Class Hierarchy
- java.lang.Object
- org.drip.sample.bondsink.Aligarh
- org.drip.sample.bondsink.Amaravati
- org.drip.sample.bondsink.Bhavnagar
- org.drip.sample.bondsink.Bhiwandi
- org.drip.sample.bondsink.Bhubaneswar
- org.drip.sample.bondsink.Bikaner
- org.drip.sample.bondsink.Cuttack
- org.drip.sample.bondsink.Dehradun
- org.drip.sample.bondsink.Firozabad
- org.drip.sample.bondsink.Gorakhpur
- org.drip.sample.bondsink.Guntur
- org.drip.sample.bondsink.Ichalkaranji
- org.drip.sample.bondsink.MiraBhayander
- org.drip.sample.bondsink.Nellore
- org.drip.sample.bondsink.Saharanpur
- org.drip.sample.bondsink.Salem
- org.drip.sample.bondsink.Warangal


Developing trust and accountability with your team is the first step to success.
Sometimes I win, sometimes I learn instead, but I don't quit.
I embrace challenge and the opprtunity to push boundaries in pursuit of improvement.
Looking out and caring for people is very important to me.
I am a customer focused SAAS Product Manager turned Web Developer, who is passionate about complicated problem solving, lifelong learning, and supporting the people I work with. I have developed a passion and excitement for coding using Javascript libraries and frameworks on the back and front end. At the SAAS start-up I worked at before, I started off as an account manager and gained a strong appreciation for customer needs and clear communication. I was promoted to product manager where the product I owned saw an increase of daily users of 10%. My experience working with developers in this role inspired my desire to learn how to code myself and my goal is to contribute to a tech focused company where my skills in coding and creating awesome products can continue to grow.
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(I make the stalking easy)


Sponsors.. SP1 A wonderful serenity has taken possession of my entire soul, .


A brand strategist by education, social entrepreneur by profession and people developer by passion, I energize and empower leaders, entrepreneurs and the differently-abled such that they are seen, heard and sought. Drilling deep into diversity issues beyond demographics, I help my audience bring their whole selves to work, embrace their unique perspectives, thoughts and ideas and deliver an authentic and memorable brand experience across their online, offline and in-paper platforms.
Having lived, learned and worked in starkly different cultures including Finland, Singapore, India and the US, I have had to constantly reinvent myself to stay relevant in each market. Harnessing personal insight from the many transitions I have been through and combining it with 18+ years of expertise in brand strategy and an innate passion for brand storytelling and thought diversity, I hold space for professionals in transition and empower those seeking career growth.
I currently serve as a brand career coach and consultant at global outplacement firm, Lee Hecht Harrison, training consultant at Management Development Institute of Singapore and Make The Change. With a Masters in Advertising from Michigan State University and as a REACH (Pioneer Institute in Personal Branding, USA) certified brand and 360 degree strategist, I direct and manage my social enterprise, Brand You.
Harini Chari has engaged and energized audiences all the way from the LinkedIn headquarters in Asia to INSEAD. She speaks on Personal and Leadership Branding, Thought Diversity and Bringing The Whole self To Work, Professional Reinvention, Intentional Networking, and Thought Leadership on Social Media. Known for her inspiring and insightful sessions, Harini effectively empowers her audience to stay relevant and crate impact for themselves and others.
Unearth true purpose and understand what drives and guides you. Your values, passions, goals and mission in life will be fleshed out through which hidden potential and career leanings are figured out.
With a clear idea of who you are, embark on sharing your true purpose with your audience through a stand-out brand narrative, brand statement and network. Make it clear as to why your audience/employer/client should care about you and choose you over a million others.
It’s one thing to claim and quite another to do. Keeping the brand alive and fresh happens only when we walk the talk and demonstrate. Ideas and proven approaches to continue shining as YOU.
"Harini is THE personal branding expert. I have worked several times with Harini and she is always very professional giving high value to events such as a key note speaker at AmCham Finland's Womens Network events, of which some of them were sponsored by Amway. In addition, Harini has bought in value to managers in Amway Scandinavia in regards to personal branding.”
”Harini has a strong impact on others. I got to witness it at close range when she worked at Amcham Finland. People were transformed as she guided them to discover the extraordinary in them and live it up to the fullest. At Amcham, Harini successfully energized and aligned the brands of the organization, our programs and events, and even individual team members. The feedback has been overwhelmingly positive. Harini is a charismatic speaker - so much so that people often fall in love with the messenger. They also instinctively want to do business with Harini, whether she is selling something or not. We were heart-broken when Harini had to return to Singapore but we continue to work with her and hope for her return. One clock on the office wall is set on Singapore time to keep us synced! I recommend Harini highly.”
”Ms Chari gave an inspiring guest lecture on Personal Branding to our students at an alumni event held in Metropolia Business School in October 2013. Students found this to be a highly engaging, interesting and informative talk, very relevant to their studies and careers. She certainly gave them something to think about. They also really liked Ms Chari's lively, personal presentation style and several have asked me to invite her back in future. I can therefore wholeheartedly recommend Ms Chari as a Personal Branding Speaker who will give your audience value and make an impact.”
”The energy and passion of the presenter for the topic was very visible. The session was a comprehensive and a high quality engagement experience.”
”Harini is an amazing event speaker. She was great to work with from the get go, from deciding her topics to following up with details and content, being very professional throughout the process. At the event, she delivered a very engaging talk tailored for the audience and displayed great knowledge of her expertise. I would recommend Harini as an authority in the personal branding space.”
”Harini introduced me to the charming realms of personal branding. AIESEC Helsingin yliopisto invited her to hold a workshop about personal branding in the spring 2013 and again in autumn. She could easily grab the attention of her audience with her calm and well thought words. People would listen to her like three-year olds, completely captivated and the feedback was excellent. As Vice-President of AIESEC Helsingin yliopisto I was proud to have her with us.”
”Harini is a goal-oriented, dedicated professional with whom it is a true joy and pleasure to co- operate. She has excellent communication & presentation skills and is an expert in Personal Branding. She is really good at time-management and very dependable as a business partner. Her positive and joyful personality make her an excellent member of any team. I can warmly recommend her to any demanding position or project she feels passionate about.”


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smartass wrote:well it would be better if you uploaded something that shows your full skills. Guess it wouldnt matter what i think of that song if it isnt your best right?
well before i devote my efforts to creating a synched track with all the bells and whistles i wanted to know if it was even needed.
http://www.supload.com/listen?s=S-Z4_gnv9SI
http://www.supload.com/listen?s=SUzVxujOZHC
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
these two along with the first one are not covers i made them just from scratch
http://www.supload.com/listen?s=ShcN43pHOn9
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
this one is a cover of a pixies song called hey. its really out of synch but only because i was messing around with acid pro settings and saved over the original
version.
ps oops i didnt see the 7 page thread on this


Dam Son Games
Staff:
Jonathan: Programmer, website manager
Alexander: Programmer
Skills: HTML, CSS, JavaScript, THREE.JS


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Welcome to TechKnoxville!
An organization devoted to increasing Tech opportunities in the great city of Knoxville, Tennessee!
We love Knoxville. It's a safe and beautiful city nestled in the foothills of the Great Smoky Mountains. According to VisitKnoxville.com, it serves as the perfect blend of southern hospitality and modern development. We've got lots of great people, an awesome downtown, shopping, festivals, arts & entertainment, and are in close proximity to just about every outdoor activity you can imagine!
We have lots of talented people here, but lose many of them to cities with more Technical opportunities. It is our desire to help grow and organize the Technical community here in Knoxville. It is our hope that by doing so, we can increase the technical opportunities available while cultivating our skillsets and raising the community's Tech Awareness.
We think a great place to start would be :
- Organize Regular Technical Meet-ups
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- Free Beginner classes in Different Programming Languages
- Mailing Lists and Informative Blog Posts on local Tech
- Maintain an updated local listing of Opportunities in Knoxville
- Maintain a list of local talent for hiring or just to contract on your next project
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Want to help with one or more of these?
Send an email with your name, contact info, and what you want to help with to: help @ TechKnoxville.com


[gecode-users] Red square syndrome
benoit
benoitlaurent at neuf.fr
Wed Jan 20 09:12:18 CET 2010
Dear All,
I have been using Gecode for a few months now and often struggle hard to
debug my models. I have many different types of constraints and I
encounter difficulties to understand failures. My question is the
following : is there a general good practice or is it too
problem-dependant ?
I am using Gist of course and implemented my own branching strategies to
record the variable-value pair currently considered (integer modeling).
But, still, it remains difficult for me to identify domains that "would"
become empty and the reason why (even if "variable domains are never
empty").
Thank you in advance for your help
Benoît
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|
SVG plot
|
Style of the X and Y axes major and minor ticks, grids and their tick-value-labels. More...
#include <svg_style.hpp>
Public Member Functions | |
| ticks_labels_style (dim d=X, const text_style &style=no_text_style, double max=10., double min=-10., double major_interval=2., unsigned int num_minor_ticks=4) | |
| Constructor setting several parameters, but providing default values for all member data. More... | |
| double | label_length (double value) |
| double | longest_label () |
| int | major_value_labels_side () const |
| ticks_labels_style & | major_value_labels_side (int is) |
| bool | use_down_ticks () const |
| ticks_labels_style & | use_down_ticks (bool side) |
| bool | use_up_ticks () const |
| ticks_labels_style & | use_up_ticks (bool is) |
Public Attributes | |
| dim | dim_ |
| Dimension type X, Y, or None. More... | |
| bool | down_ticks_on_ |
| Draw ticks down from horizontal X-axis line. More... | |
| double | label_max_length_ |
| width (in SVG units, pixels) of longest value-label text on axis. More... | |
| double | label_max_space_ |
| Space (SVG units, pixels) needed for value-label adjusted for rotation. More... | |
| int | label_rotation_ |
| Rotation direction axis tick-value labels written. Default 0 means horizontal. More... | |
| bool | left_ticks_on_ |
| Draw ticks left from vertical Y-axis line. More... | |
| svg_color | major_grid_color_ |
| Color of major grid lines. More... | |
| bool | major_grid_on_ |
| Draw X grid at major ticks. More... | |
| double | major_grid_width_ |
| Width of major grid lines. More... | |
| double | major_interval_ |
| Stride or interval between major x ticks (Cartesian units). More... | |
| svg_color | major_tick_color_ |
| Color (stroke) of tick lines. More... | |
| double | major_tick_length_ |
| Length of major tick lines. More... | |
| double | major_tick_width_ |
| Width of major tick lines. More... | |
| int | major_value_labels_side_ |
| Which side of axis for label values for major ticks. More... | |
| double | max_ |
| Maximum x value (Cartesian units). More... | |
| double | min_ |
| Minimum x value (Cartesian units). More... | |
| svg_color | minor_grid_color_ |
| color of minor grid lines. More... | |
| bool | minor_grid_on_ |
| Draw X grid at minor ticks. More... | |
| double | minor_grid_width_ |
| Wdith of minor grid lines. More... | |
| double | minor_interval_ |
| Stride or interval between minor ticks (Cartesian units). More... | |
| svg_color | minor_tick_color_ |
| Color (stroke) of tick lines. More... | |
| double | minor_tick_length_ |
| Length of minor tick lines. More... | |
| double | minor_tick_width_ |
| Width of minor tick lines. More... | |
| unsigned int | num_minor_ticks_ |
| Number of minor ticks, eg 4 gives major 0, minor 1,2,3,4, major 5 (All units in svg units, default pixels). More... | |
| bool | right_ticks_on_ |
| Draw ticks right from vertical Y-axis line. More... | |
| bool | strip_e0s_ |
| If redundant zero, + and e are to be stripped, for example "+1.000e3" to "1e3". More... | |
| int | ticks_on_window_or_on_axis_ |
| bool | up_ticks_on_ |
| Draw ticks up from horizontal X-axis line. More... | |
| std::ios_base::fmtflags | value_ioflags_ |
| IO formatting flags for the axis default std::ios::dec. More... | |
| text_style | value_label_style_ |
| text style (font, size...) for value-labels. More... | |
| int | value_precision_ |
| Precision for tick value-labels, usually 3 will suffice. More... | |
| svg_color | values_color_ |
| Color of tick values labels. More... | |
Friends | |
| class | svg_2d_plot |
Style of the X and Y axes major and minor ticks, grids and their tick-value-labels.
But NOT the X and Y axes lines. These can be either on the axis lines or on the plot window edge(s), (because different styles for x and y are possible).
|
inline |
Constructor setting several parameters, but providing default values for all member data.
| d | X or Y axis (-1 if not assigned yet). |
| style | Default text font style. |
| max | Maximum x value (Cartesian units). |
| min | Minimum x value (Cartesian units). |
| major_interval | Interval between major ticks. |
| num_minor_ticks | Number of minor ticks between major ticks. |
|
inline |
Find the SVG length of label (like "1.23E-5") for a value.
|
inline |
Update label_max_length_ with the longest value-label as SVG units (default pixels), return the count of digits etc.
|
inline |
|
inline |
Set side for tick value-labels: left (<0), none (==0) or right (>0).
|
inline |
|
inline |
Set true if to draw ticks down from horizontal X-axis line.
|
inline |
|
inline |
Set true to draw ticks up from horizontal X-axis line.
|
friend |
| dim boost::svg::ticks_labels_style::dim_ |
Dimension type X, Y, or None.
| bool boost::svg::ticks_labels_style::down_ticks_on_ |
Draw ticks down from horizontal X-axis line.
| double boost::svg::ticks_labels_style::label_max_length_ |
width (in SVG units, pixels) of longest value-label text on axis.
| double boost::svg::ticks_labels_style::label_max_space_ |
Space (SVG units, pixels) needed for value-label adjusted for rotation.
| int boost::svg::ticks_labels_style::label_rotation_ |
Rotation direction axis tick-value labels written. Default 0 means horizontal.
| bool boost::svg::ticks_labels_style::left_ticks_on_ |
Draw ticks left from vertical Y-axis line.
| svg_color boost::svg::ticks_labels_style::major_grid_color_ |
Color of major grid lines.
| bool boost::svg::ticks_labels_style::major_grid_on_ |
Draw X grid at major ticks.
< This ensures that value-labels center on the tick so that "1.1" aligns the decimal point with the tick. Ideally alignment takes rotation into account to get label as close a possible to the tick.
| double boost::svg::ticks_labels_style::major_grid_width_ |
Width of major grid lines.
| double boost::svg::ticks_labels_style::major_interval_ |
Stride or interval between major x ticks (Cartesian units).
| svg_color boost::svg::ticks_labels_style::major_tick_color_ |
Color (stroke) of tick lines.
| double boost::svg::ticks_labels_style::major_tick_length_ |
Length of major tick lines.
| double boost::svg::ticks_labels_style::major_tick_width_ |
Width of major tick lines.
| int boost::svg::ticks_labels_style::major_value_labels_side_ |
Which side of axis for label values for major ticks.
| double boost::svg::ticks_labels_style::max_ |
Maximum x value (Cartesian units).
| double boost::svg::ticks_labels_style::min_ |
Minimum x value (Cartesian units).
| svg_color boost::svg::ticks_labels_style::minor_grid_color_ |
color of minor grid lines.
| bool boost::svg::ticks_labels_style::minor_grid_on_ |
Draw X grid at minor ticks.
| double boost::svg::ticks_labels_style::minor_grid_width_ |
Wdith of minor grid lines.
| double boost::svg::ticks_labels_style::minor_interval_ |
Stride or interval between minor ticks (Cartesian units).
| svg_color boost::svg::ticks_labels_style::minor_tick_color_ |
Color (stroke) of tick lines.
| double boost::svg::ticks_labels_style::minor_tick_length_ |
Length of minor tick lines.
| double boost::svg::ticks_labels_style::minor_tick_width_ |
Width of minor tick lines.
| unsigned int boost::svg::ticks_labels_style::num_minor_ticks_ |
Number of minor ticks, eg 4 gives major 0, minor 1,2,3,4, major 5 (All units in svg units, default pixels).
| bool boost::svg::ticks_labels_style::right_ticks_on_ |
Draw ticks right from vertical Y-axis line.
| bool boost::svg::ticks_labels_style::strip_e0s_ |
If redundant zero, + and e are to be stripped, for example "+1.000e3" to "1e3".
| int boost::svg::ticks_labels_style::ticks_on_window_or_on_axis_ |
value-labels & ticks on a plot window border (rather than on X or Y-axis).
| bool boost::svg::ticks_labels_style::up_ticks_on_ |
Draw ticks up from horizontal X-axis line.
| std::ios_base::fmtflags boost::svg::ticks_labels_style::value_ioflags_ |
IO formatting flags for the axis default std::ios::dec.
| text_style boost::svg::ticks_labels_style::value_label_style_ |
text style (font, size...) for value-labels.
For Y-axis -1 = left, 0 = false = on X-axis, +1 = right. Default -1 to left of plot window. For X-axis -1 = bottom, 0 = false = on Y-axis, +1 = top. Default -1 below bottom of plot window. 0 = false puts the ticks and their labels on the X or Y axis line which may be in the middle of the plot. For 1D the default overrides the constructor default of -1 below, to tick and value-label the X-axis. For 2D the default is left at -1, to use bottom and left of plot window to tick and value-label X and Y-axis.
| int boost::svg::ticks_labels_style::value_precision_ |
Precision for tick value-labels, usually 3 will suffice.
| svg_color boost::svg::ticks_labels_style::values_color_ |
Color of tick values labels.


Justin Kiggins / Neurosciences Doctoral Candidate at UC San Diego
Neurodata Without Borders Hackathon / Nov 2014
Time | ID | Stimulus | Response | r_Time | Error
-------------|----|----------|----------|--------|------
12:13:05.265 | 1 | puppy | Right | 2.115 | False
12:13:14.655 | 2 | kitty | Right | 2.004 | True
12:13:87.098 | 3 | puppy | Left | 2.298 | True
This is a typical data format when only doing a simple behavior
Time | ID | Sample | Target | Response | r_Time | Error
-------------|----|------- |--------|----------|--------|------
12:13:05.265 | 1 | puppy | puppy | Right | 2.115 | False
12:13:14.655 | 2 | kitty | puppy | Right | 2.004 | True
12:13:87.098 | 3 | puppy | kitty | Left | 2.298 | False
However, if we are doing neurophysiology, we need to know timing information
Time | ID | Sample | s_Time | s_Dur | Target | t_Time | t_Dur | Response | r_Time | Error
-------------|----|------- |--------|-------|--------|--------|-------|----------|--------|------
12:13:05.265 | 1 | puppy | 0.0 | 0.5 | puppy | 1.5 | 0.5 | Right | 2.115 | False
12:13:14.655 | 2 | kitty | 0.0 | 0.5 | puppy | 1.0 | 0.5 | Right | 2.004 | True
12:13:87.098 | 3 | puppy | 0.0 | 0.5 | kitty | 1.2 | 0.5 | Left | 2.298 | False
However..
Events
======
Time | ID | Class | Value | Duration
-------------|----|--------|--------|---------
12:13:05.265 | 1 | sample | puppy | 0.5
12:13:06.765 | 2 | target | puppy | 0.5
12:13:07.380 | 3 | resp | left | --
12:13:07.387 | 4 | conseq | reward | 1.0
12:13:14.655 | 5 | sample | kitty | 0.5
12:13:15.655 | 6 | target | puppy | 0.5
12:13:16.659 | 7 | resp | left | --
12:13:16.668 | 8 | conseq | punish | 5.0
Trials
======
ID | Sample_id | Target_id | Resp_id | Conseq_id | Task
---|-----------|-----------|---------|-----------|------
1 | 1 | 2 | 3 | 4 | match
2 | 5 | 6 | 7 | 8 | match
Time | ID | Class | Value | Duration | Sample_id
-------------|----|--------|--------|----------|----------
12:13:05.265 | 1 | sample | puppy | 0.5 | --
12:13:06.765 | 2 | target | puppy | 0.5 | 1
12:13:07.380 | 3 | resp | left | -- | --
12:13:07.387 | 4 | conseq | reward | 1.0 | --
12:13:14.655 | 5 | sample | kitty | 0.5 | --
12:13:15.655 | 6 | target | puppy | 0.5 | 5
12:13:16.659 | 7 | resp | left | -- | --
12:13:16.668 | 8 | conseq | punish | 5.0 | --
...
My point here is not to argue for a standard for representing behavior data
Rather, that for even a relatively simple & common behavioral design, relationships between events are important
reference
datatypeJustin Kiggins
Doctoral Candidate in Neurosciences, UC San Diego
Gentner Lab
jkiggins@ucsd.edu


| 3470 - Pascal Library Latin America - South America - 2005/2006 | |||||
| Submit | Ranking |
Pascal University, one of the oldest in the country, needs to renovate its Library Building, because after all these centuries the building started to show the effects of supporting the weight of the enormous amount of books it houses.
To help in the renovation, the Alumni Association of the University decided to organize a series of fund-raising dinners, for which all alumni were invited. These events proved to be a huge success and several were organized during the past year. (One of the reasons for the success of this initiative seems to be the fact that students that went through the Pascal system of education have fond memories of that time and would love to see a renovated Pascal Library.)
The organizers maintained a spreadsheet indicating which alumni participated in each dinner. Now they want your help to determine whether any alumnus or alumna took part in all of the dinners.
The input contains several test cases. The first line of a test case contains two integers N
For each test case in the input your program must produce one line of output, containing either the word `yes', in case there exists at least one alumnus/alumna that attended all dinners, or the word `no' otherwise.
Alumna: a former female student of a particular school, college or university.
Alumnus: a former male student of a particular school, college or university.
Alumni: former students of either sex of a particular school, college or university.
Output
Note:
Sample Input
3 3
1 1 1
0 1 1
1 1 1
7 2
1 0 1 0 1 0 1
0 1 0 1 0 1 0
0 0
Sample Output
yes
no
South America 2005-2006


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Coronation Street's Tyrone, Fiz and Evelyn film mystery court scenes
But where's Jade?
by Helen FearTyrone Dobbs, Fiz Brown and Evelyn Plummer are set to be embroiled in a 'mystery' court room drama in an upcoming Coronation Street storyline.
Actors Alan Halsall, Jennie McAlpine and Maureen Lipman - aka Tyrone, Fiz and Evelyn - have been seen filming scenes for next year, alongside Charlie de Melo's lawyer Imran Habeeb.
Read more: William Roache hates Coronation Street being called a 'soap'
Cast and crew have been busy working on location for an upcoming storyline, which involves popular characters Tyrone and Fiz heading to court.
Photos on Digital Spy show the cast wrapped up warm in thick colourful coats as they film in and out of the court building.
But who's in trouble?
Read more: Coronation Street's Jane Hazlegrove in tears over Paul Foreman and Bernie Winter scenes
Some reports suggest that Evelyn is the one who has broken the law again...
Viewers know that Evelyn is no stranger to the police, after she was arrested in France during a period away from Weatherfield.
Luckily her long lost grandson Tyrone was around to bail her out, bringing her back to the Street for some more savage putdowns and witticisms.
Evelyn seems to be the only one who is wise to newcomer Jade's suspicious behaviour.
Could Jade be the reason the family are in court?
Viewers have spotted several clues that Jade isn't all she seems and future episodes reveal more strange behaviour from her.
The family recently welcomed Jade into the household to care for Fiz's daughter Hope and Tyrone's daughter Ruby.
But fans think she is a relative of Fiz's late husband John Stape, who turned into a serial killer before his own death in 2011.
Ever since she was introduced as Hope Stape's tutor, fans have been suspicious that something wasn't right.
Some believe she's John Stape's sister. John was Hope's biological dad before he turned killer and then passed away himself in a car accident.
Another theory is Jade could be John's eldest daughter, but some viewers believe she's actually connected to Tyrone and is the sister of his abusive ex, Kirsty Soames.
There's also the thinking that Jade just wants to take Fiz's life over and have a ready made family.
Coronation Street airs on Mondays, Wednesdays and Fridays at 7.30pm and 8.30pm on ITV.
Do you trust Jade? Let us know on our Facebook page @EntertaimentDailyFix .


How do you think we came up with the price of $99/year for Hey email?
Friday, July 17, 2020
Today's question gets into a little bit of estimation. As I build out the data sheet at pminterviewquestion.com, I'll probably include a few blocks of common industry pricing structures. So, email, cloud storage, etc., would be included there so you can get a good idea of generally what those look like. Hopefully, unless you're applying in such an industry, they'd be relatively forgiving if you didn't have competitor pricing memorized.
My response
I think Hey analyzed a few things to come up with their $99/year pricing strategy. First, I believe they looked at what it would cost to host and serve a single customer in a cloud environment. This would set the floor for what they would need to price to make the business viable. An email account is essentially a file storage account where most files are text-based with some attachments. For many people, it is customary to store emails indefinitely. Hey works around this by "providing" auto-delete after a certain period of time which helps keep the data requirements for any one customer low. A company like FastMail provides a data cap, similar to Dropbox. FastMail's lowest tier is $36/year for 2GB of space. Interestingly, Dropbox is $120/year for 2TB of space and it provides, at a very high level, very similar services as an email provider. While this should not an apples to apples comparison, from a purely data-based comparison Dropbox offers rates of $0.06/GB/year, Hey offers $0.99/GB/year, and FastMail offers a whopping $18/GB/year. While Dropbox is at the low-end, I think it's safe to say they still provide some of the most robust, technically sound applications and infrastructure in the industry. So, pricing likely has little to do with pure technical costs.
Second, I think Hey looked at all the other business costs involved with each customer such as support, engineering, customer acquisition costs, and customer development costs (developing relationships with existing customers who are at risk of abandoning their account). It appears that Hey is targeting organic word-of-mouth growth for the initial stage of Hey's life. Jason Fried, the CEO, has made the rounds on nearly every tech podcast and also earned a lot of free press when the app conflicted with Apple's App Store policy. Support and engineering costs, however, can get large quickly. If Hey had 1,000 customers, their revenue would be $99,000. And, it would certainly cost more than $99,000 to employ a few each of support and engineering staff to support those 1,000 customers. At $99, they are likely aiming for at least 10,000 customers to make revenue reach $1 million and make their business achieve critical scale.
Third, I think Hey looked at its competitors and priced itself at the high-end of consumer email. As stated earlier, FastMail offers consumer-level email between $36 and $60 per year and offers a number of features such as hosting email accounts from your own domain. GSuite provides the entire family of Google products including Gmail (also hosted against a domain). Only when you get into business email do prices exceed $100. So, I believe Hey is positioning itself as the highest quality consumer-grade email provider, second only to business-class email which is naturally expected to have similar privacy features Hey advertises.
Finally, I think Hey considered what it would need to make to earn a healthy profit to continue the business without needing to raise money. Jason Fried, CEO of Hey, is very outspoken about the desire at Hey and at Basecamp to avoid venture capital or dreams of a huge IPO. From that perspective, the goal may have been to price Hey high enough to get a certain threshold of users that are price insensitive enough to pay for the service. But that threshold must eliminate more demanding, price sensitive customers who would consume greater support and customer development resources.
Respond on Twitter


Thought that I'd pass along this information from a solar installer list that I administer. A user asked if very lower power factor numbers were common when exporting solar power to the utility grid via grid-tie inverter. This response comes from one of the senior technicians at Exceltech Inverter:
"Reactive power is one of the more complex aspects of electric power, and
certainly one of the most misunderstood. It can and does involve inductive
loads (e.g. motors), capacitive loads (e.g. some types of power supplies),
and non-linear loads (e.g. switch-mode power supplies, dimmers, etc.).
You likely know (or should know) "power factor" is the ratio of real power to
reactive power consumed by a load. Grid-tie inverters generate "real" watts,
which are then coupled to the grid. When a reactive load in your home is
consuming power, and you provide real watts to the load from the inverter,
this changes the ratio of real to apparent power consumed by the load as
seen by the utility company.
Dividing real power by apparent power results in a unit-less value between 0
and 1 that describes this ratio.
Let's say a load in your home is consuming 1,200 real watts, and 1,250
apparent watts. This results in a power factor of 1200/1250, which equals
0.96. Pretty darn good.
Next, your grid-tie inverter provides 1,000 real watts back to the utility company,
which in turn is 1,000 real watts that the utility company no longer needs to
provide to the load described above. Thus the net "real" power consumed as
seen by the utility is now 1,200W - 1,000W = 200W.
This means they sell only 200 watts to power your load, but the "apparent"
power aspect is still there.
End result?
200 real watts / 1250 apparent watts yields a power factor of 0.160. Terrible by
any power company standards, yet you've removed 1,000 watts from the grid.
This is the value that will be displayed on your meter."
Inverter Power Factor Explained
Submitted by Guest on Tue, 08/05/2012 - 14:24Thought that I'd pass along this information from a solar installer list that I administer. A user asked if very lower power factor numbers were common when exporting solar power to the utility grid via grid-tie inverter. This response comes from one of the senior technicians at Exceltech Inverter:
"Reactive power is one of the more complex aspects of electric power, and
certainly one of the most misunderstood. It can and does involve inductive
loads (e.g. motors), capacitive loads (e.g. some types of power supplies),
and non-linear loads (e.g. switch-mode power supplies, dimmers, etc.).
You likely know (or should know) "power factor" is the ratio of real power to
reactive power consumed by a load. Grid-tie inverters generate "real" watts,
which are then coupled to the grid. When a reactive load in your home is
consuming power, and you provide real watts to the load from the inverter,
this changes the ratio of real to apparent power consumed by the load as
seen by the utility company.
Dividing real power by apparent power results in a unit-less value between 0
and 1 that describes this ratio.
Let's say a load in your home is consuming 1,200 real watts, and 1,250
apparent watts. This results in a power factor of 1200/1250, which equals
0.96. Pretty darn good.
Next, your grid-tie inverter provides 1,000 real watts back to the utility company,
which in turn is 1,000 real watts that the utility company no longer needs to
provide to the load described above. Thus the net "real" power consumed as
seen by the utility is now 1,200W - 1,000W = 200W.
This means they sell only 200 watts to power your load, but the "apparent"
power aspect is still there.
End result?
200 real watts / 1250 apparent watts yields a power factor of 0.160. Terrible by
any power company standards, yet you've removed 1,000 watts from the grid.
This is the value that will be displayed on your meter."


PES was originally formed in 1991 and operated successfully until 1996, serving
clients in a variety of scientific, corporate, and government organizations. Shortly
thereafter the founder, Pat Barton joined forces with Dr. Dianne Marozas (now
Dianne Barton) a fellow energy scientist. Pat and Dianne assembled a team of
social and hard scientists and re-launched PES in 2009 to support the green energy industry.
PES clients, past and current, include:
|
|


WOLMO
WOLMO Core iOS is a framework which provides extensions and utilities for iOS commonly used at Wolox.
At Wolox, we complement this framework with Wolmo - Reactive Core.
Table of Contents
Installation
CocoaPods
CocoaPods is a dependency manager for Cocoa projects. To use Wolmo Core in your project, update CocoaPods to version 1.10.2 or newer, and add this line to your Podfile
.
pod 'WolmoCore'
Carthage
Carthage is a dependency manager that builds your dependencies and provides you with binary frameworks.
You can install Carthage with Homebrew using the following command:
brew update
brew install carthage
To download wolmo-core-ios, add this to your Cartfile:
github "Wolox/wolmo-core-ios" ~> 4.1.0
Manually
Bootstrap the project and then drag it to your workspace.
Usage
The framework is divided into 2 sections: Utilities and Extensions.
The main difference between them is that utilities
represent components that are independent of the existance of another component. On the other hand, extensions
represent extra functionality for other existent components. Extensions exist only because the components they rely on exists.
Documentation
For more information check out the WolMo Core Documentation.
Examples
Animations & Gestures
ScrollStack View
Bootstrap
git clone git@github.com:Wolox/wolmo-core-ios.git
cd wolmo-core-ios
script/bootstrap
Contributing
- Clone it
- Bootstrap the repository
- Create your feature branch (
git checkout -b my-new-feature
) - Commit your changes (
git commit -am 'Add some feature'
) - Run tests (
./script/test
) - Push your branch (
git push origin my-new-feature
) - Create a new Pull Request to the repository
About
This project is maintained by Wolox.
License
WolMo - Core iOS is available under the MIT license.
Copyright (c) 2016 Francisco Depascuali<EMAIL_ADDRESS>Permission is hereby granted, free of charge, to any person obtaining a copy
of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in
all copies or substantial portions of the Software.
 IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.


The Rockammender 5000! is the recommendation system under the hood based on data collected from Mountain Project.
Enter Mountain Project user name or ID to get some bitchin' recommendations for your next climbing destination.
No mountainproject profile, no problem. Further below, destinations can be recommended by your favorite Climbs, or climbing Features you're looking for.
Find areas similar to your favorite climb or climbs! Just enter the URL or Climb ID from Mountain Project. Seperate multiple by commas.
What are you looking for?
If you liked what you found, want to give me a job, or just want to say hi!


Most in U.S. read news 'often' on mobile devices, poll shows
by Clyde HughesNov. 20 (UPI) -- Nearly 60 percent of Americans "often" read news on mobile devices -- nearly three times as many as those who said that six years ago, a new survey says.
Pew Research Center said in the poll 57 percent of respondents said they regularly read their news on smartphones or tablets. Just 30 percent said they do so on laptop or desktop computers. In 2013, just 21 percent said they often read news on their mobile devices.
Young adults between 18 and 29 are the main force behind the shift to mobile, the survey shows, with 72 percent saying they often see news on their devices -- compared to just 38 percent among adults 65 and older. The majority of Democrats (62 percent) and Republicans (53 percent) said the same thing -- along with 57 percent of both men and women.
The survey reflects a December Pew survey that showed one in five U.S. adults consumed news via social media.
Pew polled more than 5,000 U.S. adults for Tuesday's survey.


HEAVEN'S PRISONERS A film review by Gerald Tan Copyright 1996 The Flying Inkpot
Directed by: Phil Joanou Written by: Harley Peyton and Scott Frank based on the book by James Lee Burke Cast: Alec Baldwin (Dave Robicheaux), Mary Stuart Masterson (Robin Gaddis), Kelly Lynch (Annie Robicheaux), Teri Hatcher (Claudette Rocque), Eric Roberts (Bubba Rocque) Produced by: New Line CInema and Savoy Pictures Running Time: 132 minutes Rating: * out of *****
FUSSY DETECTIVE DRAMA DRAGS BUTT AROUND LOUISIANA SWAMPS
First and foremost I think this movie comes to grief at the hands of the PG rating it's been given. For those of us who haven't read the James Lee Burke novel that HEAVEN'S PRISONERS is based on, do not rabidly go out and buy tickets to movies featuring the combined talents of Alec Baldwin and Eric Roberts, feel vaguely depressed by the notion of swamps, gangsters with Louisiana accents, plots, sub-plots, more plots, and well, really just want to see Teri Hatcher naked, this is one movie you're going to worry the price of admission over. Hopeful still? Well, let me share my moment of sheer panic, and then the cold enervation of the big let-down when a semi-robed Hatcher purrs to Alec Baldwin, "What do you think of my butterfly?". Butterfly?, I asked myself, What butterfly?! And then it hit me... the scene had been SNIPPED! DAMN YOU, GODLESS PG RATING, SHOW US HER BUTTERFLY!! WE WANT TO SEE THE GODDAMN BUTTERFLY!!! So... no naked Teri Hatcher. Forget about that. Okay? Now...
HEAVEN'S PRISONERS is about ex-alchoholic ex-cop Dave Robicheaux (Alec Baldwin) who's trying to discover life anew running a bait shop and boat hire business with his loving, down-to-earth wife Annie (Kelly Lynch). Everything dull, but hunky dory until a plane carrying illegal immigrants crashes almost ontop of the couple while they're on their boat. The plane nosedives into the water and sinks, but from its wreckage Robicheaux rescues a little pixie-faced Salvadoran girl whom he and his wife immediately decide to adopt. What they don't realise is that the plane's pilot was also a drug dealer, and that the plane had been sabotaged by the latter's erstwhile colleagues. When Robicheaux discovers this, he predictably, against the advice of his wife, a well-meaning DEA agent, and two gangsters who rough him up, begins 'poking his nose where it don't belong', we know that the man deserves all the misery he's going to get.
The question now is whether or not you want to be dragged along for the ride through a tedious, meandering yet utterly suspenseless plot with an unlovable hero as your guide. As Dave Robicheaux, Alec Baldwin is fat... no seriously, this is not the svelte, thinking man's hero of THE HUNT FOR RED OCTOBER, it is an out-of-shape guy who doesn't look too good in a roof-top chasing scene. He's also unconvincing in the movie's dramatic moments, acting with what as far as I can tell is a Steven Segal-like economy of expression. Three-quarters of the way through the show, while you're probably waiting for the next scene in a bar where Robicheaux contemplates succumbing to the temptation of the whiskey bottle, getting drunk and beating up someone or getting beaten up, you'll want to beat on him a little yourself.
On the other hand, Mary Stuart Masterson (SOME KIND OF WONDERFUL, FRIED GREEN TOMATOES, BENNY & JOON) cast as a down-and-out stripper who has her fingers broken is quite a breath of fresh air, with just the right mix of cynicism, warmth, insecurity and humour to be the movie's only endearing character. Eric Roberts as Bubba Rocque, always believable as the woman-abusing bad guy who knows how to box (see FINAL ANALYSIS, coincidentally also directed by Phil Joanou) is believable here as the woman-abusing bad guy who knows how to box. And lest we forget Teri Hatcher's role in all this, this being her rather well-publicised paid vacation from playing Lois Lane on TV's "Adventures of Lois & Clark"... she is totally ridiculous as Rocque's manipulative and seductive Cajun wife, coming across as devious as a mildly disgruntled au pair who's trying to get back at an employer who hasn't been giving her enough days off. It's probably safe to say that her day job beckons. And at the end of our day, none of this is really worth 2 hrs and 12 minutes of our personal misery.
THE FLYING INKPOT's rating system: * Wait for the video. ** A little creaky, but still better than staying at home with Gotcha! *** Pretty good, bring a friend. **** Amazing, potent stuff. ***** Perfection. See it twice.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Tower Parking
问题描述 :
There is a new revolution in the parking lot business: the parking tower. The concept is simple: you drive your car into the elevator at the entrance of the tower, and the elevator and conveyor belts drag the car to an empty parking spot, where the car remains until you pick it up. When you return, the elevator and conveyor belts move your car back to the entrance and you’re done.
The layout of the tower is simple. There is one central elevator that transports the cars between the different floors. On each floor there is one giant circular conveyor belt on which the cars stand. This belt can move in clockwise and counterclockwise direction. When the elevator arrives on a floor, it becomes part of the belt so that cars can move through it.
At the end of the day the tower is usually packed with cars and a lot of people come to pick them up. Customers are processed in a first come first serve order: the elevator is moved to the floor of the first car, the conveyor belt moves the car on the elevator, the elevator is moved down again, and so on. We like to know how long it takes before the last customer gets his car. Moving the elevator one floor up- or downwards takes 10 seconds and moving a conveyor belt one car in either direction takes 5 seconds.
输入:
On the first line one positive number: the number of testcases, at most 100. After that per testcase:
-
One line with two integers h and l with 1 ≤ h ≤ 50 and 2 ≤ l ≤ 50: the height of the parking tower and the length of the conveyor belts.
-
h lines with l integers: the initial placement of the cars. The jth number on the ith line describes the jth position on the ith floor. This number is −1 if the position is empty, and r if the position is occupied by the rth car to pick up. The positive numbers form a consecutive sequence from 1 to the number of cars. The entrance is on the first floor and the elevator (which is initially empty) is in the first position. There is at least one car in the parking tower.
输出:
Per testcase:
- One line with the number of seconds before the last customer is served.
样例输入:
2 1 5 -1 2 1 -1 3 3 6 -1 5 6 -1 -1 3 -1 -1 7 -1 2 9 -1 10 4 1 8 -1
样例输出:
25 320
解题代码:
//* @author: import java.util.Scanner; import java.util.Arrays; public class Main{ public static void main(String args[]){ Scanner sc=new Scanner(System.in); int nn,n,m,ans; nn=sc.nextInt(); while((nn--)!=0) { n=sc.nextInt(); m=sc.nextInt(); int a[][]=new int[n+1][m+1]; ans=0; for (int i=1;i<=n;i++) { for (int j=1;j<=m;j++) a[i][j]=sc.nextInt(); int tp=0,now=1,t1,t2; for (int j=1;j<=m;j++) if (a[i][j]!=-1) tp++; while ((tp--)!=0) { int pos=1,tmp=1000000; for (int j=1;j<=m;j++) if (a[i][j]!=-1&&a[i][j]< tmp) {pos=j;tmp=a[i][j];} ans+=(i-1)*20; t1=now-pos; t2=pos-now; if (t1< 1) t1+=m; if (t2< 1) t2+=m; if (t1>t2) t1=t2; ans+=t1*5;now=pos; a[i][pos]=-1; } } System.out.printf("%d\n",ans); } } }
The site You have write is very nicely prepared and quite insightful thanks for nice posta?|
学习了
学算法中的数据结构学到一定程度会乐此不疲的，比如其中的2－3树，类似的红黑树，我甚至可以自己写个逻辑文件系统结构来。
妈呀！这个Dijkstra模板好长OwQ！
很好的方法，学习了
第一题还是比较考验智商~
有限自动机在ACM中是必须掌握的算法，实际上在面试当中几乎不可能让你单独的去实现这个算法，如果有题目要用到有限自动机来降低时间复杂度，那么这种面试题应该属于很难的级别了。
能不能说一下tmp数组和solve都是干嘛的？
/*
* =====================================================================================
*
* Filename: 1366.cc
*
* Description:
*
* Version: 1.0
* Created: 2014年01月06日 14时52分14秒
* Revision: none
* Compiler: gcc
*
* Author: Wenxian Ni (Hello World~<EMAIL_ADDRESS>* Organization: AMS/ICT
*
* =====================================================================================
*/
#include
#include
using namespace std;
int main()
{
stack st;
int n,i,j;
int test;
int a[100001];
int b[100001];
while(cin>>n)
{
for(i=1;i>a[i];
for(i=1;i>b[i];
//st.clear();
while(!st.empty())
st.pop();
i = 1;
j = 1;
while(in)
break;
}
while(!st.empty()&&st.top()==b[j])
{
st.pop();
j++;
}
}
if(st.empty())
cout<<"YES"<<endl;
else
cout<<"NO"<<endl;
}
return 0;
}
很全很强大！
其实不需要用LCA，用DFS+vector更简单
先从简单的做起，归并排序，二叉树相关的遍历等
全是智力分析的题
第二种解法如果数组有重复元素 就不正确


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British Museum Items(4)
目录
76. The mechanical galleon
77. Benin plaque: the oba with Europeans
78. Double-headed serpent
79. Kakiemon elephants
80. Pieces of eight
81. Shi’a religious parade standard
82. Miniature of a Mughal prince
83. Shadow puppet of Bima
84. Mexican codex map
85. Reformation centenary broadsheet
86. Akan drum
87. Hawaiian feather helmet
88. North American buckskin map
89. Australian bark shield
90. Jade bi
91. Ship’s chronometer from HMS Beagle
92. Early Victorian tea set
93. Hokusai’s The Great Wave
94. Sudanese slit drum
95. Suffragette-defaced penny
96. Russian revolutionary plate
97. Hockney’s In the Dull Village
98. Throne of Weapons
99. Credit card
100. Solar-powered lamp and charger
76. The mechanical galleon
Clockwork automated model of a galleon, designed to move along a grand table during a banquet.
This mechanical galleon is in fact an elaborate, automated clock. Its mechanism no longer works but originally it would have played music, fired its cannons and trundled across the table at imperial banquets. Clocks like this were important status symbols in the courts of Europe in the 1500s and this clock is based on the great European ships that sailed the oceans during this period. It is unlikely that the clock's creator, Hans Schlottheim in inland Germany, ever saw an actual galleon.
Who is the figure in the throne?
The Holy Roman Emperor is the central figure on this galleon. He is surrounded by seven noblemen known as the Electors, who were responsible for selecting the emperor. When the galleon was made the Holy Roman Emperor was Rudolf II, a member of the powerful Hapsburg family. A galleon was an appropriate symbol for the emperor's power as much of the Hapsburgs' wealth came from silver brought back from the Americas. Mechanical automata were often used as diplomatic gifts and the Hapsburgs gave clocks to the Turkish sultan to maintain peaceful relationships throughout the 1500s.
On display: Rooms 38–39: Clocks and Watches
British Museum
Russian Rabble Ruble (1)
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77. Benin plaque: the oba with Europeans
Brass plaque showing the Oba (king) of Benin in West Africa with attendants and European traders.
The figure at the centre of this brass plaque is the oba - the king of Benin in Nigeria. In the background on either side of the oba are two tiny figures, identified as Portuguese traders, characterised by their long hair and European-style hats. Two attendants kneel beside the oba, indicating the hierarchical nature of royal power in Benin. In pre-Colonial times the king was regarded as the highest political and religious authority and respected as the representative of the ancestors.
How did European brass spark an artistic renaissance in Benin?
The kingdom of Benin dominated trade with Europeans on the Nigerian coast from the late 1400s to the end of the 1900s. When Portuguese traders arrived in Benin in the 1400s they brought brass bracelets, known as manillas, to exchange for pepper, ivory and slaves. The artists of Benin transformed this European brass into plaques to decorate the oba's palace. When these plaques were first seen in Europe in the late 1890s they astounded art critics who couldn't believe that such technically accomplished sculptures were created by African artists.
On display: Room 25: Africa
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78. Double-headed serpent
Aztec turquoise mosaic of a double-headed serpent, probably worn on the chest for ceremonial occasions.
This serpent mosaic was created in Aztec Mexico. It may have been worn or carried during religious ceremonies. Snakes were sacred to the Aztecs as they were the symbol of the feathered serpent god, Quetzalcoatl. The Aztec Empire consisted of many subject territories, stretching from the Gulf of Mexico to the Pacific. Frequently they had to provide gifts as tribute to demonstrate their allegiance to the Aztec emperor. Tributes in the form of turquoise were particularly highly valued.
How was the Aztec Empire destroyed?
The arrival of the adventurer Hernando Cortez and his Spanish troops around 1519 brought an end to the Aztec Empire. The Spanish expedition was met by the Aztec emperor, Moctezuma who exchanged gifts, including possibly this turquoise serpent, with Cortez. In a surprise move Cortez imprisoned Moctezuma. After bitter fighting and a prolonged siege the Aztec capital, Tenochtitlan, fell to the Spanish in 1521. Much of the native population was wiped out by epidemics of smallpox and other contagious diseases brought by the Spanish.
On display: Room 27: Mexico
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79. Kakiemon elephants
Porcelain elephants made in the Japanese Kakiemon style for the European market.
Elephants are not native to Japan and these two examples would have been based on depictions in imported prints. For centuries only the Chinese knew how to make porcelain but by the 1300s the knowledge had also spread to the Korean peninsula. When Japan's powerful ruler, the Shogun Toyotomi Hideyoshi, launched two attacks on Korea in the 1590s, his armies brought many Korean captives back to Japan. They shared their skills with local potters and helped to build a new porcelain industry in Japan.
How did these elephants arrive in Europe?
After the collapse of the Chinese Ming dynasty in 1644, Japan briefly became the world's largest global exporter of porcelain. Kakiemon-style porcelain, with its distinctive red enamel, was in great demand in Europe. These elephants would have been specifically made for the European market and transported from Japan by the Dutch East India Company - the world's first multinational company. After Japan tightened control of its borders in the late 1630s, the Dutch were the only Europeans permitted to maintain direct contact through the port of Nagasaki.
On display: Rooms 92–94: Japan
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80. Pieces of eight
The most common silver coin of late sixteenth and seventeenth century Spain became the world’s first global currency.
Pieces of eight were the world's first global currency. As the coins of Spain they were used across the vast Spanish Empire, stretching from South America to the Philippines, but were also used outside the empire as well. In 1600 one coin would have been worth the equivalent of a modern pounds50 note. The front of the coin is decorated with the coat of arms of the Habsburgs, the rulers of Spain and the most powerful family in Europe.
Where did the silver for pieces of eight come from?
The inscription on this coin - King of the Spains and the Indies - refers to European Spain and the great new Spanish Empire in the Americas. The silver used to create the coins and finance Spain's armies and armadas came, above all, from the 'silver mountain' of Potosi in Bolivia. This wealth came at a terrible cost to human life. Thousands of indigenous American Indians and African slaves died in the brutal conditions of the mines to support Spain's thirst for silver.
On display: Room 68: Money
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81. Shi’a religious parade standard
Iranian standard carried in Shi'a (Shiah) Islam processions, commemorating the death of the Prophet Muhammad’s grandson.
Standards like this were used in religious processions in Iran 400 years ago. It was during this period that Iran changed from being a Sunni Islamic state to a Shi'a Islamic state. This standard is in the shape of the sword of Imam Ali - the husband of Fatima, daughter of the Prophet Mohammad. Shi'a Muslims believe that Imam Ali is the true successor to the Prophet. This sword is inscribed with the names of the Prophet, his family and the twelve Imams revered in Shi'ism.
Who were the Safavid dynasty?
The Safavid shahs ruled Iran from 1501 to 1722. They claimed to be the descendants of the Prophet Muhammad. Under their rule Iran became the world's largest Shi'a state and Shi'ism developed many of the forms and practices still dominant today. Standards like this were originally used in battle to indicate the presence of the ruler but were adopted for use in religious processions during the Safavid period.
On display: Room 34: Islamic world
The Catcher in the Rye
Royal Society Prizes for Science Books
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82. Miniature of a Mughal prince
Miniature painting showing an encounter between an Indian Mughal prince and a holy man.
This miniature painting depicts an Indian Mughal prince and his attendants meeting an aged Muslim holy man in a garden. A scantily-clad worshipper kneels in front of the holy man. His lack of clothes indicates that he has rejected the trappings of everyday life. The miniature was probably painted under the reign of the Mughal Emperor Jahangir, who was known to have often visited both Hindu and Muslim holy men as he travelled around his empire.
Who were the Mughals?
The Mughals were a Sunni Islamic dynasty that ruled Northern and Central India from 1526 to 1858. The early Mughal emperors successfully ruled the largely non-Muslim population of their empire by encouraging a culture of religious tolerance. Jahangir and his father Akbar promoted Hindus and Shi'ite Muslims to prominent roles in government and allowed people to worship freely. The art of miniature painting, which combined elements from Iran, Central Asia and India, was practiced by both Hindus and Muslims alike and encapsulates this multicultural society.
Not currently on display.
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83. Shadow puppet of Bima
Puppet of Bima, one of the heroes of the Indian epic the Mahabharata, used in shadow theatre performances in Indonesia.
This shadow puppet is at least 200 years old and is one of the oldest surviving shadow puppets in the world. It represents Bima the hero of the great Hindu epic The Mahabharata. Puppets like this are still used in the shadow theatres of Java. Plays are performed through the night by a single puppeteer. The central theme of a shadow theatre is the battle between good and evil and it was believed that during the performance the audience were protected from all evil things.
Why was a Hindu epic performed by Muslims in Java?
Islam spread to South East Asia in the 1500s through maritime trade routes, and often through the conversion of Buddhist and Hindu rulers. Islam adapted, rather than suppressed, elements of Hinduism, Buddhism and ancient Indonesian traditions like the shadow theatre. In Java, for example, it is believed that the faces of shadow puppets were distorted to avoid the Islamic laws forbidding the creation of images of humans and gods. In contrast the shadow puppets of the Island of Bali, which remained Hindu, retain realistic human features.
Not currently on display.
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84. Mexican codex map
Map of two Mexican towns, showing the impact of the Spanish conquest and survival of Mexican native society.
This Mexican map was made 50 years after the Spanish conquered the Aztecs in AD 1521. It is a property plan illustrating the foundation of two towns in the region of Tlaxcala, Mexico. Each town is represented by its newly built church - Santa Barbara Tamasolco (left) and Santa Ana (right). The script is written in an adapted form of the local language with an imported European alphabet. A list of the names of the main landowners on the map reveals that several Spanish settlers have intermarried with native aristocrats.
How did the Spanish convert native Mexicans to Christianity?
The Spanish justified their conquest of Mexico by arguing that it was their duty to convert the native population to Christianity. The people of Tlaxcala were not conquered but fought with the Spanish against the Aztecs. They were also supposedly the frst Mexican Indians to be baptised and become Christians. To attract converts missionaries often combined existing Mexican and Christian rituals. Aztec ancestor worship was merged with All Saints Day to create the Day of the Dead, still celebrated in Mexico today
Not currently on display.
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85. Reformation centenary broadsheet
85. Reformation centenary broadsheet
A German Broadsheet issued to mark the 100 year anniversary of the Protestant Reformation of the Christian Church.
This broadsheet commemorates the 100th anniversary of the Protestant Reformation of the Christian Church. It depicts Martin Luther nailing his thesis to the door of Wittenberg Cathedral in 1517. Protestants regarded this moment as the start of the Reformation, when the new Protestant Church, opposed to the power of the pope, split from the Roman Catholic Church. Luther is shown writing on the door with a huge feather pen that knocks off the pope's hat. The lion is a reference to the pope's name - Leo X.
What is a broadsheet?
Broadsheets were sheets of paper used to spread news and political messages. They played an important role in the Protestant Reformation and the Catholic Counter Reformation. Depictions of Luther at Wittenberg helped to popularise this event in the Protestant imagination. In reality, Luther probably didn't actually physically nail his thesis to the Cathedral door. This broadsheet was made in 1617 on the eve of the Thirty Years War between the Catholic and Protestant countries of Europe. During this unstable period this broadsheet would have reminded Protestants of past victories.
Not currently on display.
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86. Akan drum
West African drum found in Virginia, USA in the 1700s probably brought from Africa on a slave trading voyage.
This drum is one of the oldest surviving African-American objects. The drum was collected in the early 1700s in the Colony of Virginia, now part of the United States of America. The drum, however, was made in the Akan region in Ghana, West Africa, where it would have been played during religious ceremonies and on social occasions. The drum probably travelled across the Atlantic on a slave ship, where it may have been used to exercise the enslaved Africans in an attempt to keep them healthy.
What is the musical legacy of drumming in plantations?
It is estimated that over 12 million Africans were transported to the Americas between 1501 and the abolition of the slave trade in the 1800s. They were brought to provide labour for mines and for plantations of sugar and rice, and later tobacco and cotton. Drumming and other African musical traditions continued in the colonies and gave rise to many different kinds of music including shouts, hollars, work songs, fife and drum and spirituals.
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87. Hawaiian feather helmet
A feather helmet that probably belonged to a Hawaii Chief that was brought to Britain by Captain Cook.
This feather helmet would have been worn by a Hawaiian chief during a ceremony or in battle. It is made from wicker basketry and covered with the red feathers of honeycreepers and the yellow feathers of honeyeaters. Red and yellow were the Hawaiians' most important colours and were regarded as tapu - holding a sacred quality. Feathers enhanced mana - a spiritual force that can fill individuals or objects with power. Birds were regarded in Polynesia as spiritual messengers.
How did Captain Cook change Hawaiian society?
This helmet was probably collected in 1778 by Captain Cook or a crew member of his ship. They were the first Europeans to ever visit Hawaii. The Hawaiian Islands were first settled in around AD 400 but had probably been isolated from the rest of Polynesia for 500 years when Cook arrived. The arrival of Europeans proved to be highly influential. Kamehameha I modelled himself on European monarchs and was able to conquer and unite all the islands independent until the American takeover in 1893.
Not currently on display.
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88. North American buckskin map
Map made of deer skin showing the Ohio River, USA drawn by Native Americans and traded with Europeans.
This buckskin map depicts a vast area of the American Midwest between the Mississippi and Ohio rivers. It was probably drawn by Piankshaw Indians and the red circles and semi-circles represent Native American settlement Native American maps are conceptual different than those of European settlers, containing more symbolic elements and reflecting different notions of space and time. Rivers were vitally important to Native Americans and the Wabash River runs along the spine of the deerskin, following the animal's life force.
Why was the map created?
Written phrases, like 'Piankashaw sold', on the lower right hand side of the map, suggest it was used as an intermediary tool to communicate between Europeans and Native Americans. It was probably created to aid negotiations during an attempt by the Wabash Land Company to purchase territory from the Piankashaw Indians in 1774 - 5. As European trappers and traders expanded west, private companies sought to purchase land from Native American nations. Such negotiations ignored the existing treaties with Native American people and this sale of land was declared void by the British colonial government.
Not currently on display.
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89. Australian bark shield
Shield made of bark from Botany Bay, Australia collected in 1770 on Captain Cook’s First Voyage.
This bark shield was carried by one of two Indigenous Australian men who faced Captain Cook and his crew members when they first landed at Botany Bay, near Sydney on the 29 April 1770. After attempts to communicate with the men failed, Cook's crew fired warning shots. This shield was dropped when the Indigenous Australians fed. The hole in the centre of the shield was probably made by a wooden spear and there are also traces of white clay decoration on the surface.
What was the significance of Cook's landing at Botany Bay?
Cook was not the first European to visit Australia or meet Indigenous Australians. Cook's encounter is seen by many as the beginning of European Australia. Cook went on to claim Australia for the British Empire in August 1770. The first European settlers, prison convicts, arrived at Botany Bay in 1788. This began the European colonisation of Australia, which led to an estimated 90 per cent reduction in the Indigenous Australian population.
On display: Room 1: Enlightenment
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90. Jade bi
Ancient Jade Bi around 3,000 years-old inscribed with characters by its later owner, the Chinese Qianlong Emperor.
This jade disc, known as a bi, was made in around 1200 BC but is inscribed with a text written in AD 1790. Similar discs have been found in the tombs of ancient Chinese aristocrats but their original function remains unclear. This bi was owned by the Qianlong Emperor of the Qing dynasty (ruled AD 1736 - 95), who had the bi inscribed with a text he had written, commenting on the possible function of the piece and its antiquity. The Qianlong Emperor was renowned for his compositions and wrote around 40,000 texts.
Who were the Qing dynasty?
The Qing dynasty emperors were not native Han Chinese but were Manchus from beyond the northern Chinese border. As the ruler of a vast empire, it was imperative that the Qianlong Emperor demonstrated his understanding of China's history and culture. China's population more than doubled in the 1700s and the economy also boomed. Qing China was regarded by many intellectuals of the European Enlightenment as the greatest empire the world had ever seen.
On display: Room 33: China, South Asia and Southeast Asia
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91. Ship’s chronometer from HMS Beagle
91. Ship’s chronometer from HMS Beagle
91. Ship’s chronometer from HMS Beagle
Ship’s clock designed to keep time at sea and used on HMS Beagle as it took Charles Darwin around the world.
A chronometer is a type of very accurate clock used to measure the time at sea so that a ship can precisely know where it is sailing. This chronometer was used on board HMS Beagle on its voyage around the world in 1831 to 1836. Charles Darwin was the scientist on this voyage, and the observations he made about geology and wildlife had an important influence on the development of his revolutionary ideas about evolution.
How did the need to measure longitude at sea lead to the standardisation of time?
The frst chronometers that could accurately keep time on board a ship were developed in the 1700s. The time on this chronometer would have been set at the time of the Greenwich Observatory in London. Knowing the time of a fixed location allowed the ship's navigator to know the difference between the ship's position and the Greenwich Meridian to determine the ship's longitude. In the 1840s the Great Western Railway used Greenwich Meantime as its standard measure of time. It replaced local time, which could vary by up to 20 minutes between towns.
On display: Rooms 38–39: Clocks and Watches
Russian Rabble Ruble (1)
国际象棋世界冠军
Royal Society Prizes for Science Books
British Museum
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92. Early Victorian tea set
Early Victorian teaset with a milk jug, sugar bowl and teapot produced by Wedgwood.
This tea set was made by the famous Staffordshire pottery frm founded by Josiah Wedgwood. It is made of red stoneware, which came to Europe from China via Holland in the 1600s, and can withstand hot water. Tea was initially a luxury product but by 1830 it was increasingly drunk by everyone in Britain using mass-produced pottery and porcelain. Historically this set has been associated with Queen Adelaide (1792 - 1849), wife of William IV. Although simple and originally moderately-priced, the pieces have been ornamented with silver to make them more prestigious and desirable.
How did drinking tea become a patriotic duty in Britain?
Vast geopolitical forces lie behind the creation of this simple tea set. In Britain between 1840 and 1900 the consumption of tea and sugar quadrupled. Mass consumption required mass production on an industrial scale and huge tea plantations were developed by the British in India and Sri Lanka. New sources of sugar were also developed, reducing the role of the former slave plantations in the Caribbean. Tea drinking was regarded as patriotic as it supported British trade and empire, unlike wine and coffee, beverages of imperial rivals.
On display: Room 47: Europe 1800–1900
Royal Society Prizes for Science Books
大英博物馆世界简史
British Museum
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93. Hokusai’s The Great Wave
‘Under the Wave, off Kanagawa’, a print by Katsushika Hokusai, perhaps the most reproduced of all Japanese prints.
'Under the Wave off Kanagawa' ('The Great Wave') is probably the most iconic Japanese artwork in the world. It depicts a monstrous wave about to come crashing down on three fishing boats and their crews. On the horizon is Mount Fuji, dwarfed by the colossal wave. The print was created by Hokusai when he was about seventy years old, as part of his Thirty-six views of Mount Fuji series. The print was made using colour woodblock printing and many thousands of impressions were made - each one sold quite cheaply.
How did The Great Wave become one of the most famous images in the world?
When The Great Wave was first issued, in about 1830, Japan's contact with the outside world was strictly regulated. It was only in 1859 when Japan, under pressure from America and other powers, opened a few of its ports that Japanese prints began to be exported to Europe. They were quickly discovered and celebrated by European and American artists like Whistler, Van Gogh and Monet. The Great Wave inspired Debussy's symphonic sketches La Mer and has become one of the most iconic images of the power of the sea.
Not currently on display.
Surviving Disaster
The Catcher in the Rye
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94. Sudanese slit drum
Wooden drum from central Africa, inscribed with Islamic markings in Sudan and brought to Britain in 1898.
This buffalo-shaped drum probably came to Khartoum through the internal African slave trade from non-Muslim southern Sudan. There it would have been played as part of a court orchestra and used to transmit messages or summon warriors to war. It was captured by the British and Egyptian army in a battle against Mahdist forces at Omdurman near Khartoum in 1898, after which a crown designating it as the property of Queen Victoria was stamped into the animal's tail.
Who was the Mahdi?
In 1881 a Sudanese sheik called Muhammad Ahmad declared that he was the Mahdi - the prophesied redeemer of Islam who would found a new Islamic World Order. After a lengthy military campaign he and his followers took control of Sudan from the previous Turkish-Egyptian government. The Mahdi united many of Sudan's diverse ethnic groups, while conquering and enslaving others. Many non-Muslim slaves from southern lands were nominally converted to Islam and served in the Mahdist army. Some of their artefacts, like this slit drum, were assimilated into Mahdist ideology and inscribed with Islamic decoration.
On display: Room 25: Africa
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95. Suffragette-defaced penny
95. Suffragette-defaced penny
Penny minted in 1903, and illegally stamped by suffragettes with the slogan ‘votes for women’.
Listen to this programme on the BBC
This penny, struck in 1903, has been defaced with the slogan 'Votes for Women' over the portrait of King Edward VII. At the start of Edward VII's reign women, along with the poor and criminals, were denied the right to vote. Mutilating coins was one of the methods suffragettes used to spread their message of universal suffrage to a wide audience. Pennies were used by all sections of society and were so small a denomination they were rarely recalled by the Bank.
How else did the Suffragettes campaign for votes for women?
Suffragette derives from the word suffrage meaning the right to vote. As well as conventional campaigning, the suffragettes also attacked museums, famously slashing The Rokeby Venus, a painting in the National Gallery, in 1914. They also smashed a mummy case in the British Museum. In 1918 the Representation of the People Act gave women over the age of 30 the right to vote but it was not until 1928 that women were given the same voting rights as men.
Image: Crown copyright
On display: Room 68: Money
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96. Russian revolutionary plate
Russian plate decorated with images and marxist slogans to celebrate the Russian Revolution.
96. Russian revolutionary plate
This plate depicts a worker trampling the word 'Kapital' (capitalism), to release the dynamic forces of a new industrial order for the benefit of the workers. The plate was created to celebrate the Russian Revolution of 1917 and the creation of the world's first Communist state. The whole image is in the Futurist style favoured by the artists of the Revolution. It was designed by Mikhail Mikhailovich Adamovich (1884 - 1947) and created in the State Porcelain Factory in Petrograd, previously named St Petersburg.
How was porcelain used to spread propaganda about the Russian Revolution?
The former Imperial Porcelain Factory, founded in 1744, worked exclusively for the Russian Royal Family and Imperial Court. After the Russian Revolution of 1917 the factory was renamed the State Porcelain Factory. Existing stocks of plates produced before the Revolution, but not yet decorated, were painted with the symbols and slogans of the new Soviet republic. This plate was made in 1901 under Tsar Nicholas II, but decorated in 1921. Many such plates were exported abroad, demonstrating how luxury objects from the Tsar's own factory could symbolize the overthrow of the capitalist system.
On display: Room 48: Europe 1900 to the present
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97. Hockney’s In the Dull Village
Print by British artist David Hockney showing two men lying in bed, an illustration for a poem by poet C.P. Cavafy.
This etching is from a series created in 1966 by David Hockney to illustrate 14 poems by the Greek poet C. P. Cavafy (1863 - 1933). Cavafy was one of the earliest modern authors to write about same-sex love and proved an inspiration to the young Hockney, who stole a copy of Cavafy's translated poems from Bradford Library in 1960. The etching is not a literal interpretation of the poem's subject matter - homo-erotic fantasies in a sleepy, provincial village - but instead evokes the poem's mood of relaxed intimacy through the use of a crisp and spare line.
How did the Hellenic world inspire Hockney?
Cavafy was born in the cosmopolitan city of Alexandria in Egypt and his poems frequently express same-sex love in the Hellenic world. When Hockney created this print Britain was in the grip of its own sexual revolution - homosexuality was decriminalised by Parliament in 1967. Hockney visited Beirut in Lebanon, which had replaced Alexandria as the region's cosmopolitan capital, to draw inspiration for his series. Many of the illustrations were actually drawn in Hockney's Notting Hill flat, however, using two friends as models.
Image: In the dull village, from illustrations for 14 poems from CP Cavafy, 1966/67. Etching. David Hockney / Editions Alecto
Not currently on display.
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98. Throne of Weapons
Throne made by an artist from Mozambique from European weapons used in and collected after the civil war.
This sculpture is made out of decommissioned weapons from the Mozambique civil war (1977 - 92), which claimed almost 1 million lives and left 5 million people displaced. It represents both the tragedy of that war and the human triumph of those who achieved a lasting peace. It was made by the Mozambican artist Cristovao Canhavato (Kester) in 2001 for the Transforming Arms into Tools project, where some of the seven million guns left in the country are voluntarily exchanged for useful tools and hardware.
What caused the Mozambique civil war?
In 1975 Mozambique declared itself a Marxist-Leninist state after achieving independence from Portuguese colonial rule. The new government's pro-communist and anti-apartheid stance threatened the regimes in neighbouring. South Africa and Rhodesia. They funded an opposition group in an attempt to destabilize the country. In turn the Soviet Union supplied Mozambique with economic and military aid. The civil war finally came to an end after the collapse of the Soviet Union and the end of the apartheid regimes.
Image: Kester 2004
On display: Room 25: Africa
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99. Credit card
Credit card, the first form of electronic payment, issued in the United Arab Emirates and Shari’a law compliant.
This credit card exemplifies the global nature of modern finance. HSBC, originally founded in Hong Kong and Shanghai, created its Amanah division in 1998 to appeal to the growing financial hubs in the Middle East and Asia. Islamic law forbids exchanging money for profit and this card is Shari'a compliant, meaning that interest cannot be received on savings, or charged on borrowings. Shari'a compliant banks also cannot invest money in socially or morally damaging businesses and are mindful that Muslims must use their wealth to help the less fortunate.
When was the first plastic credit card created?
In the 20th century financial transactions in many western countries were increasingly no longer made in cash but through credit facilities, cheques and electronic money. The first credit card was the Diners Club Card, created by businessman Frank McNamara in 1950, after an occasion when he did not have enough cash to pay for dinner. Today, over fifty percent of all transactions in the USA and UK are made on plastic cards, although in the rest of the world cash is still used for the majority of purchases.
Image: Courtesy of HSBC Holdings plc
On display: Room 68: Money
卢布（Ruble）崩盘
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100. Solar-powered lamp and charger
Retter is Better, WE Create and Deliver Real Value!
A solar-powered lamp and charger for mobile phones that can provide renewable energy to the developing world.
This lamp is powered by the small solar panel connected to it. As well as providing light, power from this panel can be used to charge mobile phones. This object has been chosen to reflect our ingenuity, and the challenges we face, in the twenty-first century. The kit uses a range of new materials and technologies, including silicon-chip technology, which can also be found in computers and mobile phones. Here it is used in the solar photovoltaic cell, which converts sunlight into electricity. Exposing this cell to eight hours of bright sunshine provides up to 100 hours of lamp light.
How is this technology changing lives?
There are currently 1.6 billion people across the world without access to an electrical grid. In these areas, objects such as this allow people to study, work and socialise outside daylight hours, vastly improving the quality of many lives. Additionally, households using solar energy rather than kerosene lamps are able to avoid the risk of fire and the damage to health that kerosene can cause. Once purchased, this kit costs very little to run, making it a very efficient option for many people living in the world's poorest countries.
On display: Room 24: Living and Dying
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The `EventEmitter` class creates an abstraction that handles the basic functions of an event emitter.


Symbol Index for "Performer Accepted Activity"
Symbol Index for diagram
"Performer Accepted Activity"
Abandoned Activity (Class)
Activity State (Class)
Activity To Be Done (Class)
Activity Under Consideration (Class)
Activity/State (Generalization Node)
Completed Activity (Class)
Decomposed Activity (Class)
earliest performance start (Association)
for performance (Association)
Instantiated Activity (Class)
latest performance end (Association)
Location (Class)
Not Required Activity (Class)
Performance Rejected Activity (Class)
Performance Suspended Activity (Class)
Performer Accepted Activity (Class)
Performer Rejected Activity (Class)
Performer Selected Activity (Class)
Resource For Accepted Activity (Class)
Scheduled Activity (Class)
Started Activity (Class)
Timepoint (Class)
user (Association)


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SipHash
SipHash
is a pure Swift implementation of the SipHash hashing algorithm designed by
Jean-Philippe Aumasson and Daniel J. Bernstein in 2012:
SipHash is a family of pseudorandom functions (a.k.a. keyed hash functions) optimized for speed on short messages.
Target applications include network traffic authentication and defense against hash-flooding DoS attacks.
SipHash is secure, fast, and simple (for real): - SipHash is simpler and faster than previous cryptographic algorithms (e.g. MACs based on universal hashing) - SipHash is competitive in performance with insecure non-cryptographic algorithms (e.g. MurmurHash)
SipHash has a variety of flavors; this package implements the one called SipHash-2-4.
Note that the Swift Standard Library already includes an implementation of SipHash-2-4 and SipHash-1-3; however, the APIs are currently private and not available for use outside of stdlib. This package provides an independent implementation that’s available for use in third-party code.
SipHash requires Swift 3.0.1.
Sample Code
import SipHash
// `SipHashable` is like `Hashable`, but simpler.
struct Book: SipHashable {
let title: String
let pageCount: Int
// You need to implement this method instead of `hashValue`.
func appendHashes(to hasher: inout SipHasher) {
// Simply append the fields you want to include in the hash.
hasher.append(title)
hasher.append(pageCount)
}
static func ==(left: Book, right: Book) -> Bool {
return left.title == right.title && left.pageCount == right.pageCount
}
}
// You can now use Books in sets or as dictionary keys.
let book = Book(title: "The Colour of Magic", pageCount: 206)
let books: Set<Book> = [book]
// If you prefer to do so, you may also create & use hashers directly.
var hasher = SipHasher()
hasher.add(book)
hasher.add(42)
// Finalizing the hasher extracts the hash value and invalidates it.
let hash = hasher.finalize()
Why Would I Use SipHash?
Writing a good implementation of hashValue
is hard, even if we just need to combine the values of a couple of fields.
We need to come up with a deterministic function that blends the field values well, producing a fixed-width
result without too many collisions on typical inputs. But how many collisions are too many
? Do we even know what
our typical inputs
look like? For me, the answer to both of these questions is usually I have absolutely no idea
,
and I bet you have the same problem.
Thus, verifying that our hashValue
implementations work well is an exercise in frustration.
We need to somehow check the properties of the hash function by looking at its behavior given various inputs.
It is easy enough to write tests for the requirement that equal values have equal hashValues
.
But verifying that the hash has few collisions requires making some assumptions on the
statistical properties of typical
inputs – and even if we’d be somehow confident enough to do that, writing the code
to do it is way too complicated.
Instead of rolling your own ad-hoc hash function, why not just use an algorithm designed specifically to blend data into a hash? Using a standardized algorithm means we don’t need to worry about collision behavior any more: if the algorithm was designed well, we’ll always have good results.
The SipHash algorithm is a particularly good choice for hashing. It implements a 64-bit cryptographic
message-authentication code (MAC) with a 256-bit internal state initialized from a 128-bit secret key that’s (typically)
randomly generated for each execution of the binary.
SipHash is designed to protect against hash collision attacks, while remaining simple to use and fast.
It is already used by Perl, Python, Ruby, Rust, and even Swift itself – which is why the documentation of Hashable
explicitly warns that the value returned by hashValue
may be different across executions.
The standard library already implements SipHash, but the implementation is private. (It is technically available for use, but it is not formally part of the stdlib API, and it is subject to change/removal across even point releases.) I expect a refactored version of stdlib’s SipHash will become available as public API in a future Swift release. But while we’re waiting for that, this package provides an alternative implementation that is available today.
Is this code full of bugs?
Indubitably. Please report all bugs you find!
The package has 100% unit test coverage. Unfortunately this doesn’t tell you much about its reliability in practice.
The test suite verifies that the package generates values that match the test vectors supplied by SipHash’s original authors, which makes me reasonably confident that this package implements SipHash correctly. Obviously, your mileage may vary.
Reference docs
Nicely formatted reference docs are available courtesy of Jazzy.
Installation
CocoaPods
If you use CocoaPods, you can start using SipHash
by including it as a dependency in your Podfile
:
pod 'SipHash', '~> 1.0'
Carthage
For Carthage, add the following line to your Cartfile
:
github "lorentey/SipHash" ~> 1.0
Swift Package Manager
For Swift Package Manager, add SipHash
to the dependencies list inside your Package.swift
file:
import PackageDescription
let package = Package(
name: "MyPackage",
dependencies: [
.Package(url: "https://github.com/lorentey/SipHash.git", majorVersion: 1)
]
)
Standalone Development
If you don’t use a dependency manager, you need to clone this repo somewhere near your project, and add a reference to SipHash.xcodeproj
to your project’s xcworkspace
. You can put the clone of SipHash wherever you like on disk, but it is a good idea to set it up as a submodule of your app’s top-level Git repository.
To link your application binary with SipHash, just add SipHash.framework
from the SipHash project to the Embedded Binaries section of your app target’s General page in Xcode. As long as the SipHash project file is referenced in your workspace, this framework will be listed in the Choose items to add
sheet that opens when you click on the +
button of your target’s Embedded Binaries list.
There is no need to do any additional setup beyond adding the framework targets to Embedded Binaries.


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public interface ManagedExecutorService
extends java.util.concurrent.ExecutorService
ExecutorService
.
A ManagedExecutorService extends the Java™ SE ExecutorService to provide
methods for submitting tasks for execution in a Jakarta™ EE environment.
Implementations of the ManagedExecutorService are
provided by a Jakarta EE Product Provider. Application Component Providers
use the Java Naming and Directory Interface™ (JNDI) to look-up instances of one
or more ManagedExecutorService objects using resource environment references.
ManagedExecutorService instances can also be injected into application
components through the use of the Resource
annotation.
The Jakarta Concurrency specification describes several behaviors that a ManagedExecutorService can implement. The Application Component Provider and Deployer identify these requirements and map the resource environment reference appropriately.
The most common uses for a ManagedExecutorService is to run short-duration asynchronous tasks such as for processing of asynchronous methods in Jakarta Enterprise Beans or for processing async tasks for Servlets that supports asynchronous processing.
Tasks are run in managed threads provided by the Jakarta EE Product Provider
and are run within the application component context that submitted the task.
All tasks run without an explicit transaction (they do not enlist in the application
component's transaction). If a transaction is required, use a
UserTransaction
instance. A UserTransaction instance is
available in JNDI using the name: "java:comp/UserTransaction" or by
requesting an injection of a UserTransaction
object
using the Resource
annotation.
Example:
public run() { // Begin of task InitialContext ctx = new InitialContext(); UserTransaction ut = (UserTransaction) ctx.lookup("java:comp/UserTransaction"); ut.begin(); // Perform transactional business logic ut.commit(); }Tasks can optionally provide an
ManagedTaskListener
to receive
notifications of lifecycle events, through the use of ManagedTask
interface.
Example:
public class MyRunnable implements Runnable, ManagedTask { ... public void run() { ... } public ManagedTaskListener getManagedTaskListener() { return myManagedTaskListener; } ... } MyRunnable task = ...; ManagedExecutorService executor = ...; executor.submit(task); // lifecycle events will be notified to myManagedTaskListenerAsynchronous tasks are typically submitted to the ManagedExecutorService using one of the
submit
methods, each of which return a Future
instance. The Future
represents the result of the task and can also be used to
check if the task is complete or wait for its completion.
If the task is canceled, the result for the task is a
CancellationException
exception. If the task is unable
to run due to a reason other than cancellation, the result is a
AbortedException
exception.
Example:
/** * Retrieve all accounts from several account databases in parallel. * Resource Mappings: * type: javax.enterprise.concurrent.ManagedExecutorService * jndi-name: concurrent/ThreadPool */ public List<Account> getAccounts(long accountId) { try { javax.naming.InitialContext ctx = new InitialContext(); ManagedExecutorService mes = (ManagedExecutorService) ctx.lookup("java:comp/env/concurrent/ThreadPool"); // Create a set of tasks to perform the account retrieval. ArrayList<Callable<Account>> retrieverTasks = new ArrayList<Callable<Account>>(); retrieverTasks.add(new EISAccountRetriever()); retrieverTasks.add(new RDBAccountRetriever()); // Submit the tasks to the thread pool and wait for them // to complete (successfully or otherwise). List<Future<Account>> taskResults= mes.invokeAll(retrieverTasks); // Retrieve the results from the resulting Future list. ArrayList<Account> results = new ArrayList<Account>(); for(Future<Account> taskResult : taskResults) { try { results.add(taskResult.get()); } catch (ExecutionException e) { Throwable cause = e.getCause(); // Handle the AccountRetrieverError. } } return results; } catch (NamingException e) { // Throw exception for fatal error. } catch (InterruptedException e) { // Throw exception for shutdown or other interrupt condition. } } public class EISAccountRetriever implements Callable<Account> { public Account call() { // Connect to our eis system and retrieve the info for the account. //... return null; } } public class RDBAccountRetriever implements Callable<Account>> { public Account call() { // Connect to our database and retrieve the info for the account. //... } } public class Account { // Some account data... }


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