out] | lpNumberOfFeatures The pointer to an integer which indicates the number of OD8 features. The callee shold input the expected number of features. Then ADL can use this input to support comptiable. When returing, the number is actual number of dricver currently supported features | |
| [out] | lppInitSettingList | The pointer to the list of current OD8 range of settingts. |
| int ADL2_Overdrive8_Current_SettingX2_Get | ( | ADL_CONTEXT_HANDLE | context, | |
| int | iAdapterIndex, | |||
| int * | lpNumberOfFeatures, | |||
| int ** | lppCurrentSettingList | |||
| ) |
Function to retrieve the Overdrive8 current settings. This is new versin of ADL2_Overdrive8_Current_SettingX2_Get. It supports new features and does not need to change the PAI.
This function retrieves the Overdrive8 current settings for a specified adapter.
| [in] | context,: | Client's ADL context handle ADL_CONTEXT_HANDLE obtained from ADL2_Main_Control_Create. |
| [in] | iAdapterIndex | The ADL index handle of the desired adapter. |
| in/out] | lpNumberOfFeatures The pointer to an integer which indicates the number of OD8 features. The callee shold input the expected number of features. Then ADL can use this input to support comptiable. When returing, the number is actual number of dricver currently supported features | |
| [out] | lpInitSettingList | The pointer to the list of current OD8 settingts. |


Review by Lars Lindahl<EMAIL_ADDRESS>"From Here to Eternity" (1953) ***1/2 (out of four)
Directed by Fred Zinneman Written by Daniel Taradash
Starring Burt Lancaster, Montgomery Clift, Frank Sinatra, Donna Reed, Deborah Kerr, Philip Ober, and Ernest Borgnine
"We may seem all alike. We ain't all alike." Private Robert E. Lee Prewitt (Montgomery Clift) tells his newly found lover in the middle of a crowded Hawaiian bar. Prewitt is representing men in society - how they ostensibly are exactly the same, but in actuality are as individual as can be. The 1953 classic From Here to Eternity dedicates its entire running time to proving this quote, and with all of the interesting male characters it introduces - it succeeds. From the loner, to the alcoholic, to the adulterer, to the torturer, to the gentleman, the only thing that links these unique individuals is the military suit they wear to work everyday. Living in the same vicinity just prior to the attack on Pearl Harbor, the cooperation of these men seems infinitely more difficult to them than fighting in the war.
Between these five central characters preparing for a world war, a powerful emotional war takes place. And when the Japanese surprise attack on Pearl Harbor occurs starting World War II in America, it provides a thunderous conclusion to this war. The film opens with the arrival of the sensitive Prewitt, a former professional bugle player and boxer for the army who inexplicably wants to become a private. This is all sounds perfect to Captain Dana Holmes (Philip Ober), a man eager to become a major and finds the only way to move up a rank is to have a winning boxing team. But Prewitt has quit boxing and says there is nothing in the world that will convince him to do so again. This angers Holmes who has his officers, including Sergeant Milton Warden (Burt Lancaster), train Prewitt especially hard until he finally changes his mind. The only soldier who supports Prewitt is Angelo Maggio (Frank Sinatra), a man who knows all the hot spots in town and regularly gets drunk for entertainment. So drunk at times that it gets him an enemy named Sergeant "Fatso" Judson (Ernest Borgnine) who swears he will get Maggio one day. Meanwhile Sergeant Warden is having an illicit affair with his Captain's depressed and lonely wife (Deborah Kerr).
Did that just sound like an example of your everyday soap opera? Yes, there are a lot of characters in From Here to Eternity (in fact I left out Lorene (Donna Reed), a woman Prewitt meets and falls in love with at one of the clubs he stops by at). Do not be mistaken, this movie is a soap opera, several things are happening at the same time - but unlike something on CBS at 2 P.M., the acting and directing in this movie is amazing. Also despite the large cast, impressively there isn't one confusing moment and the script, based on the controversial novel by James Jones, ingeniously connects everyone with everyone.
The mistake the film makes is that the female characters stand in the way. The relationships between Prewitt and Lorene, and Warden and the Captain's wife Karen, are both unconvincing due to expedient set ups by director Fred Zinneman. Just when you start to believe that these people actually are beginning to love each other, the movie is already ten steps ahead, raising the possibility of marriage. Both love affairs are so melodramatic and predictable that they hold back the entire movie.
Winner of 8 Academy Awards in 1953 including Best Picture, Best Supporting Actress (Donna Reed), and Best Supporting Actor (Frank Sinatra), I was somewhat shocked that Reed won. She just didn't amaze me as much as other winners of the prestigious award (at least she was better than Beatrice Straight in Network). Sinatra, on the other hand, really surprised me as Angelo Maggio. Simultaneously hilarious and depressing, he single-handedly shifted this film's status from good to classic.
Zinneman, to show his range, directed this movie just before Oklahoma! and just after High Noon. He skillfully hints at the upcoming Pearl Harbor attack with newspaper articles, dates, and images scattered everywhere that tease the audience and build up suspense for the unavoidable incident. And when the moment finally comes, the execution is satisfyingly accurate. You can tell this was a surprise attack by men running back and forth for cover with just towels on.
>From Here to Eternity revolves around a war yet to happen. It looks at American society right before the country's entry in the war; a quiet period compared to the disorder that soon follows. But the beauty of the film is that it is far from quiet. The emotional dilemmas that these characters face is as powerful and realistic as any battle sequence in a World War II film such as Saving Private Ryan.
Grade: ***1/2 (out of four)
Lars Attacks! A teenager attacks past and present cinema http://www.angelfire.com/ny3/larsattacks
<EMAIL_ADDRESS>(c) 2000 Lars Lindahl
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rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Boom.
I'm super clean, right?
Show me that box
What! What?
I'm that other super clean box, son.
Show me that other box


If you have books around the house you no longer need, pare down. Use the barcode scanner to give away books to earn wonderbook credits you can use to receive books.
On the wonderbook mobile app, swipe through books selected for you. Swipe right to add to your wishlist, and you'll get it in the mail when it becomes available.
When it's time for you to mail your books, we'll do the heavy lifting. You'll get a prepostaged envelope so you can drop your book in the mail to its new owner.


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Guwahati Body Building meet on November 20 at District Library
Our Sports Reporter
GUWAHATI: Chidananda Das Memorial 7th All Guwahati Body Building and Physique Sports Championship’2019 will be held on November 20 at District Library, Guwahati. There will be several weight categories in the competition for Mr. Guwahati, Senior, Junior, Men Model Physique and Miss Guwahati Fitness and Miss Guwahati. Guwahati District Body Building Team for Mr.Assam 2019 will be selected from the competition. Sarupathar will host the event on December 29-30.
Also Read: Kamrup Body Building meet held at Saraighat Ranga Mancha, Jalukbari
Also Watch: Govt all set to push for the contentious Citizenship Bill in the winter session of Parliament


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Using Distributed Technology to Make Music in the Time of the Attention Economy
Tate Carson, MM, MFA
For my dissertation I created an app called Sounds Aware that allows users to record soundwalks and share them so that other people experience them. The creator of the soundwalk records their perceptions of the resorativness of a specific place on the walk, these answers are then sonified for whoever experiences the walk later to hear. I wanted to create a social app that was restorative as a step against the attention economy. Sounds aware does this by encouraging experience of nature that can restore our attention that has been drained by the attention economy. I also use decentralized technology that keeps data in the hands of creators so it can not be used as fuel for advertising.
Theoretical Background
Attention Economy
With Sounds Aware I wanted to make an application that went against some of the patterns of our current
technology by using distributed technology that enables existing outside the attention economy which is based on
an advertising model, where services are offered for free, but we pay in our attention and data. The issue is that
our attentional currency is a scarce resource
Hyper Attention
characterized by switching focus rapidly among different tasks, preferring multiple information streams, seeking a
high level of stimulation, and having a low tolerance for boredom
N Katherine Hayles. Hyper and deep attention: The generational divide in cognitive modes. Profession, pages
187–199, 2007.
N Katherine Hayles
N Katherine Hayles calls the type of attention we have with technology hyperattention
This is a screenshot I took of a google search where i was given a series of guesses as to what I was looking for.
Google knew I may have wanted to search about the attention economy because it keeps a record or all of your
searches and tries to guess what you might want to see. Google, and other tech companies, track your searches and
clicks to create what Digital Studies theorist John Cheney-Lippold calls the new algorithmic identity where they
build an imagined identity using statistical models that seek to determine a user’s gender, race, or class on
order to advertise to them in an effective way.
How to resist?
How can the attention economy be resisted? We must redesign the technologies that encourage a capitalist
perception of time, place, self, and community. We can use decentralized technologies that don’t rely on attention
capture. Also, deepening one’s concept of place will extend an awareness of history and current connection to
everything around them. Odell suggests that “doing nothing” moves our attention from economic concerns to the
physical, place based domain [55]. Doing nothing, or sitting out the attention economy is an active proposition
and “entails an active process of listening that seeks out the effects of racial, environmental, and economic
injustice and brings about real change [55].”
Because of these platforms’ flaws we should not be using them to distribute and make our art. These platforms
reward a way of being that is not beneficial to society. They resist the concept of interconnection, by
emphasizing our differences and not allowing us to show fuller versions of ourselves. We must “stand apart”[55] as
Odell suggests, and create new systems for communication on the internet.
Attention Restoration Theory
Stephen. Kaplan. The restorative benefits of nature: toward an integrative framework. In: Journal of Environmental Psychology., 15:169–182, 1995.
Fascination
Being Away
Extent
Compatibility
Psychologist’s Rachel and Steven Kaplan developed Attention Restoration Theory in 1989 [43]. They found that the natural environment aids in stress reduction by providing a “restorative environment” that reduces the fatigue caused by directed attention [42]. Attention Restoration Theory (ART) claims that we use directed attention in our daily lives to function. Sustained directed attention leads to cognitive depletion and mental fatigue [43].
For an environment to be restorative ART requires it to have these four components: fascination, being away, extent and compatibility [42].
1. Fascination is the opposite of directed attention. It is necessary for attention restoration. It could include
any activity that takes little effort but also holds your involuntary attention such as listening to an engrossing
piece of music.
2. Being Away requires one to not only be away from a non-restorative environment physically but also mentally.
One could be on a walk with their dog, away from the computer but still thinking about the tasks the need to be
done for the day. That would not fulfill the being away requirement for a restorative environment.
3. Extent is gained from an environment instilling feelings of connectedness with the larger world in a person. In
this way, the environment engages with one’s complete attention.
4. Compatibility is important for restorativeness because one environment might not be restorative to everyone. A
serene lake might be restorative to most but those who don’t enjoy the outdoors for whatever reason would not find
it restorative.
Perceived Restorativeness Soundscape Scale
Sarah R Payne and Neil Bruce. Exploring the relationship between urban quiet areas and perceived restorative benefits. International journal of environmental research and public health, 16(9):1611, 2019.
Sarah R. Payne has developed the Perceived Restorativeness Scale (PRSS), a soundscape specific survey meant to gauge the perceived restorativeness of a given soundscape. This scale is what I base the questions off of that users are asked when they create a sound walk with sounds aware.
Artistic Background
Soundwalk
“any excursion whose main purpose is listening to the environment.”
Hildegard Westerkamp. Soundwalking. Sound Heritage, 3(4):18–27, 1974.
Hildegard Westerkamp.
Hildegard Westerkamp, a soundscape composer, regarded sound as the best way to understand ecological crises. Westerkamp claims that artists who work with sound are the best equipped to consider issues of the acoustic environment.
She considers soundwalking to be “any excursion whose main purpose is listening to the environment.”
Teri Reub's Core Sample
http://terirueb.net/core-sample-2007/
An important example of a GPS soundwalk, or locative media, is Teri Reub’s Core Sample.[76] Participants walked around a specific location with earbuds in to listen to sounds that have been programmed to play when they’re in a specific location. Her work is located in Boston’s Harbor Islands and invites listeners to “Discover unique combinations of natural and processed sounds - that correspond to the Spectacle’s many subterranean layers, as well as its present soundscape.”[29]
Previous work
Sounds Aware (2019) - Version 1
Sounds Aware is a web application that runs on a smartphone and uses
machine learning to detect human-made sound (anthrophony) and masks it
with ambient music as a user walks around their environment. Though the
model is pre-trained with the author’s local environmental sounds, the
user can train the model further on their unique soundscape so that each
user gets a personalized experience. After the training process, the
user can listen to ambient music based on traits of the surrounding
anthrophony. If the app senses less anthrophony and more biophony or
geophony, then the music fades away, bringing the user’s attention to
the anthrophony.
The idea for Sounds Aware came while walking with dog Lucy around the
lakes by my house. When I first started walking her I would listen to
podcast or music on headphones for the entire walk because I found it
difficult to fill the time with my own thoughts. I would hear the sounds
of nature occasionally coming through my music and this made me want to
take the head phones out and just listen.
The problem came when I tried to do that and realized there, while this
is a beautiful bit of nature, it is by peoples houses and some major
roads.
So in addition the birds I could also hear the noise of lawnmowers,
home construction and cars driving by.
And sometimes it sounds like this. This made me want the best of both
worlds. I wanted to create a system that would play music if it heard
'noise' and play nothing if it heard nothing. This I thought would help
me focus my attention more on nature and less on how much I didn't want
to hear the noise. This inspired Sounds Aware.
To what extent might the technologies of communication, art and
entertainment serve as 'prostheses' that would provide us with
experiences of wilderness that would not only enrich our human
identity but help us to preserve and expand the domain of the
non-human world?
David Dunn. Wilderness as Reentrant Form: Thoughts on the Future of
Electronic Art and Nature. Leonardo, (4):377, 1988.
- David Dunn
Composer David Dunn poses an inspirational question:
A goal of Sounds Aware is to shift attention to geophonic and biophonic
soundscape away from the anthrophonony.
The goal of Sounds Aware is to bring the user’s awareness to the
geophonic and biophonic soundscape, which is often so masked by noise
pollution that it has fallen out of awareness for many of us. Sounds
Aware seeks to shift the user’s concept of nature to something that has
no starting or end- ing point; it is all around us. The app brings
awareness by focusing attention on the environment. Because of the pre-
dominance of eye culture [3], our reliance on seeing rather than
listening as a primary means of sensing the world, it is a lot to ask of
a person who might be uninterested in acoustic ecology to “just listen”
to their environment. But, if you give them a tool that urges listening
in the quieter places, where the natural world will be more audible,
there is a better chance of them engaging with those sounds because the
app focused their perception. Sounds Aware is a means of technologically
mediated “ear cleaning,” as described by R. Murray Schafer in Ear
Cleaning: Notes for an Experimental Music Course [13].
What did I learn?
The app would be more useful with user accounts.
User training of the machine learning algorithm directly on the phone
is not accurate enough to understand more than a few sounds but might
be viable in the future.
Sounds Aware (v2) App Tour
The home screen shows all stops on the same page from all users. This provides a different way to explore
what other people have been doing.
The discover page shows each soundwalk created by other users
Going on a soundwalk (walking the dog)
Creating a soundwalk
This is the start of the walk. Its pretty quiet but you can hear some noise in the background
and this is what the phone interaction looked like
Then there was another stop at the lake
and the phone looked like this
How is the app made?
Planning Process - Figma
Before starting to develop the app I made a design in Figma, a tool for prototyping apps. The great thing
about Figma is that it allows you to prototype interactions as well as the interface. This helps you reason about
how the app will work before getting lost in the code.
Present mode allows for testing the user interaction
Ionic Framework is a UI toolkit with prebuilt elements. It makes developing with react much easier. With one
codebase you can target a mobile web app, a PWA or a native mobile app on IOS or Android.
I used many of the components in my app
3Box
Identity and Auth
Storage
Messaging
3Box is a framework that helps with building decentralized apps with IFPS and OrbitDB. It provides an
easy-to-use API
that handles identity, authorization, storage and messaging.
The identity and auth allow for users to login to an app without the developer having to manage user data.
The storage API can hold data specific to one user such as documents, preferences or settings.
The messaging API allows for the creation of threads, a feed that can be subscribed to that create the basis for a
distribute database.
Authorization
Here is the login function. We access portis, an ethereum wallet that allows users to login without having to
install extra software. It helps to link your unique wallet address, which is your identity, to 3box in order to
open your personal data box and space.
After authentication we can open a thread that contains a list of other threads that contain all of the soundwalks
created by users of the app. The selected soundwalk here is a way of recording which soundwalk a user was viewing
or editing previously.
Data Organization
Public thread
That thread that we connected to in the last slide is how each soundwalk is found. Every time a user creates
a soundwalk this data gets added to the thread.
Soundwalk thread
The actual data for each soundwalk is stored in their own individual threads which have a reference in the
original soundwalk thread. Here we can see the thread contains the name of the soundwalk, the location of one
stop, and the survey answers that the user made for that stop.
Survey Sonification
Users are asked these questions every time they want to make a stop on their soundwalk. These questions are
based off of Sarah Payne's Perceived Restorativeness Scale (PRSS) mentioned earlier. These questions provide the
basis for the sonification of soundwalks that users can hear on the discover page.
Low - Medium - High survey examples
Here are examples of low, medium and high restorativeness scores
Background sounds: rustling leaves and waves samples
Before mentioning exactly how the survey data was mapped I'll speak a bit about what types of sounds you hear and
the inspiration for them. I wanted to base the sonification on an imaginary wind chime because of these beautiful
sounding chimes in my neighborhood that I hear while walking my dog.
The wind chimes are driven by a number of chime samples in order to have fuller control over them.
Wind Chimes
Tuning - La Monte Young's Well Tuned Piano
Note groupings from Young chords - Opening Chord, Magic Chord, etc.
Gann, Kyle. 1993. “La Monte Young’s The Well-Tuned Piano.” Perspectives of New Music 31 (1): 134–62.
Chord mappings
These chords change in the sonification depending on the average survey answers. I arranged them in an order
I perceived to be more to less restorative sounding.
The rhythms that you hear are driven by the fibonacci sequence which controls the duration and frequency of notes.
This provides a pattern that I thought might sound natural, sometimes slow when reaching the peaks and then faster
when between them. The survey average is also mapped to the rhythm by controlling the probability that we hear a
note, with a lower survey average mapped to a higher event probability.
Wind
Amplitude -> survey average
Pitchshift mix and pitch -> survey average
The wind frequency shifts with the highpass and lowpass filters cutoff changes. These happen randomly. The
amplitude of the wind is mapped to the survey average so that a low average creates a higher amplitude. The mix
and pitch of the pitch shift is also mapped to the survey average so that the pitchshift sounds more distorted
with a low average.
Panner and Listener
The distance a user is from a soundwalk stop is mapped directly to the Listener of the Panner node, giving
the impression that you are walking up to a virtual wind chime by changing its amplitude.
Try it out!
https://calm-long-aerodynamic-sprite.fission.app/This is a beta testing url. There is one at soundsaware.com but its not quite ready to go live yet. I am receiving feedback from testers.
Conclusions
Future Work
There are a few things I would like to improve on in the future:
1. The database is being deprecated by 3box so it needs to be replaced if this is to keep working. Using a newer
system will hopefully make the app faster.
2. Make the app look more unique with branding.
3. Fix many random bugs that pop up.
4. Get more users and learn what they might want from an app like this.


THE BEVERLY HILLBILLIES A film review by James Berardinelli Copyright 1993 James Berardinelli
THE BEVERLY HILLBILLIES
Rating (Linear 0 to 10): 4.1
Date Released: 10/15/93 Running Length: 1:34 Rated: PG-13 ("Adult" humor)
Starring: Jim Varney, Erika Eleniak, Lily Tomlin, Dabney Coleman, Cloris Leachman, Diedrich Bader, Lea Thompson Director: Penelope Spheeris Producers: Ian Bryce and Penelope Spheeris Screenplay: Lawrence Konner, Mark Rosenthal, Jim Fisher, and Jim Staahl, based on the TV series created by Paul Henning Music: Lalo Schifrin Released by Twentieth Century Fox
Perhaps the clearest evidence of the dearth of original ideas in Hollywood is the constant need to regurgitate old, worn-out television series. While there is an occasional exception to this rule (STAR TREK being an illustration), the endless plundering of old programs is proof that it's easier to rely on something tried-but-true than to attempt something new. THE BEVERLY HILLBILLIES, following in the wake of the unfortunate revival of THE ADDAMS FAMILY, is an example of something that should have stayed in re-runs.
When Jed Clampett (Jim Varney) discovers oil on his Arkansas property, he becomes a very rich man. Wanting to make his daughter Elly May (Erika Eleniak) into a "sophisticated woman", he decides to move the clan to Beverly Hills. There, in a place filled with strange and unusual customs, he is greeted by the fawning bank manager in charge of his billion dollars (Dabney Coleman) and the assistant manager, Miss Hathaway (Lily Tomlin). When Jed expresses a desire to re-marry, everyone gets involved in the matchmaking, but the woman who emerges as the leading candidate to be the next Mrs. Clampett is actually a scheming fortune- hunter (Lea Thompson).
Those who loved the television series (which served as light comedy, at best) will probably be pleased by the motion picture, which stays rigidly faithful to the spirit of its predecessor.  In fact, the most clever moment of the movie comes when Miss Hathaway, searching for a private investigator, is sent to the offices of Barnaby Jones (Buddy Ebson). Ebson, as many viewers will doubtless recall, was responsible not only for creating the role of Jones, but also portrayed the original Jed Clampett.
Those sitting through this film will experience a few guffaws and chuckles, but much of the humor is surprisingly unfunny. There's some serviceable slapstick, and a couple of amusing moments made possible by the country-meets-city mentality (such as the Clampetts mistaking obscene hand gestures for a "Californy greeting"), but these pretty much vanish by the end of the first thirty minutes. After that, it's a long and uninspired wait for the end-credits (which are shown over various out- takes and "bloopers").
The producers of THE FUGITIVE knew what they were doing when they accomplished their TV-to-movie transformation: give the audience something fresh. The idea worked, as proven by generally-favorable reviews and a high box-office gross. THE BEVERLY HILLBILLIES disdains this method, however, and suffers greatly because of it. If I want to see ninety minutes of the television series, I'll sit at home and watch three back-to-back episodes.
While the storyline may be dull, and the jokes lacking in humor, at least the casting is on-the-money. None of the performances are examples of great acting, but for the movie that they've been placed in, the actors are perfect. Jim Varney is no Buddy Ebson, but he gives the new Jed Clampett a certain air of dignity not expected from a guy who's most famous line is "Hey Vern!" Erika Eleniak, although probably cast for attributes other than her acting skill, gives a decent (and somewhat airheaded) rendition of Elly May. Cloris Leachman is perfect as Granny.
I was among those unimpressed by director Penelope Spheeris' previous effort, the overly-smug WAYNE'S WORLD (another television-derivative). This time, however, the few sparks of originality shown there are mostly absent. Most of the attempts at irreverent parody ring false.
My advice is to wait and see this version of THE BEVERLY HILLBILLIES the same way that you've seen all that's gone before - on the small screen. And let's hope that when the closing song chimes in with the familiar "Y'all come back now, hear?", it's not a reference to a sequel.
- 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


{{ define "main" }} {{ partial "navbar" }} Overview Make the Most of What we have to Offer We dedicate resources towards creating valuable content that hopefully gives our audience insight, knowledge, and a new breadth of outlook. So please... don't let it go to waste. {{ range $.Site.Data.nav.media }} {{.id}} {{.mediaTitle}} {{.mediaDescription}} {{.mediaAction}} {{.id}} {{.mediaTitle}} {{.mediaDescription}} {{.mediaAction}} {{ end }} {{ end }}


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This website teaches coding to kids in a fun interactive way. It makes learning how to program very easy. This website will teach kids lots of python, perl, C, C#, C++, java, javascript, typescript, and many other programming languages!


HohenheimConfiguration
open class HohenheimConfiguration
Undocumented
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Declaration
Swift
open static var baseTintColor = UIColor.hex("#c9c7c8", alpha: 1.0)
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open static var tintColor = UIColor.hex("#424141", alpha: 1.0)
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open static var backgroundColor = UIColor.hex("#FCFCFC", alpha: 1.0)
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open static var checkImage: UIImage?
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open static var closeImage: UIImage?
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open static var flashOnImage: UIImage?
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open static var flashOffImage: UIImage?
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open static var flipImage: UIImage?
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open static var shotImage: UIImage?
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open static var videoStartImage: UIImage?
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open static var videoStopImage: UIImage?
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open static var shouldAutoSavesImage: Bool = false
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open static var cameraRollTitle = "Library"
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open static var cameraTitle = "Photo"
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open static var videoTitle = "Video"
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Swift
open static var titleFont = UIFont(name: "AvenirNext-DemiBold", size: 15)
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Swift
open static var shouldAutoDismiss: Bool = true


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This document describes how to add a model to the package or to create a user-defined model. In short, one needs to define all model parameters and write an eval function which evaluates the model. If the model is fittable, a function to compute the derivatives is required if a linear fitting algorithm is to be used and optional if a non-linear fitter is to be used.
For 1D models, the custom_model_1d decorator is provided to make it very easy to define new models. The following example demonstrates how to set up a model consisting of two Gaussians:
import numpy as np
from astropy.modeling.models import custom_model_1d
from astropy.modeling.fitting import NonLinearLSQFitter
# Define model
@custom_model_1d
def sum_of_gaussians(x, amplitude1=1., mean1=-1., sigma1=1.,
amplitude2=1., mean2=1., sigma2=1.):
return (amplitude1 * np.exp(-0.5 * ((x - mean1) / sigma1)**2) +
amplitude2 * np.exp(-0.5 * ((x - mean2) / sigma2)**2))
# Generate fake data
np.random.seed(0)
x = np.linspace(-5., 5., 200)
m_ref = sum_of_gaussians(amplitude1=2., mean1=-0.5, sigma1=0.4,
amplitude2=0.5, mean2=2., sigma2=1.0)
y = m_ref(x) + np.random.normal(0., 0.1, x.shape)
# Fit model to data
m_init = sum_of_gaussians()
fit = NonLinearLSQFitter()
m = fit(m_init, x, y)
# Plot the data and the best fit
plt.plot(x, y, 'o', color='k')
plt.plot(x, m(x), color='r', lw=2)
(Source code, png, hires.png, pdf)
The example described in Custom 1D models can be used for most 1D cases, but the following section described how to construct model classes in general. The details are explained below with a 1D Gaussian model as an example. There are two base classes for models. If the model is fittable, it should inherit from ParametricModel; if not it should subclass Model.
If the model takes parameters they should be specified as class attributes in the model’s class definition using the Parameter descriptor. The first argument for defining the parameter must be a unique ( to that model) name of the parameter, and it must be identical to the class attribute being assigned that parameter. Subsequent arguments are optional, and may include a default value for that parameter as well default constraints and custom getters/setters for the parameter value.
Note
If the method which evaluates the model cannot work with multiple parameter sets, param_dim should not be given as an argument in the __init__ method. The default for param_dim is set in the base class to 1.
from astropy.modeling import *
class Gaussian1DModel(ParametricModel):
amplitude = Parameter('amplitude')
mean = Parameter('mean')
stddev = Parameter('stddev')
At a minimum, the __init__ method takes all parameters and the number of parameter sets, param_dim:
def __init__(self, amplitude, mean, stddev, param_dim=1, **constraints):
# Note that this __init__ does nothing different from the base class's
# __init__. The main point of defining it is so that the function
# signature is more informative.
super(Gaussian1DModel, self).__init__(
amplitude=amplitude, mean=mean, stddev=stddev, param_dim=param_dim,
**constraints)
Note
If a parameter is defined with a default value you may make the argument for that parameter in the __init__ optional. Otherwise it is recommended to make it a required argument. In the above example none of the parameters have default values.
Parametric models can be linear or nonlinear in a regression sense. The default value of the linear attribute is True. Nonlinear models should define the linear class attribute as False. The n_inputs attribute stores the number of input variables the model expects. The n_outputs attribute stores the number of output variables returned after evaluating the model. These two attributes are used with composite models.
Next, provide a staticmethod, called eval to evaluate the model and a staticmethod, called deriv, to compute its derivatives. The evaluation method takes all input coordinates as separate arguments and a parameter set. For this example:
@staticmethod
def eval(x, amplitude, mean, stddev):
return amplitude * np.exp((-(1 / (2. * stddev**2)) * (x - mean)**2))
The deriv method takes as input all coordinates as separate arguments. There is an option to compute numerical derivatives for nonlinear models in which case the deriv method should be None:
@staticmethod
def deriv(x, ampltidue, mean, stddev):
d_amplitude = np.exp((-(1 / (stddev**2)) * (x - mean)**2))
d_mean = (2 * amplitude *
np.exp((-(1 / (stddev**2)) * (x - mean)**2)) *
(x - mean) / (stddev**2))
d_stddev = (2 * amplitude *
np.exp((-(1 / (stddev**2)) * (x - mean)**2)) *
((x - mean)**2) / (stddev**3))
return [d_amplitude, d_mean, d_stddev]
Note
It’s not strictly required that these be staticmethods if the eval or deriv functions somehow depend on an attribute of the model class or instance. But in most cases they simple functions for evaluating the model with the given inputs and parameters.
Finally, the __call__ method takes input coordinates as separate arguments. It reformats them (if necessary) using the format_input wrapper/decorator and calls the eval method to perform the model evaluation using model.param_sets as parameters. The reason there is a separate eval method is to allow fitters to call the eval method with different parameters which is necessary for fitting with constraints.:
@format_input
def __call__(self, x):
return self.eval(x, *self.param_sets)
from astropy.modeling import models, Parameter, format_input
import numpy as np
class LineModel(models.PolynomialModel):
slope = Parameter('slope')
intercept = Parameter('intercept')
linear = True
def __init__(self, slope, intercept, param_dim=1, **constraints):
super(LineModel, self).__init__(slope=slope, intercept=intercept,
param_dim=param_dim, **constraints)
self.domain = [-1, 1]
self.window = [-1, 1]
self._order = 2
@staticmethod
def eval(x, slope, intercept):
return slope * x + intercept
@staticmethod
def deriv(x, slope, intercept):
d_slope = x
d_intercept = np.ones_like(x)
return [d_slope, d_intercept]
@format_input
def __call__(self, x):
return self.eval(x, *self.param_sets)
This section describes how to add a new nonlinear fitting algorithm to this package or write a user-defined fitter. In short, one needs to define an error function and a __call__ method and define the types of constraints which work with this fitter (if any).
The details are described below using scipy’s SLSQP algorithm as an example. The base class for all fitters is Fitter:
class SLSQPFitter(Fitter):
supported_constraints = ['bounds', 'eqcons', 'ineqcons', 'fixed', 'tied']
def __init__(self):
super(SLSQPFitter,self).__init__()
All fitters take a model (their __call__ method modifies the model’s parameters) as their first argument.
Next, the error function takes a list of parameters returned by an iteration of the fitting algorithm and input coordinates, evaluates the model with them and returns some type of a measure for the fit. In the example the sum of the squared residuals is used as a measure of fitting.:
def errorfunc(self, fps, *args):
model = args[0]
meas = args[-1]
model.fitparams(fps)
res = self.model(*args[1:-1]) - meas
return np.sum(res**2)
The __call__ method performs the fitting. As a minimum it takes all coordinates as separate arguments. Additional arguments are passed as necessary.:
def __call__(self, model, x, y , maxiter=MAXITER, epsilon=EPS):
if model.linear:
raise ModelLinearityException(
'Model is linear in parameters; '
'non-linear fitting methods should not be used.')
model_copy = model.copy()
init_values, _ = model_copy._model_to_fit_params()
self.fitparams = optimize.fmin_slsqp(self.errorfunc, p0=init_values,
args=(y, x),
bounds=self.bounds,
eqcons=self.eqcons,
ineqcons=self.ineqcons)
return model_copy


var numberOfRuns: Int
Provides the ability to pass in the number of runs as a configuration parameter instead of a hard-coded value in the problem definition.
The parameter is not used by default anywhere in the system, but consumers can choose to use it.


{{ supportList?.length }} supports have has been recorded for ESS File # {{ evacueeSessionService?.isPaperBased ? evacueeSessionService?.evacFile?.manualFileId : evacueeSessionService?.evacFile?.id }} within the ERA Tool.


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The human brain constitutes the most effective and efficient intelligent system ever known in nature. At MI@BioLab we work to discover the key computational principles of intelligence taking inspiration from biological learning systems and recent neuroscience discoveries in order to build smarter machines.
Learning is one of the fundamental pillars of every intelligent agent. Our focus is centered around Machine Learning and Pattern Recognition with a particular emphasis on Continual Learning. We believe that enabling machines with the ability to adapt and learn continuosly to be a fundamental driving force in our path towards AGI.
We apply and validate our algorithms within real-world applications mostly in the context of Computer Vision and Biometrics (Face Recognition and Morphing, Fingerprint Recognition, etc.). Collaborations with industrial partners ensure that the research activities are always linked and validated within realistic use-cases.
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Identifying height on topographic maps
Height on topographic maps is shown in four ways:
Contour line (Oval symbol)
Trig. beacons (Triangle symbol)
Benchmarks (Circle symbol)
Spot heights (Rectangle symbol)
Topographic map extract with height symbols indicated by a circle, oval, rectangle and triangle.


My Claim: ANYBODY* can learn to build an iOS app 24 hrs. Here’s how… (*Given the person wants to learn it in the first place)
Fact: iOS development is a technical subject
Statement: Even a non-techy person can learn iOS development.
My Claim: ANYBODY* can learn to build an iOS app in one day. Here’s how… (*Given the person wants to learn it in the first place)
So the other day, I was wondering what kind of resources were available online for learning iOS development and so I googled “Learn iOS development” and predictable found enough online courses and tutorials to keep me busy learning iOS for the next year. It’s hard when you are trying to learn a new subject and there are not many resources available out there, but on the other hand it can be pretty overwhelming to find too many resources on a subject as well. I believe that the depth and duration of some of these courses offered online can seem unappealing to a complete newbie as nobody has so much time to commit these days with social media and life. Did you know that according to a new survey, Teens spend more time consuming media than they do sleeping. I am not even making that up, you can read more about the survey here.
So anyways, the reason I am writing this post in the first place is because in that huge dump of information relating to iOS development available online, I managed to find a gem of a crash course. It’s not too long, has just enough depth and is very hands on. Its called: iOS Crash Course taught by Janum trivedi. I looked into the course and starting working on it immediately. The entire course is divided into ten session most of which have pdf’s that you can go through and some of those sessions also have accompanying xcode project files. It took me roughly 5-6 hrs to go through the entire material including xcode project files and by the end of it I was able to develop my own to-do list app from scratch.
I would specifically like to bring to your attention that despite having developed iOS apps before, the crash course really helped me solidify some of the core iOS development concepts that I was fuzzy on. The xcode project was very well documented and was explained well throughout the course. So as it turns out each session needs to be downloaded separately from the github repo and while I was working on it, I found this to be very cumbersome. So I have taken the liberty of putting all of those sessions into one zip file available for download here. You can thank me later for this folks!
As I went through the course, I took notes of some of the key concepts presented in the pdf’s. So after reading this list of concepts, if you feel pretty confident I would recommended trying to build the app yourself using the xcode project only as a reference. On the other hand, if you are unfamiliar with many of these concepts I would highly recommend going through the crash course itself.
Key Concepts-
- MVC Architecture- Almost each file in the project can be put into either a Model (data), View (what the user sees or UI) and Controller (the layer between the view and the model that connects them both)
Model <-> Controller <-> Views (The symbol <-> means two way interaction).
Note that in this architecture, the view is totally unaware of the data that it is presenting and likewise, the Model is totally unaware of how the data is presented to the user. The Model and the View do not interact directly with one another.
-
Delegation- concept of assigning responsibility to another object or class. Key concept in iOS developement.
-
Objective-C Blocks- A block of code enclosed within the curly braces {}. Basically, Blocks let us pass in a block of code as a method parameter. An important implementation of the Blocks is Callback functions. A callback function essentially allows us to pass a notification as a callback method when the function execution is complete. Highly useful in the case of multithreading.
-
Multithreading- Concept of running multiple threads to complete independent tasks required by the main thread to get overworked and freezing the app eventually. Grand Central Dispatch (GCD)- It is a multithreading and concurrency API library written in C.
-
Persistence- Concept of storing app data in a local (sandboxed) filesystem across multiple sessions. This helps our apps maintain user state. There are several way to implement persistence in the app: a. NSUserDefaults- Part of the Foundation class. More often slow and not flexible. Hence mainly used to store user settings. b. NSCoding/ NSKeyedArchive- More flexible and fast. Recommended to store data. c. SQLite d. Core Data
-
Git/ Version Control- Concept of keeping track of your file changes and allowing collaboration on the same files.
Just to reiterate, I do not own any of the above content and all credit goes to Janum Trivedi for putting this course together. The zip file containing the crash course can be downloaded here. Thanks for reading and let me know if you found this blog post useful in any way.