The programm finds the geographic, Gauss-Krueger, or UTM coordinates of a point, indicated in the map. The map must already exist as a '*.bmp' or '*.jpg' file, or on the clipboard. It can then be imported. The margins of the map are typed into the relevant fields either as geograhic, Gauss-Krueger, or UTM-coordinates. If data points are marked on the backside of a map, the map is drawn back to front.
Procedure:
1) Decide in the menu 'import map', whether the map is imported from a data carrier or from the clipboard.
2) Indicate in the menu 'marking of data locations', whether the map is drawn with the front side or back to front.
3) Type the coordinates of the margins in the relevant fields.
4) Click on the data points.
5) Mark the fabric type with 'p' for planes or 'l' for linears, type azimuth and dip angle.
6) Click on 'terminate input' when all points are clicked.
7) Create the map by clicking on 'plot'.


Mladenovic upsets Barty to give France 2-1 lead in Fed Cup final
MELBOURNE: Kristina Mladenovic moved France in sight of a first Fed Cup title in 16 years by pulling off a brave 2-6 6-4 7-6(1) win over world number one Ash Barty in the first reverse singles of the final against Australia on Sunday.
Mladenovic's inspired comeback win on the blue hardcourt hushed a heaving crowd of 13,841 at Perth Arena and gave France a precious 2-1 lead before the second reverse singles.
Battling the crowd and one of the cleverest all-court opponents in the game, Mladenovic stumbled on the road to victory as Barty broke back twice in the decisive set.
But the French number one served up a storm in the tiebreak and collapsed in relief after Barty finally surrendered with a forehand slapped into the net.
(Reporting by Ian Ransom in Melbourne; Editing by Richard Pullin)


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This Former Disney Channel Star Worked On 'High School Musical: The Musical: The Series'!
Former Disney Channel and Disney XD star Jason Earles helped show the ropes to the cast of High School Musical: The Musical: The Series!
The 42-year-old actor, who starred as Jackson Stewart on Hannah Montana and as Rudy Gillespie/Bobby Wasabi on Kickin’ It, revealed that he actually worked as a mentor and acting coach on the new Disney+ series.
“Spent 6 Months in Salt Lake working with this amazing group, as an acting coach and mentor of sorts. By the end, we were all just family,” he shared on Instagram.
“It was humbling to watch these insanely gifted people work to constantly be better, and never settle. I am so proud of how the show turned out. Heartfelt and funny, it’s totally original but respectful of its history, and filled with amazing new music,” Jason added.
“So happy the world can finally watch these guys on Disney+ and see what I see…the next generation of Disney Stars. Congrats! Love all you guys! Can’t wait for Season 2 😉,” he concluded.
READ MORE:
An Original HSM Star Is Coming to ‘High School Musical: The Musical: The Series’ – But Which One?
‘High School Musical’ Disney Plus Series Renewed For Season Two!


{% extends 'utilities/obj_delete.html' %} {% block message_extra %}
Note: This will not delete any child prefixes or IP addresses.


|
Names in this article have been changed to protect the identities of patients, parents, and healthcare professionals who wish to remain anonymous. AutismDr. Molly McButter, Ph.D., is a much sought-after child psychologist working near Stanford University in Palo Alto, California. For the past several years, she's been counseling a suspiciously large number of well-to-do (but freaked out) moms and dads living in the Bay Area. They come to her from different cities and unique socioeconomic backgrounds, but they do have one thing in common: their kids have all started acting funny. "Tommy," age two and a half, suddenly stopped recognizing his parents and 5-year-old sister.  One day he ceased making eye contact with his family members altogether. He'd drag his head across the floor, walk on his toes, make odd gurgling sounds, and spend long hours filling and emptying buckets of sand in the sandbox. Then the screaming began; he'd wail inconsolably at all hours of the day and night, refusing to be held or comforted in any way. Shortly thereafter, he developed chronic diarrhea. Tommy's mother compared this incomprehensible phenomenon to someone coming into her perfectly healthy son's bedroom in the night, stealing his personality and ability to communicate, and then leaving behind the empty cardboard box of an utterly bewildered child. At age six, "Kelly" developed some eccentric habits of her own. She began tugging uncomfortably at the collar of her shirt or the footpads of her pajama bottoms. Sometimes she'd go as far as to rip all her clothes off during an otherwise routine trip to Safeway. At the corner Blockbuster, Kelly would windmill both of her arms and run sweeping down the aisle, knocking entire racks of video boxes onto the floor. When this caused a scene, she too would scream and lash out with her fists, biting her father and lifting up her shirt to bare her bee-stung breasts at flabbergasted customers. At home, she'd refuse to sleep more than a few minutes at a time. She began urinating in the fireplace and all four corners of the hardwood family room floor, making an exaggerated show of it whenever company came over for extended periods of time -- to the understandable consternation and embarrassment of her parents. And when "Harrison" reached the age of ten, his mother and father could no longer deny the disparity between his development and that of other children his age. He seemed to exist alternately in one of two possible states: passed out and sound asleep, or running tirelessly around the house from room to room wearing different wigs and clanging iron pots together. He developed an obsessive, breakfast time fascination with the Pocahontas-style illustration of the Indian princess on the Land O'Lakes spreadable butter tub. He would kick chairs, curse and shriek, and throw forks whenever it was time for her to return to the refrigerator. On his birthday, Harrison crept into his father's room as he lay sleeping, and stabbed him in the buttocks with a turkey thermometer. After a battery of tests, these children were diagnosed with varying degrees
of autism, and Dr. McButter herself was responsible for delivering the
bad news. She knows firsthand that the medical and psychiatric literature covering
autism employs daunting words like "hopeless" and disparaging phrases
like "no known treatment". Autism is a disorder which can seize upon
someone instantly, or sneak up on them over the course of many months. It hinders
the development of a person's ability to communicate, interact with other people
and maintain normal contact with the outside world. When parents learn their child is autistic, they describe it as one of the most traumatic, stressful events of their lives. Non-autistic people see autism as an enormous tragedy, and mothers and fathers alike experience continuing disappointment and grief at nearly all stages of an autistic child's life. Mostly this grief stems from profound sorrow over the loss of the "normal" child they'd been hoping for. In forty-eight states, one out of every 500 children has been diagnosed with autism. But two regions in the two remaining states -- the California Bay Area and a borough of New Jersey -- stand out: the ratio is a disturbing one in 250. Studies of the New Jersey phenomenon suggest contributing factors like environmental toxins and genetic predisposition, but age attributes of the mothers also apply. Teen mothers, as well as women in their thirties or forties are more likely to produce autistic children than a female in her twenties. New theories attempting to reconcile explanations for the Silicon Valley autism phenomenon are more sinister, and they've begun to orbit around moms and dads who met each other online. Before we explore that, let's turn our attention to the animal world for just a moment. Specialized dog factories offering their customers purebred terriers, greyhounds, German shepherds and the like are in the inbreeding business. It's been long understood that any sufficiently advanced mammal species requires a more dynamic population source. From the standpoint of maintaining a genetically healthy stock, limited mating options guarantee progressive genetic degeneration, brittle bones, deafness, heart problems and a substantial loss of vigor. Any one of these disabilities alone can saddle dog owners with the unhappy responsibility of wrangling unhealthy pets. But if you go to the Humane Society and adopt a dog, you're likely to find -- pardon the term -- a mutt, a mixed breed dog with rich, colorful DNA. These dogs are profoundly smarter, better adjusted to living with humans, and far more loving than their blue blooded cousins. In large cities, the men and women who hook up in bars get together because they find each other cute. Successful unions between such couples are more likely to produce cute kids with healthy, happy genes. After all, they're the output of parents who ostensibly came together with no similar genetic markers beyond physical appearance. Their offspring are mutts as well, and statistically predisposed to a healthier, happier life. In smaller cities (or rural areas where sexual intercourse is the preferred method of passing time because nobody has a car or a computer to escape the tedium of everyday life) people of similarly limited characteristics mix and mingle in a woefully homogenous petri dish. Such a localized gene pool is tantamount to a single block of low-income housing: there's far less opportunity for the population to enjoy the diversity required to encourage evolution, and there's a much greater chance of propagating genetic defects. The Internet as we know it is more of a puddle than a massive, unwieldy universe. Online portals like Orkut, Friendster, Tribe.Net, MySpace, Nerve, and Craigslist which foster the illusion of value by belonging to privatized, incestuous "communities" are inbreeding a new generation of individuals with genetic markings nearly identical to those of autism -- and its lesser cousin Asperger's. Asperger's syndrome is a Pervasive Development Disorder (PDD) characterized by severe and sustained impairment with social interaction. Adults with Asperger's have trouble feeling empathy for others, especially when it comes to decoding social cues like gestures, facial expressions and body language. Normal communicative behaviors like humor or the emotional nuances of sarcasm, idioms or metaphors are often wholly lost on sufferers of Asperger's. Relationship issues depicted in books, movies, and television programs will not be understood. While their reading recognition skills are excellent, language comprehension remains weak -- and it cannot be assumed that they fully understand what they so fluently read. People with autism and Asperger's can often be egocentric, meaning that in some cases they find it difficult to believe other people actually have their own thoughts, feelings, or opinions of their own. The pervasiveness of individual thoughts, feelings, and opinions in tech-savvy metropolitan areas (like Silicon Valley) might be cause for alarm. Steve Silberman, a Wired magazine reporter examined the autism phenomenon several years ago, limiting his focus primarily to men and women working in the software industry: "It's a familiar joke that many of the hardcore programmers in IT strongholds like Intel, Adobe, and Silicon Graphics -- coming to work early, leaving late, sucking down Big Gulps in their cubicles while they code for hours -- are residing somewhere in Asperger's domain. Kathryn Stewart, director of the Orion Academy, a high school for high-functioning kids in Moraga, California, calls Asperger's syndrome the engineers' disorder. Bill Gates is regularly diagnosed in the press: His single-minded focus on technical minutiae, rocking motions, and flat tone of voice are all suggestive of an adult with some trace of the disorder. In Microserfs, novelist Douglas Coupland observes, 'I think all tech people are slightly autistic.'" In January of 2001, Microsoft became the first major US corporation to offer its employees insurance benefits to cover the cost of behavioral training for their autistic children. But elsewhere, a building army of autistic offspring threatens to bankrupt families, school systems and states nationwide. Federal law mandates that special-needs students be removed from traditional classrooms and stationed inside the portables at the far, far end of the football field where they can receive specialized tutoring. Such a law requires hiring more expensive teachers (those with master's degrees in special education) who wrangle classrooms of five students as opposed to twenty-five. These classrooms also include deaf and blind students, children with head injuries or learning disabilities like dyslexia, severe emotional disorders or bipolar conditions.  Meanwhile, as more and more women step up to claim their rightful place in online communities by blogging themselves silly, pumping up their perceived street value with mutually fanatical, hyperactive and hug-heavy "testimonials," e-viting one another into their electroclash pilates tribes, staging impromptu stitch-n-bitch knitting circles or hosting day-long Burning Man "decompression" parties, mentally obtuse men and boys who might never have found a compatible female partner suddenly discover they can hurl an iPod out the window and crack one square in the head with increasing accuracy. As long as men and women continue to meet online based exclusively on shared interests, the mental stability of future generations remains in grave peril -- and new technologies will need to be developed to keep them alive. Office furniture, for instance, may need to be ergonomically redesigned to take advantage of the Hug Box, a three-dimensional calming mechanism developed specifically for autism sufferers. In cooperation with noted researcher Temple Grandin, the Hug Box is an ingenious pressurized snuggle system used for deep touch stimulation, producing a calming effect on autistic or otherwise attention deficient individuals. Hug Boxes are already being used in schools, clinics, and homes around the world. Each machine is 60" tall, 60" long and 32" wide, constructed from 13-grade 3/4" birch plywood which is sealed and lacquered for a smooth durable finish. All edges are rounded to ensure safety. The air controls are of outstanding quality and multiple safety devices are included. Remaining components are fashioned from wood, metal, and plastic. The overall look is that of traditional office cubicle, with a classy, contemporary style suitable for those working in the software, Internet, gaming or design industry. The operator places his head in the top area, against soft fuzzy padding. His hands slide through the bottom opening to manipulate a keyboard or control joystick. As the furry side panels close in at a slow pace, overstimulated nerves become calm. Employees who previously paced, panted or hid under their desks during a morning meeting will soon be able to make their way to the conference room in a much calmer state -- without the use of a plastic mouth guard or ironcage safety helmet. The Hug Box, adjustable in many ways, can be used by software engineers, QA testers, videogame "producers," artistic "directors," and special needs students. The machine has a series of slots and holes to accommodate a laptop, a 12-oz cup of coffee, a 17" flat-panel display, and either a softcover O'Reilly reference or a rolled-up yoga mat. There are also slots which adjust the arm rests, sliders which allow for oversized head girths, and a hands-free speaker phone. In time, rather than clamoring for standup videogame units, Segways or Air Hockey tables, tomorrow's crop of autistic office workers borne of Orkut-sanctioned relationships or Friendster-branded marital unions will undoubtedly learn to love their complementary Hug Boxes. In a nation of eight million socially impaired Rain Mans unable to make human connections, at least everyone involved can boast they're a very good driver. The U.S. Department of Education recorded a nationwide autism increase of 600 percent between 1992 and 2004. The average child with autism will require $8 million in lifetime supervision and care. It's a disability with a normal life expectancy affecting boys five times more than girls -- although girls are more severely affected. In the United States, over one million individuals live with autism, making it more prevalent than Down Syndrome, diabetes, and cancer combined. |


Fight for your right to immortalize yourself and your words in the DATABASE ARENA!
Pit yourselves against your fellow database gladiators to rack up KILLS and earn SOULS!
The higher your KILLS, the more opportunities you have to fill this database with your words through kill messages!
Gaining more SOULS will help you live longer in the database, but be warned, when your SOULS reach zero, you will be deleted
from the DATABASE ARENA, along with all of your kill messages!
VS.
Player 1 controls the white circles, while Player 2 controls the two pink circles.
The larger circles represent each respective player's body, while their smaller circles are known as DEATH CIRCLES.
Each player needs to control their death circle in an attempt to make contact with the other player's body while
keeping their own body safe from the enemy's death circle.
Player 1 Death Circle Controls: W = up, A = left, S = down, D = right
Player 1 Body Controls: Y = up, G = left, H = down, J = right
Player 2 Body Controls: ArrowUp = up, ArrowLeft = left, ArrowDown = down, ArrowRight = right
Player 2 Death Circle Controls: Num8 = up, Num4 = left, Num5 = down, Num6 = right


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@(username: String, email: String, borrow: Integer, toolsOwned: Integer, toolsReturned: Integer) @main("Community Tool Management System - Personal Page"){
Number of tools owned: (@toolsOwned)
Number of tools borrowed: (@borrow)
Number of tools returned: (@toolsReturned)


AssetPacks are a way to package jME3 compatible assets like models, textures, sounds and whole scenes into a package that contains publisher info, license info, descriptions etc. for all of the assets. An AssetPack basically consists of an assetpack.xml
file that describes the content and an assets
folder that contains the content. The integrated browser in jMP allows you to add the assets of installed AssetPacks to any project you are doing.
The AssetPack browser in jMP makes browsing the installed AssetPacks easy. Browse categories, search for tags and find the right asset for your project. When you have found it, you can add it with one click to your current scene. The AssetPack manager will automagically copy all needed textures, sounds etc. to your projects assets folder.
You can also browse a selection of online assetpacks that are available on jMonkeyEngine.org for download and install them to your jMonkeyPlatforms AssetPack browser.
The AssetPack browser uses a predefined directory to store the AssetPacks which is also used for new AssetPack projects. You can see and change the folder path in the AssetPack preferences (jMonkeyPlatform→Settings).
To preview a model from the browser, right-click it and select "Preview Asset"
To add a model from the AssetPack browser to a scene do the following:
The model will be added to your scene and all needed texture files will be copied to your projects assets folder.
AssetPack projects are a way to create your own AssetPacks, either for personal use or for publishing. With this project type in jMonkeyPlatform you can create a library of assets on your computer that you can use in any of your projects via the AssetPack browser. Editing of asset and project info, adding of new assets and setting their properties, everything you need to create and publish your AssetPacks is there.
You can access and change the project properties by right-clicking the project and selecting "Properties".
To add new assets to your AssetPack do the following:
The global asset type can be "model", "scene", "texture", "sound", "shader" or "other"
With the "model" or "scene" types, the AssetPack browser will try to load and add a model file from the selected assets when the user selects "Add to SceneComposer". Specify the "load this model with material" flag for the model file that should be loaded via the AssetManager, you can also specify multiple mesh or scene files to be loaded. All texture and other needed files will be copied to the users project folder.
On the "Add Files" page you define the path of the files in the AssetPack. The importer tries to generate a proper path from the info entered on the first page. Note that for j3o binary models, the texture paths have to be exactly like they were during conversion. The given paths will also be used when copying the data to the users "assets" folder.
With the "add files" button you can open a file browser to select files from your harddisk that will be copied into the assets/
folder of the AssetPack project. With the "add existing" button you can add a file thats already in your AssetPack assets folder to a new asset item. This way you can reuse e.g. textures for asset items or make items for an existing collection of asset files that you copied to the projects assets folder.
You can specify a specific material to be used for the single mesh/scene files, just select it in the dropdown below the mesh or scene file. If you don't select a material file here, the first found material file is used or none if none is found.
If the material file is an Ogre material file (.material) it will be used for loading an Ogre scene or mesh file. If it is a jMonkeyEngine3 material file (.j3m), it will be applied to the mesh regardless of model type. Note that for j3o models you don't need material files as the material is stored inside the j3o file.
In your AssetPack Project, if you right-click your asset and select "preview asset" you should be able to see your model. If you do, it should work for the user as well.
You can change the single assets properties in the properties window after you have added them. Just select an asset and open the properties window (Windows→Properties).
Supported formats for models are:
You can publish your AssetPacks either as a zip file or directly to jmonkeyengine.org, using your website user name and login. This means other jMonkeyPlatform users can download your AssetPacks and install them to their local database right off the AssetPack online packages browser.
To make sure you can upload, you have to be registered on jmonkeyengine.org and have to enter your login info in the AssetPack preferences (jMonkeyPlatform→Settings).


Quick start for client
Common Java Project
Add the Maven dependency of the client to the application:
<dependency>
<groupId>com.alipay.sofa.lookout</groupId>
<artifactId>lookout-client</artifactId>
<version>${lookout.client.version}</version>
</dependency>
Lookout-client relies on the lookout-reg-server module by default (supports reporting metrics data to the lookout server). If you want to use a different type of registry (such as lookout-reg-prometheus), then add the corresponding dependency.
Before starting to use the SOFALookout Client, you must firstly build a global client instance (com.alipay.lookout.client.DefaultLookoutClient
).
LookoutConfig lookoutConfig = new LookoutConfig();
DefaultLookoutClient client = new DefaultLookoutClient("appName");
// Choose to build the Registry you need to use (if you need multiple registry types, it is recommended to use the same lookoutConfig instance for centralized management).
LookoutRegistry lookoutRegistry = new LookoutRegistry(lookoutConfig);
// Client can add a registry instance (at least one) after the client is created.
client.addRegistry(lookoutRegistry);
// (Optional) Uniformly register the metrics of extended modules for the registry instances that have been added or will be added to the client.
client.registerExtendedMetrics();
Then get the Registry instance through the client and use it:
// The registry is a "combination" registry
Registry registry = client.getRegistry();
//demo
Id id = registry.createId("http_requests_total");
Counter counter = registry.counter(id);
counter.inc();
For the use of the client, see Project sample.


The Moving Picture Girls Under the Palms or Lost in the Wilds of Florida
by Laura Lee Hope
Chapter 25: Out of the Wilds
Additional Information
- Year Published: 1914
- Language: English
- Country of Origin: United States of America
- Source: Hope, L. L. (1914). The Moving Picture Girls Under the Palms or Lost in the Wilds of Florida.New York: Grosset & Dunlap.
-
Readability:
- Flesch–Kincaid Level: 5.4
- Word Count: 2,304
- Genre: Adventure
- Keywords: florida stories, the moving picture girls under the palms
- ✎ Cite This
Downloads
For perhaps several seconds the two parties strangely met in that Florida wild stood staring at one another. Then the two girls hurried forward, and one of them exclaimed:
“Oh, have you come for us?”
“Not exactly, Miss Madison.”
“Oh—you—you know us?” gasped the other.
“Certainly, Mabel,” laughed Alice. “Don’t you remember us—the moving picture girls?”
“Ruth—Alice DeVere!” came the simultaneous cry from the lost girls—now the found girls. “Oh, how did you ever get here?” asked Helen Madison, for it was really she and her sister. Alice had recognized them first, and Ruth knew them a moment later.
“We are lost, like yourselves,” said Ruth. “Oh, but can you tell us where our steamer is?”
“Your steamer—no!” half-sobbed Mabel. “Oh, it is awful! We have been lost a long time—it seems a month, but of course it isn’t. We can’t find our way out of this wilderness. It is a labyrinth, and we dare not go far from this hut for fear we shall never find it again. It has been terrible. But if you are lost you cannot help us. What shall we do?”
“Let us eat first,” suggested Russ, practically. “You have some birds there. I fancy you are as hungry as we are. We have some crackers and coffee. We’ll get up a meal and then decide what to do. Come, Paul, we’re the commissary department.”
“Oh, but we must hear your story!” cried Ruth to the lost girls, after she had presented Mrs. Maguire and the boys. “We read about you in the paper, and we heard of you from the hotel clerk in Sycamore.”
“There isn’t much to tell,” said Mabel. “We started off after wild orchids. Well, we became lost, and in trying to find our way back we wandered farther and farther into the swamp. We had our motor boat, as you see, and quite a quantity of provisions, which was lucky for us. We tried our best to get out, but could not.
“Finally we found this spot—the hut was already here, built by alligator hunters, very likely. We appropriated it, and the small quantity of food it contained. Since then we have lived on that and what we could shoot. Fortunately game was plentiful, but we have so longed for some bread and coffee. I am dying for a cup.”
“Dinner will soon be served,” laughed Russ, who, with Paul, was preparing a rude meal, broiling the birds over a camp fire.
“And now tell us about yourselves,” suggested Mabel to Alice. “Oh! to think of meeting you again this way,” and she recalled the first meeting in the train going to the New England backwoods.
By degrees, and with each one telling a part, the story of the moving picture players was related. They told how they had looked in vain for their steamer. Mabel and Helen Madison also went more into details, giving some of their trying experiences in the swamps and bayous.
“But for days we have not tried to find our way from here,” said Mabel. “Our motor boat broke down, and we can’t get it to go.”
“I fancy I can fix it,” said Russ, “but the question is: Which way to go? We may only get to a worse place.”
“Let us eat, anyhow,” suggested Paul.
It was not a very elaborate meal, but it put new heart and courage into the lost ones.
“We’ll get back somehow—some time,” declared Alice, who was now almost her old self. “And then won’t everybody be glad!”
Night was coming on, but before the advent of darkness Russ had remedied the defect in the motor boat. There was trouble with the ignition system, and also with the carbureter.
“Now we could go, if we knew which way to go,” he said, as he tested the craft.
“Hark!” exclaimed Alice, suddenly.
The sound of a cheerful whistle came through the screen of trees.
“Oh!” gasped Ruth. “Who can it be?”
She had her answer a moment later.
Around a bend in the stream, rowing a battered boat, came an old colored man. It was he who was making the melody. Cheerfully he whistled, and more happily was he listened to.
“Ahoy there, Uncle!” called Russ. “Can you tell us where we are, and where the Magnolia is tied up?”
The old colored man was so startled by the sudden hail, breaking in on his whistling, that he nearly went overboard. He recovered himself, however, and called out:
“Whut—whut yo’ all doin’ at mah cabin?”
“Is this your place, Uncle?” asked Russ.
“It shore am. An’—an’—I bids yo’ all welcome—I shore does, honey!” he added quickly, remembering his hospitality.
“We’ve made ourselves at home,” said Mabel. “Oh, whoever you are, can you show us the way out of this wilderness?”
“Kin I show yo’ all a way outen dish yeah woods? I shore kin, honey lamb! I knows dish yeah place laik a book, even if I cain’t read. Where all does yo’ all want t’ go? Oh, wait a minute, though. Hole on! I done got t’ ax yo’ all some questions. Hab yo’ all seen any photographers round ‘bout yeah?”
“Photographers?” repeated Paul.
“Yais, sah! I done passed a steamer yist’day, an’ dey all on board was monstrous peeved ‘cause dey done lost der photographer. Yo’ all know—he takes dese pictures dat twinkle laik stars—yo’ know, slidin’ pictures, I guess dey calls ‘em.”
“Do you mean moving pictures?” asked Russ, eagerly.
“Uh, huh! Dat’s what I means, honey. All on board dish yeah steamer was pow’ful worried case de moving picture man an’ some oders got lost. Yo’ all didn’t see ‘em; did yo’ all?”
“We’re them!” cried Alice, with a justifiable disregard of grammar.
“And can you take us to that steamer?” asked Ruth, eagerly.
“I shore can, honey lamb; but it’s quite a far way t’ row t’night.”
“We can go in the motor boat!” cried Mabel. “Oh, how glad I am that we have it. There’s gasoline enough, I think, and there is a powerful searchlight. Oh, Helen, we’re found—we’re found!” and she fell to sobbing on her sister’s shoulder.
Ruth and Alice, too, clasped their arms about each other. All their troubles seemed over now.
“Do you think you can pilot us to that steamer?” asked Russ.
“I shore can, honey lamb!” chuckled the old negro. “I’se libbed in dese waters boy an’ man all mah life. Yo’ can’t lose me!”
“And is this your place?” asked Mrs. Maguire, pointing to the palm hut.
“Dat’s what it am, honey lamb. Uh, huh! I comes heah t’ hunt alligators an’ sea cows. Sometimes I stays fer a week at a time. I jest come up now t’ see if dere any traces of ‘gators. I’se gwine t’ start in huntin’ next week.”
“Oh, isn’t he a dear!” laughed Alice, with tears of joy in her eyes.
“Well, I guess you can postpone your investigation for a while,” suggested Russ. “It’s getting dark, Uncle, and we’d like to get back to the steamer. Now, if you’ll pilot us we’ll pay you well, and see that you get back in the morning. You can stay on the Magnolia to-night—if we find her.”
“Oh, I’ll find her, all right—don’t yo’ all let dat fret yo’!” chuckled the negro. “I knows jest where’s she tied. It’s a few miles from heah, but in dat choo-choo boat yo’ all kin soon be dere.”
Leaving his own boat on shore the colored man got into the motor boat with the others. The rowboat from the steamer was towed, and in it were left the rugs, blankets, moving picture camera and other things.
The two Madison sisters brought away with them a box of rare orchid specimens, the results of their search.
“I wish I could get a moving picture of this; but I can’t,” sighed Russ, as the motor boat started off in the twilight. Soon it became so dark that the searchlight was set aglow, and this gave a fine illumination.
But Uncle Joshua, which the negro said was his only name, seemed to need no light. In and out among the creeks, rivers, and bayous he directed Russ to steer, until finally, making a turn in a stream, there burst out on the eager eyes of the refugees the lights of the steamer.
“Magnolia ahoy!”
“Here we are!”
“Oh, Daddy, Daddy!”
“On board the Magnolia!”
Such joyful shouts as there were, and such joyful answers!
And then—but I leave you to imagine the scene aboard the steamer when the lost ones stepped out of the motor launch. Mr. DeVere, who was in a state of collapse through fear for his daughters, nearly fainted from joy, but he soon was himself again. And as for Tommy and Nellie, it is a wonder their grandmother was able to stand all the hugging and kissing they gave her.
As for the other members of the picture company, they rejoiced to the extent of tears, and even Mr. Sneed whistled cheerfully.
Mabel and Helen Madison were really in need of food and rest, for they had fared worse than our friends, having been lost so long, and suffering so from exposure. They were put to bed, and ordered to rest, the assurance being given that early in the morning the start would be made for their home in Sycamore.
And then such a talking time as there was! It was almost morning before anyone thought of bed.
“And all the while we were only a comparatively short distance from here,” said Russ, when everything had been explained. But the dense woods and the winding waterways were as effective a barrier as many miles would have been.
“It’s lucky Uncle Joshua came along,” commented Alice, and there was no dissent from this.
“I declare, we seem to be getting into more and more strenuous adventures, the more moving picture business we do,” said Ruth. “But I think this is about the end.”
“Indeed it isn’t!” declared Mr. Pertell. “I don’t want to crowd you too much, but I have an idea for some new moving pictures, and I’d like to keep this whole company together.”
“Where this time?” Alice asked.
“Out West,” was the answer. “I am planning a big drama, to be called ‘East and West,’ and I think it will be our best effort.”
“Out West,” said Ruth, softly. “I wonder what will happen to us out there?”
And the answer may be found by reading the next book of this series, to be entitled “The Moving Picture Girls at Rocky Ranch; Or, Great Days Among the Cowboys.”
The day following the finding of the lost girls the Magnolia started back for Sycamore. It was reached without accident, or incident of moment, and how the whole town rejoiced when it was known that the two Madison girls were aboard the boat! There was a veritable holiday.
The moving picture girls, too, came in for their share of attention, and had Uncle Joshua been there he probably would have been one of the centres of attraction. But, after being suitably rewarded, he went back to his palm hut, which had served the lost girls so well.
Russ made a few more films, to complete the set wanted, and then came a packing-up for the return to New York. Before that, however, Mr. Madison insisted on being the host to the entire company at a garden fete in honor of his daughters’ safe return.
“Oh, but it was lovely under the palms, even if we did get lost,” said Alice, as they started on their northward journey.
“Indeed it was,” agreed Ruth. “I wonder if we will like the West as well.”
“Better!” predicted Russ.
“I’m going to be a cowboy!” declared Paul.
And now we will take leave of the Moving Picture Girls and their friends.
THE END


git clone github Public Repos list: Sourced and Forked Hope you found something interesting :)
</frame>


Link: https://github.com/freeCodeCamp/mail-for-good
Pros
With all prioritized key features, but it is based on Amazon Simple Mail Service, so I don't know if it can be used.
-
Provide contact list management features (manage multiple contact lists)
-
Allow design of emails in application (WYSYWIG Editor)
-
Allow upload of HTML template in application (Copy & Paste)
-
Allow emails to be sent out - System has this feature but I haven't successfully sent.
-
Ability to provide attachments (custom or single attachment)
-
Store newsletter statistics (delivery success / failures)
-
Permissions for sending, managing contact list, and editing / creating newsletters - Currently Admin Account
Cons
-
Login with NYC.ID
-
Based on Amazon SES, so account is limited by Amazon.


Convert 'Ensembl' gene identifiers from Genotype-Tissue Expression (GTEx) data to identifiers in other annotation systems, including 'Entrez', 'HGNC', and 'UniProt'.
| Version: | 1.8 |
| Depends: | R (≥ 3.0.2) |
| Suggests: | knitr, rmarkdown |
| Published: | 2018-04-23 |
| Author: | Nan Xiao [aut, cre], Gao Wang [aut], Lei Sun [aut] |
| Maintainer: | Nan Xiao <me at nanx.me> |
| BugReports: | https://github.com/road2stat/grex/issues |
| License: | GPL-3 | file LICENSE |
| URL: | https://nanx.me/grex/, https://github.com/road2stat/grex |
| NeedsCompilation: | no |
| Materials: | README NEWS |
| CRAN checks: | grex results |
| Reference manual: | grex.pdf |
| Vignettes: |
Gene ID Mapping for Genotype-Tissue Expression (GTEx) Data |
| Package source: | grex_1.8.tar.gz |
| Windows binaries: | r-devel: grex_1.8.zip, r-release: grex_1.8.zip, r-oldrel: grex_1.8.zip |
| OS X binaries: | r-release: grex_1.8.tgz, r-oldrel: grex_1.8.tgz |
| Old sources: | grex archive |
Please use the canonical form https://CRAN.R-project.org/package=grex to link to this page.


GeoFire
powered by Firebase
Gameplan
This is a template created to incorporate live-gps data (potentially from user's mobile phones). We would quickly be able to turn this into an app with driver location, donor location (and time window), CommunityCenter location and remaining capacity.
Drivers
capacity, to or from
Donors
number of units, time window (eta, time to close).
CommunityCenters
number of units, time window (eta, time to close).
People
receiving kudos from individuals benefactors.
narrative pieces 'because you've done this... this is happening...'


Install SCIP without sudo
1. Download the SCIP Optimization Suite from SCIP website. I usually download the installation script.
2. Install libgfortran
if neccesary. I usually grab the libgfortran.so
from a Math machine.
3. Since we have no permisson to access /usr/lib/
folder, we need a way for SCIP
binary to find the library: suppose libgfortran.so
is in ~/lib/
folder, we can add export LD_LIBRARY_PATH=/lib:/usr/lib:~/lib
to ~/.bash_profile
.


Across: 5. One member is a demon! (3) 8. Mother upset about nine within significant period of time (10) 9. Energy Union back gold coin (4) 10. Pages about fashionable young dog (3) 11. Large fruit for Top Cat to love (4 6) 14. Shot back up to the races (4) 15. Deer that comes from an egg? (3) 16. Ten odd pens may be blue (10) 20. Eric upset Paddy's food (4) 21. Scattered and ran, carrying fish (7) 22. Attracted ten characters to throw dice (7) 24. Stuff left in a mess! (4) 25. Trees will stop growing here in city within weeks, maybe (10) 29. Little owl's cry in Sutton (3) 30. Drink it as ordered... (4) 31. ...Get brisket and drinks (3 7) 35. Granny is in finance (3) 36. Horse carries on for medal (4) 37. Late Norman building may be just for show (10) 38. A cutting observation? (3) Down: 1. Flows like German canal? (4) 2. Lissom, not large, but slender (4) 3. Cancel a French party? (4) 4. Faces six wise men (7) 5. Standing to bring in split cane (10) 6. Wander after quiet look around grinding machine (6 4) 7. Develop nicer tract for bird (6 4) 11. Crime writer, James, carries nothing in case (3) 12. Raises Penny in America (3) 13. Pair take back anything from Yorkshire? (3) 17. Look for 38? (10) 18. Properties for nurseries? (10) 19. Restricted Ken to do new arrangement (4 2 4) 23. Pretend I am a soldier on Tyneside (7) 26. Rubbish vehicles leave carrots (3) 27. Fireman keeps anger in! (3) 28. Short measures found in Germany (3) 32. She has one king and master (4) 33. Adjust radio for melody (4) 34. True version of Lear (4)


GET FIT
Workouts
Healthy Meals
My Fitness Plan
Find a Gym Near Me
Sign out
Shoulder Workouts
Authorize
Sign Out
13
All
Barbell
SZ-Bar
Dumbbell
Bench
None


NOTE: We ended up using store.js with json because ie7 apparently doesn’t come equiped with JSON. Tom and I broke our heads trying to figure out why store.enabled wasn’t true for ie7. It came down to the fact that ie7 didn’t have JSON.
Thought this was a cool little way to store whether a td square had been clicked on…
1234567891011121314151617181920
addRedTiles: ->
selected = store.get("board_#{@board_id}")
for tile_number in selected
$("[data-title-num=#{tile_number}]").addClass('clicked_space')
duringBoardClick: ->
if store.enabled
$('td').click =>
$(event.target).toggleClass('clicked_space')
clicked_tiles = []
all_clicked = $('td.clicked_space')
for tile in all_clicked
clicked_tiles.push $(tile).attr('data-title-num')
store.set("board_#{@board_id}", clicked_tiles)
else
console?.log? 'store is not enabled'
This needed to be updated b/c of event.targer
1234567891011121314151617
duringBoardClick:->ifstore.enabledboard_id=@board_id\\noticethatIdeclaredtheabovevariable$('td').click->\\andchangedthistoasingle->$(@).toggleClass('clicked_space')clicked_tiles=[]all_clicked=$('td.clicked_space')fortileinall_clickedclicked_tiles.push$(tile).attr('data-title-num')store.set("board_#{board_id}",clicked_tiles)\\boardthenbecomesalocalelseconsole?.log?'store is not enabled'
local storage versus cookies
client versus server -> Cookies and local storage really serve difference purposes. Cookies are primarily for reading server-side, local storage can only be read client-side. So the question is, in your app, who needs this data — the client or the server? If it’s your client (your JavaScript), then by all means switch. You’re wasting bandwidth by sending all the data in each HTTP header. If it’s your server, local storage isn’t so useful because you’d have to forward the data along somehow (with Ajax or hidden form fields or something). This might be okay if the server only needs a small subset of the total data for each request.
Size -> Apart from being an old way of saving data, Cookies give you a limit of 4096 bytes (4095, actually) - its per cookie. Local Storage is as big as 5MB per domain.


Tonight Coraline learned to say "no." Or more specifically "No-no-no-no-no-dood."
7/29/2009, 10:44:31 PM
Favs: 0
Retweets: 0
link--- layout: tweet ---
Tonight Coraline learned to say "no." Or more specifically "No-no-no-no-no-dood."
7/29/2009, 10:44:31 PM
Favs: 0
Retweets: 0
link


Manifest Version: {{manifestVersion}}
MembershipID: {{membershipId}} Race: {{characterRace}} Description: {{characterRaceDescription}} Class: {{characterClass}} Gender: {{characterGender}}


Contest - [[${contest.title}]]
Start time:
2016-04-09 12:00:00
End time:
2016-04-09 17:00:00
Current System Time:
2016-05-06 17:15:15
Contest Status:
Ended
| Problem Id | Title | |
| [[*{orign}]] Problem [[${T(java.lang.Character).toString(65+it.index)}]] | title |
[ Standings ] [ Status ] [ Statistics ]


|
GPGPU-Sim
|
#include <mat.h>
Public Member Functions | |
| Mat (const DynamicParameter &dyn_p) | |
| ~Mat () | |
| double | compute_delays (double inrisetime) |
| void | compute_power_energy () |
| Public Member Functions inherited from Component | |
| Component () | |
| ~Component () | |
| double | compute_gate_area (int gate_type, int num_inputs, double w_pmos, double w_nmos, double h_gate) |
| double | compute_tr_width_after_folding (double input_width, double threshold_folding_width) |
| double | height_sense_amplifier (double pitch_sense_amp) |
Private Member Functions | |
| double | compute_bit_mux_sa_precharge_sa_mux_wr_drv_wr_mux_h () |
| double | width_write_driver_or_write_mux () |
| double | compute_comparators_height (int tagbits, int number_ways_in_mat, double subarray_mem_cell_area_w) |
| double | compute_cam_delay (double inrisetime) |
| double | compute_bitline_delay (double inrisetime) |
| double | compute_sa_delay (double inrisetime) |
| double | compute_subarray_out_drv (double inrisetime) |
| double | compute_comparator_delay (double inrisetime) |
Private Attributes | |
| int | RWP |
| int | ERP |
| int | EWP |
| int | SCHP |
Additional Inherited Members | |
| Protected Member Functions inherited from Component | |
| int | logical_effort (int num_gates_min, double g, double F, double *w_n, double *w_p, double C_load, double p_to_n_sz_ratio, bool is_dram_, bool is_wl_tr_, double max_w_nmos) |
| Mat::Mat | ( | const DynamicParameter & | dyn_p | ) |
|
private |
|
private |
|
private |
|
private |
| const DynamicParameter& Mat::dp |
| PredecBlkDrv* Mat::dummy_way_sel_predec_blk_drv2 |
| PredecBlkDrv* Mat::way_sel_drv1 |


Drill 1.18 Released
Posted on Sep 5, 2020
by Abhishek Girish
Apache Drill 1.18 has been released providing Drill Metadata management "Drill Metastore", Format Plugins for HDF5 and SPSS, Storage Plugins for Generic HTTP REST APIs and Apache Druid, Support for DICT type in RowSet Framework, Dynamic credit based flow control, Support for injecting BufferManager into UDF, Drill RDBMS Metastore"
Drill 1.17 Released
Posted on Dec 26, 2019
by Bridget Bevens
Apache Drill 1.17's highlights are: Hadoop, Kafka, Sqlline, and Calcite upgrades, .zip compression, file/table function for schema provisioning, new UDFs, and more.
Drill User Meetup 2019
Posted on May 2, 2019
by Bridget Bevens
Drill User Meetup coming soon.
Drill 1.16 Released
Posted on May 2, 2019
by Bridget Bevens
Apache Drill 1.16's highlights are: table statistics, schema provisioning for text files, parquet metadata caching improvements, several Web UI improvements, and more.
Drill 1.15 Released
Posted on Dec 31, 2018
by Bridget Bevens
Apache Drill 1.15's highlights are: SQLLine upgrade, index support, ability to secure znodes with custom ACLs, INFORMATION_SCHEMA files table, systemfunctions table, and more.
Learning Apache Drill book from O'Reilly Media
Posted on Dec 1, 2018
by James Turton
A new book for learning to work with Apache Drill from two Drill comitters has been published through O'Reilly Media. The book contains helpful explanations and recipes for different types of user from big data admins to data scientists. It also presents information relevant to developers interested in customising Drill, contributing to the open source project or just taking a peek under the hood.
Drill User Meetup 2018
Posted on Oct 16, 2018
by Bridget Bevens
Drill User Meetup coming soon.
Drill Developer Day 2018
Posted on Oct 16, 2018
by Bridget Bevens
Drill Developer Day coming soon.
Drill 1.14 Released
Posted on Aug 5, 2018
by Bridget Bevens
Apache Drill 1.14's highlights are: Ability to run Drill in a Docker container, ability to export and save storage plugin configurations, a storage plugin configuration file to manage storage plugin configurations, an image metadata format plugin, option to set Hive properties at the session level, and more.
Drill 1.13 Released
Posted on Mar 18, 2018
by Bridget Bevens
Apache Drill 1.13's highlights are: YARN support, support for HTTP Kerberos authentication using SPNEGO, SQL syntax highlighting of queries, and user and distribution specific configuration checks during startup.
Running SQL Queries on Amazon S3
Posted on Feb 9, 2018
by Nick Amato
Drill enables you to run SQL queries directly on data in S3. There's no need to ingest the data into a managed cluster or transform the data. This is a step-by-step tutorial on how to use Drill with S3.
Drill 1.12 Released
Posted on Dec 15, 2017
by Bridget Bevens
Apache Drill 1.12's highlights are: Kafka and OpenTSDB storage plugins, SSL and network encryption support, queue-based memory assignment for buffering operators, networking functions, and the ability to prevent users from accessing paths outside the root of a workspace.
Drill 1.11 Released
Posted on Jul 31, 2017
by Bridget Bevens
Apache Drill 1.11's highlights are: Cryptography-related functions, spill to disk for the hash aggregate operator, Format plugin support for PCAP files, ability to change the HDFS block Size for Parquet files, ability to store query profiles in memory, configurable CTAS directory and file permissions option, support for network encryption, relative paths stored in the metadata file, and support for ANSI_QUOTES.
Drill 1.10 Released
Posted on Mar 15, 2017
by Bridget Bevens
Apache Drill 1.10's highlights are: CTTAS, improved fault tolerance, Drill version and statistics in Web Console, implicit interpretation of INT96, and Kerberos authentication.
Drill 1.9 Released
Posted on Nov 29, 2016
by Bridget Bevens
Apache Drill 1.9's highlights are: asynchronous Parquet reader, Parquet filter pushdown, dynamic UDF support, and HTTPD format plugin.
Drill 1.8 Released
Posted on Aug 30, 2016
by Bridget Bevens
Apache Drill 1.8's highlights are: metadata cache pruning, IF EXISTS support, DESCRIBE SCHEMA command, multi-byte delimiter support, and new parameters for filter selectivity estimates.
Drill 1.7 Released
Posted on Jun 28, 2016
by Bridget Bevens
Apache Drill 1.7's highlights are: Monitoring via JMX, Hive CHAR data type support, and HBase 1.x support.
Drill 1.6 Released
Posted on Mar 16, 2016
by Bridget Bevens
Apache Drill 1.6's highlights are: Inbound impersonation and additional custom window frames.
Drill 1.5 Released
Posted on Feb 16, 2016
by Jason Altekruse, Bridget Bevens
Apache Drill 1.5's highlights are: Authentication and security for the Web interface and REST API, experimental query support for Apache Kudu (incubating), an improved memory allocator, and configurable caching for Hive metadata.
Drill 1.4 Released
Posted on Dec 14, 2015
by Jacques Nadeau
Apache Drill 1.4's highlights are: "select with options" queries that can change storage plugin settings, improved behavior when parsing CSV file header names, a variable to set non-pretty (e.g. compact) printing of JSON, and better drillbit.log files that include query text.
Drill 1.3 Released
Posted on Nov 23, 2015
by Jacques Nadeau
Drill 1.3 has been released. Users can now query Hadoop sequence files and text delimited files with headers. In addition, this release provides significant performance and usability improvements for working with Amazon S3. Drill 1.3 also adds support for heterogeneous types, enabling queries on datasets with columns that have more than one data type (commonly seen in JSON files, MongoDB collections, etc.).
Drill 1.2 Released
Posted on Oct 16, 2015
by Jacques Nadeau
Drill 1.2 has been released. This release includes a new JDBC storage plugin for querying relational databases, as well as new window functions such as `NTILE`, `FIRST_VALUE`, `LAST_VALUE`, `LEAD` and `LAG`. This release addresses 210 JIRAs, including performance, stability and documentation enhancements.
Drill Tutorial at NoSQL Now! 2015
Posted on Jul 23, 2015
by Tomer Shiran
Attend the 3-hour Drill tutorial at the NoSQL Now! 2015 conference to learn more about Apache Drill.
Drill 1.1 Released
Posted on Jul 5, 2015
by Jacques Nadeau
Drill 1.1 has been released, providing window functions, automatic partitioning, improved MongoDB support and more. This release addresses 162 JIRAs.
The Apache Software Foundation Announces Apache Drill 1.0
Posted on May 19, 2015
by Tomer Shiran
The Apache Software Foundation announced today the availability of Apache Drill 1.0, the schema-free SQL query engine for Apache Hadoop, NoSQL and cloud storage.
Drill 1.0 Released
Posted on May 19, 2015
by Tomer Shiran, Jacques Nadeau
Drill 1.0 has been released, representing a major milestone for the Drill community. Drill in now production-ready, making it easier than ever to explore and analyze data in non-relational datastores.
Drill 0.9 Released
Posted on May 4, 2015
by Tomer Shiran, Jacques Nadeau
The community has just released Drill 0.9, which includes 199 resolved JIRAs and numerous enhancements.
Apache Parquet Graduates to a Top-Level Project
Posted on Apr 30, 2015
by Tomer Shiran
The Apache Parquet project has graduated to a top-level project (TLP) at the Apache Software Foundation.
Drill 0.8 Released
Posted on Mar 31, 2015
by Tomer Shiran, Jacques Nadeau
The community has just released Drill 0.8, which includes 243 resolved JIRAs and numerous enhancements.
MicroStrategy Announces Drill Support
Posted on Mar 23, 2015
by Tomer Shiran
MicroStrategy announced that it is now certified with Apache Drill, providing a first-class BI experience for Hadoop and NoSQL databases.
Schema-free JSON Data Infrastructure
Posted on Jan 27, 2015
by Tomer Shiran
JSON has emerged as the de-facto standard data exchange format. Data infrastructure technologies such as Apache Drill, MongoDB and Elasticsearch are embracing JSON as their native data models, bringing game-changing ease-of-use and agility to developers and analysts.
Drill 0.7 Released
Posted on Dec 23, 2014
by Jacques Nadeau
The community has just released Drill 0.7, which includes 228 resolved JIRAs and numerous enhancements.
What's Coming in 2015?
Posted on Dec 16, 2014
by Tomer Shiran
Drill is now a top-level project, and the community is expanding rapidly. Find out more about some of the new features planned for 2015.
Apache Drill Q&A Panelist Spotlight
Posted on Dec 11, 2014
by Tomer Shiran
Join us on Twitter for a live Q&A on Wednesday, December 17.
Apache Drill Graduates to a Top-Level Project
Posted on Dec 2, 2014
by Tomer Shiran
Drill has graduated to a Top-Level Project at Apache. This marks a significant accomplishment for the Drill community, which now includes dozens of developers working at a variety of companies.
SQL on MongoDB
Posted on Nov 19, 2014
by Anil Kumar Batchu, Kamesh Bhallamudi
The MongoDB storage plugin for Drill enables analytical queries on MongoDB databases. Drill's schema-free JSON data model is a natural fit for MongoDB's data model.
Want to contribute a blog post? Check out the source for some of the existing posts to see how it's done. When you're ready, email your Markdown file to<EMAIL_ADDRESS>How to Turn Raw Data from Yelp into Insights in Minutes with Apache Drill (Nov 13, 2014)
How to Use SQL, Hadoop, Drill, REST, JSON, NoSQL, and HBase in a Simple REST Client (Jan 6, 2015)


Contact Information
- Course: MTWR 4:10-7:40, LeConte 405
- Office: LeConte 400D
- Office Hours: MTWR 10:30-11:30 (No office hours on Memorial Day, 5/27).
- Email Me: mlevet who is in the domain email dot sc dot edu
- Syllabus
-
A Note About Quiz Days: I expect that everyone is working through the suggested problems in the book. On quiz days,
I will spend the first few minutes of class discussing specific problems from the book that you wish to review (e.g., "I struggled with Problem 15 in Section 1.5. Can you review this?").
I will NOT pick problems from the book to cover in class, as it eats up valuable review time and this is really your responsibility.
-
Reminder: The exams will not be rescheduled for discretionary reasons, such as travel plans or family gatherings. Please make your travel plans accordingly.
Announcements
- 5/22:
- Here is my Math 122 1.5-1.7 Study Guide (where 1.5-1.7 correspond to the Math 122 textbook). The problems on this study guide are all relevant for today's quiz and tomorrow's quiz. In particular, Problem 8 is something I like to put on my Exam 1 in Math 122.
- Tomorrow, we will have a quiz over the material we cover in class today. Afterwards, two hours will be allotted for Quiz 1-5 retakes. You do not have to do quiz corrections for retakes in tomorrow's class. Corrections are still required for retakes during office hours. If you are happy with your quiz average as of tomorrow, then you do not have to stay for quiz retakes.
- 5/21: Quiz 5 today covers 2.6-2.7, 3.1-3.2, and 3.4. Quiz 6 tomorrow will cover 4.1-4.2 and 4.4.
- 5/18:
- Quiz 4 on 5/20 will cover 2.1-2.4.
- Here is my Math 122 1.1-1.2 Study Guide (where 1.1-1.2 correspond to the Math 122 textbook). Problems 5-9 are relevant for the quiz on 5/20.
- Here is my Math 122 1.3-1.4 Study Guide (where 1.3-1.4 correspond to the Math 122 textbook). Problems 1-2 are relevant for the quiz on 5/20.
- 5/15: Quiz 3 on 5/16 will cover 1.4-1.8.
- 5/14:
- We covered C.1-C.3 today in class. We did not get to 1.3. Therefore, the quiz on 5/15 will only cover C.1-C.3.
- Based on the material we cover tomorrow, the topics for Quiz 3 on 5/16 are subject to change.  I will return Quiz 1 on 5/15. You may attempt new versions of the questions you missed as early as 5/16 in my office hours, provided that you:
- Email me by 9:30 PM on 5/15 to specify the questions you wish to attempt.
- Correctly re-work any problems on which you did not receive an M. You must bring your quiz corrections with you to my office hours.
- Quiz 2 over C.1-C.3, 1.3-1.4 will be on 5/15. I will return Quiz 2 on 5/16. You may attempt new versions of the questions you missed on Quiz 2 (as well as any Quiz 1 problems you missed) as early as Monday 5/20 in my office hours. The same rules apply as for Quiz 1.
- Quiz 3 over 1.5-1.8 will be on 5/16. I will return Quiz 3 on 5/20. You may attempt new versions of the questions you missed on Quiz 3 (as well as any Quiz 1-2 problems you missed) as early as Tuesday 5/21 in my office hours. The same rules apply as for Quiz 1.
Suggested Problems
- Chapter A
- A.2: 7-64
- A.3: 35-52
- A.4: 15-48
- Chapter B
- Chapter C
- C.1: 9-72
- C.2: 3-36
- C.3: 1-34
- Chapter 1
- 1.3: 7-26
- 1.4: 7-42
- 1.5: 5, 13-16, 23-28, 35-38, 39-63
- 1.6: 4, 6, 7-12, 13-28
- 1.7: 7-26, 33-36
- 1.8: 1-12, 17-20
- Chapter 2
- 2.1: 2, 6-20, 22-23
- 2.2: 5-24, 43-54
- 2.3: 11-52
- 2.4: 1-3, 7-8, 13-46
- 2.6: 7-26
- 2.7: 5-31
- Chapter 3
- 3.1: 1-39
- 3.2: 7-44
- 3.4: 1-13, 19-26
- Chapter 4
- 4.1: 5-8, 15-28, 37-42
- 4.2: 9-24
- 4.4: 13-14, 23-26, 43-49
- 4.5: 5-40, 49-55
- Chapter 5
- 5.1: 7-15
- 5.2: 9-16, 21-34


Struct vrt_context_association_lists¶
Defined in File vrt_types.h
Struct Documentation¶
-
struct
vrt_context_association_lists
¶ Contains association lists.
Public Members
-
uint16_t
source_list_size
¶ Number of Stream IDs in source context association list.
- Note
Only the 9 least significant bits are used.
-
uint16_t
system_list_size
¶ Number of Stream IDs in system context association list.
- Note
Only the 9 least significant bits are used.
-
uint16_t
vector_component_list_size
¶ Number of Stream IDs in vector-component association list.
-
struct vrt_context_association_lists_indicators
has
¶ Field presence indicators.
-
uint16_t
asynchronous_channel_list_size
¶ Number of Stream IDs in asynchronous-channel context association list.
- Note
Only the 15 least significant bits are used.
- Note
Must have as many entries as sample vector dimension.
-
const uint32_t *
source_context_association_list
¶ Producer metadata.
- Warning
Will point into the buffer when the field is read. Deallocating the buffer will render the pointer invalid.
-
const uint32_t *
system_context_association_list
¶ Additional metadata not covered by other context association lists.
- Warning
Will point into the buffer when the field is read. Deallocating the buffer will render the pointer invalid.
-
const uint32_t *
vector_component_context_association_list
¶ Holds metadata for data packet stream sample vectors.
- Warning
Will point into the buffer when the field is read. Deallocating the buffer will render the pointer invalid.
-
const uint32_t *
asynchronous_channel_context_association_list
¶ Associates a stream with each channel when channel tags are used in a data packet stream.
- Warning
Will point into the buffer when the field is read. Deallocating the buffer will render the pointer invalid.
-
const uint32_t *
asynchronous_channel_tag_list
¶ All channel tags used in paired data packet stream.
- Warning
Will point into the buffer when the field is read. Deallocating the buffer will render the pointer invalid.
-
uint16_t


{{ practice.name }}
{{ practice.address.join('
') }}
First available appointment:
{{ ui_element_macros.appointment_option({ link_url: 'confirm-appointment/' + appointments.face_to_face.uuid, appointment_date: appointments.face_to_face.appointment_date, appointment_time: appointments.face_to_face.appointment_time, appointment_days_away: appointments.face_to_face.appointment_days_away, avatar_img_path: '/public/images/' + appointments.face_to_face.practitioner.photo, name: appointments.face_to_face.practitioner.name, position: appointments.face_to_face.practitioner.role, gender: appointments.face_to_face.practitioner.gender, appointment_length: appointments.face_to_face.appointment_length, appointment_type: appointments.face_to_face.appointment_type, appointment_type_class: appointments.face_to_face.appointment_type_class, address: appointments.face_to_face.address }) }}More appointment options
-
{% if service.filters.gender %}
- I’d like to see a woman or female-identified person {% endif %} {% if service.filters.time_of_day %}
- I’d like an early morning appointment {% endif %} {% if service.filters.person %}
- I’d like to see a particular person {% endif %}


| DOSE: |
repeated |
inhaled |
Pharms - Albuterol |
Just for background, the drugs I'd taken before this were marijuana (several times a week), coedine, and alcohol.
I took 30 puffs to begin with, using a spacer to ensure maximum inhalation with each dose. I made sure to hold each puff for a second or two, inhaling deeply. Within 2 minutes I began to feel my chest throbbing, my heart kicking into overdrive. I also began to quiver unintentionally and couldn't sit still. It was a rather uncomfortable experience, but it wasn't really that bad. I decided to up the dose, and over the course of the next 5 minutes I reached my spontaneous goal of 100 hits, I think. I say I think because I lost track of the count as the effects became more intense.
I fell over immediately after reaching my goal, almost passing out. However, I think that was due to the lack of oxygen I was getting from rapidly puffing on the inhaler without pause. Within the next 10 minutes, the dose hit me, but it only increased the effects slightly. I unintentionally shook slightly harder, and my mouth became very dry. My heart was also beating somewhere around 180 bpm, which is VERY fast. I also got a throbbing headache. It lasted for around 4 hours, but I could still feel slight effects for more than a day afterwards.
All in all, it was a waste of time, providing a very uncomfortable and annoying high. Most of the effects I felt I think were due to lack of oxygen.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


{{song.name}} by {{artist.name}}
New song name
Song Duration - {{song.length}}
Return to previous page


*.bbsong File Format
A Beepola song file usually has the extension ".bbsong" and consists of file header, identifying the version of the file, plus one or more chunks of data. Chunks are identified by a null-terminated "chunk type" string, and end with the null-terminated string ":END" (without quotes).
When reading a file, any chunk names that are unhandled by a program should be ignored. Furthermore, any individual properties within a chunk that are not recognised by the reading program should also be ignored. Chunk type strings, and property identifiers within each chunk, should be considered case-sensitive.
File Header:
| File Header | 7 bytes | "BBSONG" + 0x00 |
| File Version | 5 bytes | "0001" + 0x00 |
:INFO Chunk
This chunk holds general information about the song,
such as the song title, author and the preferred tone generation engine for the song. It is terminated by the string
":END" + 0x00 and may contain any
number of null-terminated string properties, appearing in any order, of the
form "PropertyName=PropertyValue". Valid property values for version 0001
files include "Title=...", "Author=..." and "Engine=..."
| Chunk ID | 6 bytes | ":INFO" + 0x00 |
| Song Title | Variable, null-terminated | "Title=[Full Song Title]" + 0x00 |
| Song Author | Variable, null-terminated | "Author=[Author of Song]" + 0x00 |
| Preferred Playback Engine | Variable, null-terminated | "Engine=[Song Engine]" + 0x00 Currently valid values for [Song Engine] are "SFX" for the Special FX engine, "TMB" for The Music Box engine, "MSD" for the Music Studio, "P1D" for Phaser1 with Digital Drums, "P1S" for Phaser1 with Synth Drums, and "SVG" for the Savage engine. |
| Terminator | 5 bytes | ":END" + 0x00 |
:LAYOUT Chunk
This chunk holds details of the song layout, including the position of the loop-start point, the length of the song and the layout of patterns that make up the song.
| Chunk ID | 8 bytes | ":LAYOUT" + 0x00 |
| Loop Start Point | Variable, null-terminated | "LoopStart=[Start Point]" + 0x00 [Start Point] is an ASCII string representation of the position of the loop start pointer for the song. LoopStart=0 indicates that the song loops back to the beginning, LoopStart=1 indicates that the song loops back to start of the second pattern in the song, and so on. LoopStart should never exceed the value of the Length property of the song layout. |
| Length | Variable, null-terminated | "Length=[Length of Song]" + 0x00 [Length of Song] is an ASCII string representation of the number of linked patterns that comprise the song. Note that this is not the same as the number of unique patterns in the song; a song that consists of the patterns 1,2,3,2,3 would have this property set as "Length=5" indicating a total of 5 patterns in the song layout, while the pattern data would contain only 3 patterns (pattern 1, pattern 2, and pattern 3). The "Length=..." property is always followed immediately by a block of binary data with a length of [Length of Song] bytes. See below. |
| Song Layout Data | [Length of Song] bytes | The song layout, consisting of one byte per entry. In the above example of a song consisting of patterns 1,2,3,2,3 the song layout data would consist of 5 bytes: 0x01 0x02 0x03 0x02 0x03. |
| Terminator | 5 bytes | ":END" + 0x00 |
:PATTERNDATA Chunk
This chunk holds the data for each of the patterns in the song. Beepola includes all 127 patterns (numbered 0 to 126) in every song file. The reason for this is that a partially-complete song may include patterns that have not yet been included in the song layout, and these patterns would be lost if there were excluded from the song data. However, it is perfectly valid for a .bbsong file to contain fewer than 127 patterns and this should be allowed for in any reader program. Early versions of Beepola wrote out 256 patterns in every :PATTERNDATA chunk, so this must also be allowed for (the last 129 patterns will be empty and can safely be ignored in version 0001 files).
| Chunk ID | 13 bytes | ":PATTERNDATA" + 0x00 |
| Pattern Count | Variable, null-terminated | "PatternCount=[NumPatterns]" + 0x00 [NumPatterns] is an ASCII string representation of the total number of patterns contained in the chunk. For version 0001 bbsong files, this must be a value between 0 and 256. The "PatternCount=..." property is always followed immediately by a variable-length block of binary data as defined below, followed by the terminating :END +0x00 bytes. |
| Pattern Data | Variable | [NumPatterns] blocks of pattern data, as defined below. |
| Terminator | 5 bytes | ":END" + 0x00 |
The following Pattern Data block is repeated [NumPatterns] times. Internally, Beepola numbers patterns from 0 to [NumPatterns-1]. This is important when matching pattern data to the song layout contained in the :LAYOUT chunk.
| Pattern Name | Variable, null-terminated | "PatternName=[Name of the Pattern]" + 0x00 Specifies the textual name of the pattern. This property is mandatory and must appear at the start of every pattern data block. If there is no pattern name set, this property is written as "PatternName=" +0x00. Pattern Names in Beepola never exceed 64 characters in length. |
| Pattern Length | 4 bytes | A 32-bit integer value containing the length of the pattern. Intel byte ordering is used. |
| Pattern Tempo | 4 bytes | A 32-bit integer value containing the tempo of the pattern. |
| Channel 1 Data | [Pattern Length] bytes | The note data for channel 1. This consists of [Pattern Length] bytes. The note value is 0 for the lowest note playable by the selected engine and increases by 1 per semitone. For the SFX and TMB engines, therefore, a value of 0x00 is represented in Beepola as F#1, a value of 0x06 is C-2, a value of 0x12 is C-3 and so on. The theoretical maximum is 0x7F giving a maximum range of over 10 octaves. The value 0xFF indicates no note present, and the value 0x82 indicates a "rest" (this is functionally identical to 0xFF for the SFX and TMB engines, but future engines may treat a rest value differently to an empty note value). |
| Channel 2 Data | [Pattern Length] bytes | As above, but for channel 2 of the pattern. |
| Percussion Data | [Pattern Length] bytes | Percussion channel data for the pattern. 0xFF represents no percussion. The values 0x81 to 0x84 inclusive represent the four currently-supported drum sounds of the SFX engine. |
| Additional Data for Channel 1 | [Pattern Length] bytes | Any addition data used by the selected engine. This data is ignored for the TMB engine, and contains the channel 1 sustain values for the SFX engine. A value of 0xFF represents no data, 0x00 to 0xFE are valid sustain values. |
| Additional Data for Channel 2 | [Pattern Length] bytes | As above for channel 2. |
:P1INSTR Chunk
This chunk holds the data for each of the Phaser1 instruments in the song for songs of type "P1D" or "P1S". Beepola includes all 100 instruments (numbered 0 to 99) for Phaser1 songs.
| Chunk ID | 14 bytes | ":SVGORNAMENTS" + 0x00 |
| Pattern Count | Variable, null-terminated | "Length=[NumInstr]" + 0x00 [NumInstr] is an ASCII string representation of the total number of instruments contained in the chunk. For version 0001 bbsong files, this must be a value between 0 and 100 inclusive. The "Length=..." property is always followed immediately by a variable-length block of binary data as defined below, followed by the terminating :END +0x00 bytes. |
| Instrument Data | Variable | [NumInstr] blocks of pattern data, as defined below. |
| Terminator | 5 bytes | ":END" + 0x00 |
The following Instrument Data block is repeated [NumInst] times. Internally, Beepola numbers instruments from 0 to [NumIntr-1]. This is important when matching instrument data to the pattern data.
| Multiple | 1 Byte | The "Multiple" property for the instrument. Must be between 0 and 16 inclusive. |
| Detune | 2 Bytes | 16 bit unsigned integer containing the "Detune" property for the instrument. Must be between 0 and 9999 inclusive. |
| Phase | 1 Byte | The "Phase" property for the instrument. All unsigned byte values are valid. |
:SVGORNAMENTS Chunk
This chunk holds the data for each of the ornaments defined in a Savage song (songs of type "SVG"). Beepola includes all 32 instruments (numbered 0 to 31) for Savage songs. Ornament 0 specifies "no ornament" and must always be defined as zero length, containing no data, but it is still written to saved files. Ornaments 1 to 31 are user definable.
| Chunk ID | 8 bytes | ":P1INSTR" + 0x00 |
| Ornament Count |
Variable, null-terminated | "OrnamentCount=[NumOrn]" + 0x00 [NumOrn] is an ASCII string representation of the total number of instruments contained in the chunk. For version 0001 bbsong files, this must be a value between 0 and 32 inclusive. The "OrnamentCount=..." property is always followed immediately by a variable-length block of binary data as defined below, followed by the terminating :END +0x00 bytes. |
| Ornament Data | Variable | [NumOrn] blocks of pattern data, as defined below. |
| Terminator | 5 bytes | ":END" + 0x00 |
The following Ornament Data block is repeated [NumOrn] times. Internally, Beepola numbers ornaments from 0 to [NumOrn-1]. This is important when matching instrument data to the pattern data.
| Ornament Length | 4 bytes | A 32-bit integer value containing the length of the ornament. Intel byte ordering is used. |
| Ornament Data | [Ornament Length] bytes | Ornament data. Consists of note offsets from the the root note (for example, the three bytes 0,4,7) specify an major chord (root note, root note + 4 semitones, root note + 7 semitones). If the ornament is looped, the final byte of the data must have bit 7 set (e.g. $00,$04,$87 for a looped major chord). |
:SVGPATTERNDATA Chunk
This chunk holds additional pattern data to be used alongside the standard :PATTERNDATA chunk for songs using the Savage engine, containing data for four effects per channel: Glissando, Skew, SkewXOR, and Ornament. The number of patterns in this chunk should usually match the number of patterns in the :PATTERNDATA chunk, but this does not have to be the case for the file to be valid (if a file contains fewer SVGPATTERNDATA chunks than PATTERNDATA chunks, the missing SVGPATTERNDATA chunks should be assumed to be empty).
| Chunk ID | 16 bytes | ":SVGPATTERNDATA" + 0x00 |
| Pattern Count | Variable, null-terminated | "PatternCount=[NumPatterns]" + 0x00 [NumPatterns] is an ASCII string representation of the total number of patterns contained in the chunk. For version 0001 bbsong files, this must be a value between 0 and 256. The "PatternCount=..." property is always followed immediately by a variable-length block of binary data as defined below, followed by the terminating :END +0x00 bytes. |
| Savage Pattern Data | Variable | [NumPatterns] blocks of Savage pattern data, as defined below. |
| Terminator | 5 bytes | ":END" + 0x00 |
The following Savage Pattern Data block is repeated [NumPatterns] times. Internally, Beepola numbers patterns from 0 to [NumPatterns-1]. This is important when matching pattern data to the song layout contained in the :LAYOUT chunk.
| Pattern Length | 4 bytes | A 32-bit integer value containing the length of the pattern. Intel byte ordering is used. |
| Channel 1 Glissando Data | [Pattern Length] bytes * 2 | The glissando data for channel 1. This consists of [Pattern Length] 16-bit words (Intel Byte Ordering). Values between 0 and 255 indicate a glissando entry for the row. A value of 256 ($0100 in hex) indicates no glissando value for the row. Values greater than 256 are reserved for future use and should be ignored. |
| Channel 2 Glissando Data | [Pattern Length] bytes * 2 | As above, but for channel 2 of the pattern. |
| Channel 1 Skew Data | [Pattern Length] bytes * 2 | Skew data for the pattern, in the same format as the glissando data (256 = no skew, 0 - 255 are valid skew values). |
| Channel 2 Skew Data | [Pattern Length] bytes * 2 | As above, but for channel 2 of the pattern. |
| Channel 1 Skew XOR Data | [Pattern Length] bytes * 2 | Skew XOR data for the pattern, in the same format as the glissando data (256 = no skew, 0 - 255 are valid skew XOR values). |
| Channel 2 Skew XOR Data | [Pattern Length] bytes * 2 | As above, but for channel 2 of the pattern. |
| Channel 1 Ornament Data | [Pattern Length] bytes | Ornament data for the pattern, in the same format as the glissando data (256 = no skew, 0 - 31 are valid ornament values). |
| Channel 2 Ornament Data | [Pattern Length] bytes * 2 | As above, but for channel 2 of the pattern. |
:SVGWARPDATA Chunk
This chunk holds additional pattern data to be used alongside the standard :PATTERNDATA chunk for songs using the Savage engine, containing data for the "FX" column for each of the two channels.
| Chunk ID | 13 bytes | ":SVGWARPDATA" + 0x00 |
| Pattern Count | Variable, null-terminated | "PatternCount=[NumPatterns]" + 0x00 [NumPatterns] is an ASCII string representation of the total number of patterns contained in the chunk. For version 0001 bbsong files, this must be a value between 0 and 256. The "PatternCount=..." property is always followed immediately by a variable-length block of binary data as defined below, followed by the terminating :END +0x00 bytes. |
| Savage FX Column Data | Variable | [NumPatterns] blocks of Savage FX column data, as defined below. |
| Terminator | 5 bytes | ":END" + 0x00 |
The following data block is repeated [NumPatterns] times. Internally, Beepola numbers patterns from 0 to [NumPatterns-1]. This is important when matching pattern data to the song layout contained in the :LAYOUT chunk.
| Pattern Length | 4 bytes | A 32-bit integer value containing the length of the pattern. Intel byte ordering is used. |
| Channel 1 FX Column Data | [Pattern Length] bytes | The FX column data for channel 1. This consists of [Pattern Length] bytes of boolean on/off values, cast to bytes, such that a value of 0 specifies that the FX column is "Off" for that row, and 255 specifies that the FX column is "On" for the row. |
| Channel 2 FX Column Data | [Pattern Length] bytes | As above, but for channel 2 of the pattern. |


{% load i18n %} {% load currency_filters %}
| {% trans "File" %} | {% trans "Delete?" %} |
|---|---|
| {% for error in attachment_form.non_field_errors %} {{ error }} {% endfor %} | |
| {% include "dashboard/partials/form_field.html" with field=attachment_form.file nolabel=True %} | {% include "dashboard/partials/form_field.html" with field=attachment_form.uuid nolabel=True %} {% include "dashboard/partials/form_field.html" with field=attachment_form.DELETE nolabel=True %} |


The problems from this lab need to be solved using string specific instructions: LODSB, STOSB, MOVSB, SCASB, CMPSB, LODSW, STOSW, MOVSW, SCASW, CMPSW.
1. Being given two alphabetical ordered strings of characters, s1 and s2, build using merge sort the ordered string of bytes that contain all characters from s1 and s2.
2. A string of doublewords is given. Order in decreasing order the string of the low words (least significant) from
these doublewords. The high words (most significant) remain unchanged.
Ex: being given: sir DD 12345678h 1256ABCDh, 12AB4344h
the result will be 1234ABCDh, 12565678h, 12AB4344h.
3. A string of doublewords is given. Order in increasing order the string of the high words (most significant) from
these doublewords. The low words (least significant) remain unchanged.
Ex: being given: sir DD 12AB5678h 1256ABCDh, 12344344h
the result will be 12345678h 1256ABCDh, 12AB4344h.
4. Being given two strings of bytes, compute all positions where the second string appears as a substring in the first string.
5. Being given a string of bytes representing a text (succession of words separated by spaces), determine which words are palindromes (meaning may be interpreted the same way in either forward or reverse direction); ex.: "cojoc", "capac" etc.
6. Being given a string of words, obtain the string (of bytes) of the digits in base 10 of each
word from this string.
Ex.: being given the string: sir DW 12345, 20778, 4596
the result will be 1, 2, 3, 4, 5, 2, 0, 7, 7, 8, 4, 5, 9, 6.
7. A string of bytes 'input' is given together with two additional strings of N bytes each, 'src' and 'dst'. Obtain a new string of bytes called 'output' from the 'input' string, but replacing all the bytes with the value src[i] with the new value dst[i], for all i between 1 and N.
8. Being given a string of bytes, build a string of words which contains in the low bytes of
the words the set of distinct characters from the given string and in the high byte of a word it
contains the number of occurrences of the low byte of the word in the given byte string.
Ex: given the string: sir DB 2, 4, 2, 5, 2, 2, 4, 4
we should have the result: rez DW 0402h, 0304h, 0105h.
9. Being given a string of doublewords, build another string of doublewords which will include only the doublewords from the given string which have an even number of bits with the value 1.
10. A string of bytes is given. Obtain the mirror image of the binary representation of this string of bytes.
Ex: The byte string is given: s db 01011100b, 10001001b, 11100101b
The result is the string: d db 10100111b, 10010001b, 00111010b.
11. A string of doublewords is given. Compute the string formed by the high bytes of the low words from the elements of the doubleword string and these bytes
should be multiple of 10.
Ex: Being given the string: s dd 12345678h, 1A2B3C4Dh, FE98DC76h
The result is the string: d db 56h, 3Ch, DCh.
12. Being given a string of words, compute the longest substring of ordered words (in increasing order) from this string.
13. Being given a string of bytes and a substring of this string, eliminate all occurrences of this substring from the initial string.
14. Two strings of bytes are given. Parse the shortest string of those two and build a third string which should contain the largest element of the same rank from the two strings and up to the length of the longest string the third string will be filled with 1 and 0, alternatively.
15. A string of words is given. Build two strings of bytes, s1 and s2, in the following way: for each word,
- if the number of bits 1 from the high byte of the word is larger than the number of bits 1 from its low byte, then s1 will contain the high byte and s2 will contain the low byte of the word
- if the number of bits 1 from the high byte of the word is equal to the number of bits 1 from its low byte, then s1 will contain the number of bits 1 from the low byte and s2 will contain 0
- otherwise, s1 will contain the low byte and s2 will contain the high byte of the word.


Yay!
The recovery code and secret code generator were successfully recreated
Following is the secret code generator for the sign-in process. Please add it to one-time password providers, like Enpass, Authy, 1Password, Google Authenticator, OTP Auth, etc. Please remember that two-factor authentication is a mandatory step in order to sign-in.
Also, if somehow you loose access to your one-time password provider, you must use the following recovery code:
{{ range $element := .RecoveryCode }} {{ $element }}{{ end }}
You can proceed to the home page now.


{% load static %}
Resolute QA
Projects
Summary
Run Results
{% for suite in suite_runs %}
{{ suite.suite.suite_name }}
{% endfor %}
Bugs
(current)
Upload
Admin
Project:
{{ projectenvironment.project }}
Environment:
{{ projectenvironment.environment }}
Project Bugs
Source Control ID
Bug Title
Source Control
URL
Actions
{% for bug in bug_list %}
{{ bug.source_control_id }}
{{ bug.title }}
{{ bug.source_control }}
{{ bug.url }}
Edit
Delete
{% endfor %}
Create Bug
Source Control ID:
Title:
Source Control:
URL:
Edit Bug
Source Control ID:
Title:
Source Control:
URL:
Confirm
Are you sure you want to delete bug
?


◆ Amount
| float MercadoPago.DataStructures.Payment.Refund.Amount |
|
get |
◆ CreatedDate
| DateTime? MercadoPago.DataStructures.Payment.Refund.CreatedDate |
|
get |
◆ Id
| int MercadoPago.DataStructures.Payment.Refund.Id |
|
get |
◆ Metadata
| JObject MercadoPago.DataStructures.Payment.Refund.Metadata |
|
get |
Valid JSON that can be attached to the payment to record additional attributes of the merchant
◆ PaymentId
| int MercadoPago.DataStructures.Payment.Refund.PaymentId |
|
get |
Payment on which the return was made
◆ Source
| Source? MercadoPago.DataStructures.Payment.Refund.Source |
|
get |
◆ UniqueSequenceNumber
| string MercadoPago.DataStructures.Payment.Refund.UniqueSequenceNumber |
|
get |
Refund identifier given by the card processor
The documentation for this struct was generated from the following file:
- git/dx-dotnet/px-dotnet/DataStructures/Payment/Refund.cs


 Copyright 1998 Justin Felix. All of my film reviews are archived at http://us.imdb.com/M/reviews_by?Justin+Felix This review also appears in the Shrubbery -- http://www.theshrubbery.prohosting.com/0199/movie2.html
Rating: ** (out of five)
Screenplay by Trey Callaway. Directed by Danny Cannon. Starring Jennifer Love Hewitt, Brandy, Freddie Prinze Jr., Mekhi Phifer. Rated R (contains violence and profanity) approx. 90 mins.
Synopsis: Sullen Julie James, still haunted by nightmares of the killer Ben Willis from I KNOW WHAT YOU DID LAST SUMMER, perks up when her new best friend Karla Wilson wins a trip for four to the Bahamas. Arriving at the start of the hurricane season, Julie and Karla run around in very tight clothing and realize they've walked into a trap set by the rainslickered slasher with a huge hook for a hand.
Comments: I may be showing some pop culture illiteracy here, but I have never seen an episode of the Fox TV series "Party of Five." I am only vaguely aware of the show's premise, and my knowledge of it comes from brief commercials I half-paid attention to while watching the tube. "Party of Five," I do know however, seems to be the starting ground for actresses in the teen horror genre. Neve Campbell, Scream Queen of the 90s and star of SCREAM, SCREAM 2, and THE CRAFT, is a regular of the show. So too is Jennifer Love Hewitt. Lo and behold, following in the footsteps of Campbell, Hewitt now has a horror franchise of her own: the I KNOW WHAT YOU DID LAST SUMMER line. Though the original film, released last year, was watchable enough, this insipid sequel had me looking at the theater's glowing red EXIT sign longingly throughout.
Jennifer Love Hewitt is a very good-looking young leading lady; however, unlike Neve Campbell, Hewitt struggles with acting. She just isn't convincing in this film (and she wasn't in the original either). This puts many young males, including myself, in a paradoxical quandary: she's very attractive, but the annoying, spoiled, Valley Girl-type character she tries to play here is annoying to the extreme and ruins many of the scenes which emphasize, exploitatively, her figure. Add to the mix the equally pleasant yet irritating Brandy, another rising teen TV star, and you get one frustrated male audience.
I've spent so much time on Hewitt and Brandy for a reason. I STILL KNOW WHAT YOU DID LAST SUMMER, though cashing in on the success of the original, ultimately serves as a vehicle for these two young actresses. Nothing else here is original or interesting. This movie, in fact, makes other recent so-so horror films like URBAN LEGEND and JOHN CARPENTER'S VAMPIRES seem like stunning works of high art. I STILL KNOW relies heavily on tired slasher film cliches: an isolated location, a storm, parentless teenagers, false alarm nightmares, lots of blue-lighted darkness scenes, a garbed slasher who walks around in the background without the characters seeing him, knives and other sharp instruments lying around everywhere, etc. You get the picture. The entire audience knows all the secondary characters introduced in the film are going to receive the business end of the killer's hook. They may as well have huge targets painted on them. Like SCREAM and its numerous knockoffs, these secondary characters are supposed to serve as comic relief. Unfortunately, I STILL KNOW's characters aren't all that funny. In particular, one character, a chain-weed-smoking guy, is obnoxiously annoying and certainly doesn't die soon enough. The death scenes, by the way, are relatively violent for a theatrically released horror film. Several of them are uncomfortable to watch, and they reminded me of the sickening gore scenes in HELLRAISER: BLOODLINE, a truly sadistic movie. This, too, did not help the supposed humor I STILL KNOW was shooting for.
And what is the deal with the slasher himself? I know that the slasher film is not a particularly intelligent genre, but Ben Willis has got to go down as one of the most silly slashers in mainstream horror. Come on, the guy looks like the Gorton's fisherman, and his gruff voice makes him sound like a Disney pirate. Though his lightning-lit appearances ellicited much-needed laughter in the theater, his appearance borders on the absurd in the horror film, and that's *really* saying something.
So, all that's left to talk about here is Jennifer Love Hewitt and Brandy. Both prance about in tightfitting, revealing outfits or in various states of undress, yet neither of them ever actually do a nude scene. Hewitt, however, does do a post-shower scene in which her thin bathrobe is quite. . .titillating. This scene alone made this one-star turkey earn two stars under my rating system. Otherwise, Hewitt and Brandy both grate on the nerves. Early in the film, for instance, Brandy wins the trip to the Bahamas. She and Hewitt jump around and scream and screech for what seems like forever. I needed extra-strength Tylenol after that part. Oh, and the film's conclusion, talk about repetitive!  Boring!
I saw this movie with my brother at the local downtown movie theater. Admission is only one dollar on Wednesdays, and we often go see bad movies on these days just to ridicule them. It's usually a fun thing to do along with the rest of the audience, who don't seem to mind participating in a mass "Mystery Science Theater 3000"-type viewing.  If it weren't for the main actresses' revealing wardrobes, I'd have had a very, very hard time sitting through this lame sequel. I can't imagine trying to watch it on video (horror films seem 10 times better in a theater because they rely heavily on audience participation) and wouldn't recommend it to people, unless they're horror film fanatics or huge fans of Hewitt and Brandy. I read on a website somewhere that another sequel is already in the works. What a depressing thought. Hewitt apparently needs to spend more time on TV figuring out how to act.
Rated R, this film contains lots of violence, several gory scenes, and a couple nubile, horny teenagers--though the sex act itself is always thwarted. I'd say this is unsuitable for kids, but teens wouldn't have a problem sitting through it, especially since they obviously compose the film's target audience.
Review written December 16, 1998.
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A channel to discuss trading. For useful links and more info click the pinned messages to the right.
100 messages
Before 05-Dec-19 12:00 AM
Markus16-Aug-19 02:57 PM
ah
ye right
Caglio16-Aug-19 02:57 PM
Anyways
Markus16-Aug-19 02:57 PM
wops
Caglio16-Aug-19 02:57 PM
I agree with dukeleto
Its most def not a good investment
blackjok3r16-Aug-19 02:58 PM
I specifically remember saying it was a scame right from the very start
Caglio16-Aug-19 02:59 PM
I remember that also joker lol
But its ok cmon
Its only money we lost
And a bit of pride
dukeleto16-Aug-19 03:00 PM
@Deleted User yeah, that is a common scam.
PTYX16-Aug-19 04:09 PM
70 M for a startup from a VC is high tier to say the least.
mrtzmp316-Aug-19 04:10 PM
Someone DM me their discord please
K64
Caglio16-Aug-19 04:13 PM
ok
mrtzmp316-Aug-19 04:18 PM
Thx
dan.16-Aug-19 04:32 PM
They could of said 4m from stranger x and no one would bat an eye and probably get away with it . That's plenty to make 1 good viable gaming product.
Caglio16-Aug-19 04:34 PM
I got banned, but its ok
mrtzmp316-Aug-19 04:34 PM
Lol
What arrogant pieces of shit
Just sell
Lmao
Caglio16-Aug-19 04:34 PM
yeye
Im gonna sell them
1 k64 for 1KMD
Mark my words
mrtzmp316-Aug-19 04:35 PM
Their jig is up
Caglio16-Aug-19 04:35 PM
Hi @KomodoWorldwaves three times
KomodoWorld16-Aug-19 04:36 PM
you started to insult and threaten, well deserved banhammer
Caglio16-Aug-19 04:36 PM
Threaten ?
mrtzmp316-Aug-19 04:36 PM
No way he was asking questions
You belittle him tell him to sell lmao
Caglio16-Aug-19 04:37 PM
Yeah good idea, noone wants to buy for the price they scammed us
mrtzmp316-Aug-19 04:37 PM
Well atleast alecandro dude was confident they have the funding
Caglio16-Aug-19 04:37 PM
Yeah
I actually bought cos of him
He also rained millions on coins onto us
maybe he is the part of the team
Hmmm
I like the Sam tho, he seems tough dude
I love those
1
mrtzmp316-Aug-19 04:37 PM
Komodoworld shill for sure is somehow connected to them
KomodoWorld16-Aug-19 04:37 PM
ehi at this point I pretend my own 'do not trust' tag(edited)
Caglio16-Aug-19 04:38 PM
Its ok, I just hope they save some money on the side
mrtzmp316-Aug-19 04:38 PM
They probably already partying it away feeling like the rich jetsetters
Caglio16-Aug-19 04:39 PM
Yeah ( : hahaha
mrtzmp316-Aug-19 04:39 PM
Thx for the contribution
:)
Was honor
Caglio16-Aug-19 04:39 PM
Anyway, I havent been in Holland since 2017
And I really need a fucking vacation
I wish KMD hits 3$ till then
So I can party like an animal
Otherwise Sam will have to reimburse me for all the cash I spent there
Who knows will he pay me off in k64 coins
Btw they are not fair, I got only one warning I thought its 3 warnings
1
mrtzmp316-Aug-19 05:11 PM
Lol at 777 support wall
debaas16-Aug-19 05:13 PM
Was kinda expecting kmd to have bounced by now. The market is wrong!
Markus16-Aug-19 05:14 PM
Patient is the key
Markus16-Aug-19 05:22 PM
How is hate exchanges where u only can see a portion of the orderbook, would like to see orders way lower or higher
When BAKKT #bitcoin futures announces a launch date for a 5th time
mrtzmp316-Aug-19 05:51 PM
Damn bakkt already manipulating price before launching(edited)
Kinda expect the same that happened when future s were introduced
Rekting the market with shorts
debaas16-Aug-19 05:56 PM
Always wonder who is selling at these prices. People who are so rekt they want to get out? Hardly believe these coins come from miners or stakers.
dan.16-Aug-19 05:56 PM
people selling and buying on the way down mostly at this point
these big moves are not bots
jspook1616-Aug-19 06:01 PM
Bills gotta get paid
mrtzmp316-Aug-19 06:09 PM
@debaas big traders and their bots
Buy wall 777 bounce sometimes to get people confident in it , people buy , withdraw wall , people sell , stop losses trigger , they panic , buy and repeat
Or simply they sell because think btc will moon more
Ofc it's bots @dan. if he just wanted to buy he can buy small increments here , but he has the big ass wall 60k Komodo that when sold into too much automatically cancled order
Don't think they or he risk it just to get dumped upon


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