TABLE OF CONTENTS
A. GS1 Related Geography 1. National grid to curb water deficit on Gadkari’s agenda B. GS2 Related Polity 1. SC poser to online giants on offensive content 2. It’s lonely on the ground International Relations 1. BRICS declares Lashkar, Jaish as global terror groups 2. India pitches for a credit rating agency C. GS3 Related Economics 1.  Top babus given secure mobiles Science and Technology 1. Poor sleep? You may be at ADHD risk Environment and Ecology 1. In fact: Hard to ban, harder to dispose 2. In Nicaragua, a fight to save endangered tapirs D. GS4 Related E. Prelims Fact F. UPSC Prelims Practice Questions G. UPSC Mains Practice Questions
1. National grid to curb water deficit on Gadkari’s agenda
In news:
- India is planning to have a water grid with the aim of ensuring no area of the country faces any water deficit.
- The concept of water grid in India mainly centres around the existing inter-linking of rivers (ILR) plan which was conceived in order to transfer water from surplus zones to deficit zones via inter-connected rivers.
- Present focus: linking three ILR projects – Ken-Betwa link (Uttar Pradesh and Madhya Pradesh), Par-Tapi-Narmada and Damanganga-Pinjal links (Gujarat and Maharashtra).
1. SC poser to online giants on offensive content
In news:
- The Supreme Court has asked Google, Microsoft, Facebook and WhatsApp to provide the number of complaints received from India of any objectionable material posted online on their sites between the period of January 1, 2016 and August 31, 2017.
- Why? The court wanted to know whether the online giants had taken any action on the complaints received from India on materials like videos or pictures of child pornography, rape and gangrape, uploaded on their sites.
- Supreme Court further asked the Ministry of Home Affairs to respond to whether any prosecutions were initiated under the Protection of Children from Sexual Offences Act of 2012. The court wanted to know the number of prosecutions initiated under Sections 19 and 21 of the Act between January 1, 2016 to August 31, 2017.
Basic Information
The Protection of Children from Sexual Offenses Act 2012
- The Act seeks to protect children from offences such as sexual assault, sexual harassment and pornography. India is a signatory to the UN Convention on the Rights of the Child since 1992. The parties to the Convention are required to take measures to prevent children from being coerced into any unlawful sexual activity.
- Any person below the age of 18 years is defined as a “child”.
 The penalty is imprisonment for upto three years and a fine.
 If however the child is between 16 and 18 years, it shall be considered whether consent for the act was taken against his will or was taken by drugs, impersonation, fraud, undue influence and when the child was sleeping or unconscious. The penalty is imprisonment between seven years and life and a fine.
- The Act penalises “aggravated penetrative sexual assault.” Such an offence is committed when a police officer, a member of the armed forces or a public servant commits penetrative sexual assault on a child.  The Act also covers assault by staff of private hospital and staff of an educational institution if the child is in that institution.
- Penetrative sexual assault shall be considered aggravated if it injures the sexual organs of the child or takes place during communal violence or the child becomes pregnant or gets any other threatening disease or is below 12 years. It also covers cases where the offender is a relative of the child through blood or adoption or marriage or foster care or is living in the same household.
 If the child is between 16 and 18 years, it shall be considered whether the consent was taken against the child’s will or by threat or deceit. The penalty is imprisonment between three to five years and a fine.
 The penalty for the offence is
- Imprisonment between five to seven years and a fine.
 The penalty is rigorous imprisonment for upto five years and a fine. On
- subsequent convictions, the term of imprisonment is upto 7 years and fine.
- The Act also includes penalties for storage of pornographic material and abetment of an offence.
- An offence committed under this Act shall be reported to either the local police or the Special Juvenile Police Unit who has to report the matter to the Special Court within 24 hours. The police also have to make special arrangement for the care of the child. In case a person fails to report acase, he shall be penalised. Also, the Act includes penalties for making false complaints.
- Each district shall designate a Sessions Court to be a Special Court. It shall be established by the state government in consultation with the Chief Justice of the High Court. The state government shall appoint a Special Public Prosecutor for every Special Court. The Court shall, as far as possible, complete the trial within one year.
- The trial shall be held in camera and in the presence of the child’s parents or any person trusted by the child. he guardian of the child has the right to take assistance from a legal counsel of his choice, subject to the provisions of Code of Criminal Procedure, 1973.
- If an offence has been committed by a child, it shall be dealt with under the Juvenile Justice (Care and Protection of Children) Act, 2000.
Context:
- In April, the government of India proposed amendments to the RTI Act
- The most controversial amendment pertained to Rule 12 .
Amendment to Rule 12 and controversy:
- It would allow the withdrawal of an application in case of the applicant’s death, making the job of those who file RTIs even more risky.
- The RTI activists are already exposed to violence, all the more so as the Whistle Blowers Protection Act (2011) is not implemented.
- 69 activists have been killed, according to the National Campaign for People’s Right to Information
Violence against RTI Activists
- The states which have largest number of casualties are rich states such as Maharashtra, Gujarat and Karnataka
- Rich states are the most dangerous ones for RTI activists because they fight against the appropriation of public goods by predatory and vested interests, which are comparatively stronger in affluent provinces.
- Problems pertaining to land, illegal construction and property disputes are the root cause of most of the cases.
- Then come conflicts due to government schemes (including MGNREGA), either because those who should have benefitted from them have not, or because of embezzlement at the local level.
- The third category that is also well represented is made of illegal mining, including the sand mafia’s activities.
- The RTI activists fight for their rights and/or those of others, but they are hardly protected by the police and judiciary.
RTI Activists – Importance
- RTI applications cover a wide range of issues and even if no action is taken, the media often publicize the cases and give bad publicity to the offending bureaucrats, industrialists or politicians.
- The RTI activists not only expose corrupt practices and crimes, but also provide alternative leadership at the local level.
- Some of them have become community mobilisers and have been elected sarpanch.
- The RTI Act has offered space to young Dalits, Adivasis and members of the minorities who would have been helpless otherwise.
- The role of “RTI clinics”, often in the form of itinerant vans and helplines, has been key.
Challenges faced by RTI Activists:
- Information Commissions are burdened with huge pendencies
- The number of applications filed could easily decrease: If the frequently asked questions were identified and proactively disclose information for those questions
- But delays and backlogs are also due to the fact that the job of Information Commissioner has become a post-retirement sinecure for former bureaucrats who do not necessarily feel the urge of idealism.
- The attitude of the government of India is another big challenge. Some of its agencies refuse to disclose the required information.
- In PMO, the rejection rate is very high. The Commission does not have enough power for getting responses to its questions
- It does not have the mechanisms for following up on whether its orders have been complied with.
- The Information Officers do not necessarily get the right training
- Universities could include the RTI Act in their curriculum and offer not only degrees, but also continuing training for helping this major achievement to remain relevant.
Category: INTERNATIONAL RELATIONS
1. BRICS declares Lashkar, Jaish as global terror groups
Context:
- Ninth annual BRICS summit.
- Venue: Xiamen, China.
In news:
- Jaish-e-Mohammad (JeM) and Lashkar-e-Taiba (LeT) declared as terror organization: The Brazil-Russia-India-China-South Africa (BRICS) grouping unequivocally named Pakistan-based groups — Jaish-e-Mohammad (JeM) and Lashkar-e-Taiba (LeT) — as terror organizations.
-
Minutes of the joint communiqué released at the BRICS summit:
- Expressed concern about the regional security situation.
- Listed the Taliban, IS/Daesh, Al-Qaeda and its affiliates, including the Eastern Turkistan Islamic Movement, the Islamic Movement of Uzbekistan, the Haqqani network, Lashkar-e-Taiba, Jaish-e-Mohammad, TTP and Hizb-ut-Tahrir as sources of violence.
- Expressed strong condemnation of “all terrorist attacks worldwide,”
-
Declaration and its impact on India-China ties:
- Beijing’s earlier position: repeatedly asked for a “technical hold” in designating the head of the Pakistan-based JeM as an international terrorist in the United Nations Security Council 1267 committee.
- 9 th BRICS summit declaration: underscores a shift in China’s position, in mending its ties with India.
-
Meet on radicalization:
- India is now planning to hold a global conference on countering radicalization.
- India in the context of the Association of South East Asian Nations (Asean) and the BRICS offered to organise a global conference on countering radicalisation.
2. India pitches for a credit rating agency
In news:
- Prime Minister Narendra Modi strongly pitched for the setting up of a BRICS credit rating agency to counter western rating institutions and cater to the financial needs of sovereign and corporate entities of developing nations.
- Key Fact: western rating institutions hold over 90% of the sovereign ratings market.
1. Don’t know how much black money was wiped out by demonetisation: RBI
In news:
- The RBI has told a parliamentary panel that it has “no information” on how much black money has been extinguished as a result of demonetisation of 500/1,000 notes or about unaccounted cash legitimised through exchange of currency post note ban.
- Key estimate: about Rs 15,280 crore in junked notes has come back
1. Top babus given secure mobiles
Context:
- Concerns over security of handsets.
- The Computer Emergency Response System- India (CERT-IN) , the cyber security arm of the government, sought details of the security process followed by over 30 handset firms selling mobile phones in the country.
In news:
- Secure communication : Government has given nearly 500 customised Google Pixe l phones with Reliance Jio SIM cards to senior bureaucrats for secure communication.
- The phones, which run on Android OS, have a pre-stored directory that contains the number of all officials above the rank of joint secretary.
- RAX lines : The government already uses RAX, a fixed landline secure communication network. The numbers of RAX lines were increased from 1,300 to 5,000.
- CERT-In recommendations: security measures must be developed and applied to smart phones from security in multiple layers of hardware/ firmware/ software to the dissemination of information to users.
- Future move: The Ministry of Electronics and IT is working on a framework to secure email as well, which are used by government officials.
-
Kryptowire raised the alarm bell:
- Kryptowire is a security firm.
- It has raised concerns over a Chinese firm transmitting phones, including contacts and text, to servers in China.
Category: SCIENCE AND TECHNOLOGY
1. Poor sleep? You may be at ADHD risk
Attention Deficit Hyperactivity Disorder (ADHD):
-
Symptoms:
- Lack of regular circadian sleep
- Struggling to concentrate
- Having too much energy and being unable to control behavior.
- ADHD sufferers often show greater alertness in the evening, which is the opposite of what is found in the general population.
- Fact: 75% of children and adults suffer from ADHD.
Category: ENVIRONMENT AND ECOLOGY
1. In fact: Hard to ban, harder to dispose
Context:
- National Green Tribunal called for a complete ban on “plastic carry bags ” smaller than 50 microns in Delhi’s markets.
- Maximum usage of plastic bags was to carry vegetables, fruit, meat and fish because they were convenient, easily available and cost-effective.
Problems associated with plastic bags:
- Serious environmental degradation
- Harm to public health, animals in the city
- Ability to choke up drains and sewer lines, causing floods during the rainy season.
- Plastic was inherently not a public health hazard, but the inability to collect plastic waste leads to health hazards
Government Initiative to clean up the menace:
- In 2016, the government notified Plastic Waste Management Rules, 2016 , which regulate manufacture, sale, distribution and use of plastic carry bags
Disposal problem
- Within a fortnight after the NGT ban, authorities in Delhi had seized 9,000 kg of plastic carry bags but have since struggled to find effective ways to dispose of it.
Effective disposal:
- Himachal Pradesh , the first state in the country to impose a ban on the use of plastic bags in 2003, effectively managed the seized plastic bags.
- The state sought the help of rag pickers to collect the plastic bags and mixed it with other materials and then used it for road construction.
- The plastic waste of Shimla and Chandigarh were reportedly processed together and the refuse drive fuel (RDF) is sent to power plants in Patiala and Nakodar in Punjab.
- The confiscated bags should be returned to the manufacturers or mixed with other materials and recycled.
- Delhi has waste-to-energy plants, it could also be sent there
Way forwards:
- With last month’s order, the NGT was reiterating an earlier ban on use of disposable plastic in Delhi from January 1, 2017.
- Ban driven as a government programme will head nowhere. It must be made as a ‘people’s movement’.
- Best example: In 2016, Kannur district in Kerala launched a campaign with the slogan ‘Nalla Nadu, Nalla Mannu’ — good village, good soil — which culminated in a complete ban on plastic carry bags five months later
- Just imposing a ban is not enough. We have to first give users alternatives to plastic bags, then impose the ban and only after that penalise violators with fines.
- There has to be at least six months of aggressive campaigning before such a ban is imposed.
- This has also been the strategy in countries like Kenya and Rwanda.
- Banning plastic should be targeted towards behaviour change
2. In Nicaragua, a fight to save endangered tapirs
In news:
- Tapir: The largest land mammals in Central America, the brown, pig-like animals with sloping snouts.
- International Union for Conservation of Nature classification: considered at risk of extinction and is the “ most threatened” quadruped in Nicaragua.
- Threats: Human encroachment and climate change have decimated the woodland habitat of the Baird’s tapir, one of five species left in the world, and, along with human and feline predators, have helped wipe out 16 other tapir species.
Nothing here for Today!!!
Nothing here for Today!!!
F. Practice Questions for UPSC Prelims Exam
G. UPSC Mains Practice Questions
GS Paper II
- “RTI Act needs to be protected against attempts to dilute it.” Discuss it in the backdrop of proposed amendment pertained to Rule 12 of the RTI.
GS Paper III
- Women empowerment in India needs gender budgeting. What are the requirements and status of gender budgeting in the Indian context?


This selects the brightness of the Digital Chroma's displays and LEDs.
This is contained in the {Global_parameters} section of the {Tools_screen}.
This is accessed in {_program_select_mode PROGRAM SELECT mode} using the following global parameter number:
| {sw-set-split.png height=48} {sw-22.png height=48} |
This appears in the display as Display Brightness.
This is accessed via {_NRPN} 15,22.
| MIDI | display | ||
| 0 | low | ||
| 1 | medium | ||
| 2 | high |


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SOM Colors
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Aegisub / ASS Tags
- Special characters
- Override tags
- Italics
- Bold
- Underline
- Strikeout
- Border size
- Border size (extended)
- Shadow distance
- Shadow distance (extended)
- Blur edges
- Blur edges (Gaussian kernel)
- Font name
- Font size
- Font scale
- Letter spacing
- Text rotation
- Text shearing
- Font encoding
- Set color
- Set alpha
- Line alignment
- Line alignment (legacy)
- Karaoke effect
- Wrap style
- Reset style
- Set position
- Movement
- Rotation origin
- Fade
- Fade (complex)
- Animated transform
- Clip (rectangle)
- Clip (vector drawing)
- Drawing tags
- Drawing commands
The following is a list of every tag supported by the Advanced Substation Alpha format. This is basically a detailed version of ass-quickref.txt. See the tutorial for an introduction to typesetting, using some basic tags.
Special characters
The following tags are written in the middle of the text, and not inside override blocks (i.e. not between { and }).
Soft line break
Insert a forced line break, but only when in wrapping mode 2. (See the \q tag). Note that this is a lowercase n.
In all other wrapping modes, this is replaced by a regular space. If you're not sure whether you want this or \N, you probably want \N.
Hard line break
Insert a forced line break, regardless of wrapping mode. Note that this is an uppercase N.
Hard space
Insert a non-breaking "hard" space. The line will never break automatically right before or after a hard space, and hard spaces are not folded when they appear at the start or end of a displayed line.
Override tags
Override tags must appear within override blocks, which begin with { and end with }. Any unrecognized text within override blocks is silently ignored, so they are also commonly used for inline comments. Mixing comments and override tags in the same override block is not recommended.
Tags fall into two general categories: those which set a property of the line
itself, and those which modifiy only the text following them. \pos
, \move
,
\clip
, \iclip
, \org
, \fade
and \fad
are those in the first category;
all others are in the second. Tags in the first category should appear at most
once in a line, and where in the line they appear is unimportant. In addition,
some of them are mutally exclusive: \pos
and \move
; \clip
and \iclip
;
\fad
and \fade
. The result of inluding multiple instances of these tags or
mutally exclusive tags will vary between renderers and is not recommended.
Tags in the second category modify all text after the tag until the end of the line or until the property is re-overridden by another tag.
Override tags always follow the same form: They start with a backslash \ character, then a name, and after the name the parameter to the tag. If the parameter is omitted, the default value from the line's style is used.
Some tags are "complex" and take more than one parameter. In these cases, parameters are put inside parentheses with commas between the parameters.
Note on typography:
On this page, everything written in italics with <
angle brackets >
around it is a parameter and you must enter a value instead of it. The angle
brackets are not part of the value you should enter. Use the examples as a
guide to how the tags should be entered. In general, the same rules apply to
all tags in how they look.
Italics
\i0
Switch italics text on or off. Use \i1
to enable italics for the following
text and \i0
to disable italics again.
Bold
\b1
\b0
\b<weight>
Switch boldface text on or off. Use \b1
to enable boldface for the
following text and \b0
to disable boldface again.
The \b<weight>
form allows you to specify an
explicit weight to use. Note that most fonts only support one or two weights
so you rarely need to use this. Font weights are multiples of 100, such that
100 is the lowest, 400 is "normal", 700 is "bold" and 900 is the heaviest.
I am {\b1}not[\b0} amused.
The word "not" is written in boldface.
{\b100}How {\b300}bold {\b500}can {\b700}you {\b900}get?
The words are written with increasingly greater weight. Note that most fonts do not have more than one or two different weights and you will only be able to see "not bold" and "bold" in that case.
Underline
\u0
Switch underlined text on or off. Use \u1
to enable underlining for
the following text and \u0
to disable underlining again.
Strikeout
\s0
Switch striked out text on or off. Use \s1
to enable strikeout for
the following text and \s0
to disable strikeout again.
Border size
Change the width of the border around the text. Set the size to 0 (zero) to disable the border entirely.
If "scale border and shadow" (see script properties) is enabled, the value is given in script resolution pixels, otherwise it is given in video resolution pixels (which means the border thickness will vary depending on the resolution of the video on which the subtitles are rendered.)
The value is not limited to whole integer pixels and can have decimal places. Border width cannot be negative.
\bord0
Disable border entirely.
bord3.7
Set the border width to 3.7 pixels
Border size (extended)
\xbord<size>
\ybord<size>
Use the \xbord
\ybord
tags to set the border size in X and Y direction
separately. This can be useful for correcting the border size for anamorphic
rendering of subtitles.
Note that if you use \bord
after \xbord
or \ybord
on a line, it will
override both of them.
You can set the border width to 0 (zero) in one of the directions to entirely disable border in that direction.
Shadow distance
Set the distance from the text to position the shadow. Set the depth to 0 (zero) to disable shadow entirely. Works similar to \bord.
The shadow distance can not be negative with this tag.
Shadow distance (extended)
\xshad<depth>
\yshad<depth>
Set the distance from the text to position the shadow at, with X and Y position set separately. Shadow is only disabled if both X and Y distance is 0.
Note that unlike \shad, you can set the distance negative with these tags to position the shadow to the top or left of the text.
Blur edges
\be0
\be1
\be<strength>
Enable or disable a subtle softening-effect for the edges of the text. The effect isn't always very visible, but it can in some cases make the text look better. It is usually more visible at smaller text sizes.
Be aware that this tag blurs the edges of the text, not everything. This means that if the text has a border (set with \bord) the border will be blurred, but if there is no border, the main text will be blurred instead.
In the extended version, strength is the number of times to apply the
regular effect. Note that at high values the effect de-generates into
nothingness, and generally isn't very useful. For strong blurs, \blur
is
generally more useful as a result. The strength must be an integer number.
Blur edges (Gaussian kernel)
In general, this has the same function as the \be
tag, but
uses a more advanced algorithm that looks better at high strengths. Unlike
\be
, the strength can be non-integer here. Set strength to 0 (zero) to
disable the effect. Be careful, setting strength too high can take a lot of
CPU time to render.
Be aware that this tag blurs the edges of the text, not everything. This
means that if the text has a border (set with \bord
) the
border will be blurred, but if there is no border, the main text will be
blurred instead.
Font name
Set the font face to use for the following text. There should be no space
between \fn
and the font name, and you should not put parentheses or similar
around the font name either.
\fnArial
The text following this tag will be in Arial font.
\fnTimes New Roman
The text following this tag will be in Times New Roman font.
Font size
Set the size of the font. The size specified is the height in script pixels, so at font size 40 one line of text is 40 pixels tall. (Technical note: it's really typographic (desktop publishing) points, not script pixels, but since the rendering is always done at 72 DPI (as per the de facto standard), one point ends up being exactly equal to one script resolution pixel.)
You can only specify integer font sizes.
\fs10
The following text will use a size 10 font.
Font scale
\fscx<scale>
\fscy<scale>
Adjust the size of the text in X (\fscx
or Y (\fscy
) direction. The
scale given is in percent, so 100 means "original size".
This is not the same as setting the font size, as setting the size is subject
to font hinting while scaling the
text modifies the text shape after hinting. As a result, this should always be
used with \t
rather than \fs
, as animating changing font hinting is very
rarely desirable.
These tags also affect vector drawings.
You can use font scaling to correct for anamorphic rendering and to specify text size more precisely than with \fs.
Only integer scales are supported.
\fscx150
Make the text 50% wider than normal.
\fscy50
Make the text half height.
\fscx200\fscy200
Make the text double size.
Letter spacing
Changes the spacing between the individual letters in the text. You can use this to spread the text more out visually. The spacing is given in script resolution pixels.
Spacing can be negative and can have decimals.
Text rotation
\frx<amount>
\fry<amount>
\frz<amount>
\fr<amount>
Rotates the text along the X, Y or Z axis. The \fr
tag is a shortcut for \frz
.
- The X axis runs horizontally on the screen. Rotating on it (with positive values) causes an effect where the top of the text moves farther "into" the screen while the bottom moves "out" of the screen.
- The Y axis runs vertically on the screen. Rotating on it (with positive values) causes the text to rotate so that the left moves "outside" the screen, when the right moves "into" the screen.
- The Z axis runs perpendicular to the screen. Rotating on it (with positive values) causes the text to rotate in 2D, counterclockwise (as standard for degrees).
The rotation amount is given in mathematical degrees, such that 360 degrees is a full rotation, and rotating any multiple of 360 is the same as not rotating. It is legal to specify negative rotation amounts, as well as amounts larger than 360 degrees.
The rotation is performed around the subtitle line origin point, this is described with the \org tag.
These tags also affect vector drawings.
\frx45
Rotate the text 45 degrees on the X axis.
\fry-45
Rotate the text 45 degrees in opposite direction on the Y axis.
\frz180
Rotate the text 180 degrees on the Z axis, making it upside-down.
The following two rotations produce the same result:
\frz-30 \frz330
This is because 330 degrees is 30 degrees less than a full rotation of 360 degrees.
\t(\frz3600)
Perform an animation where the text performs 10 full revolutions on the Z axis. Also see the \t tag.
The following screenshots illustrate the effect of rotating on the different axes:
Text shearing
\fax<factor>
\fay<factor>
Perform a shearing (perspective distortion) transformation of the text. A factor of 0 (zero) means no distortion.
Usually factor will be a small number; values outside the range -2 to 2 are unlikely to have desireable results.
Shearing is performed after rotation, on the rotated coordinates. The coordinate system used for shearing is not affected by the rotation origin.
Font encoding
Set the Windows font encoding used to select the font mapping table used to translate Unicode codepoints to glyph indices in the font. For some fonts without a Unicode mapping table this might be required to get text in certain languages to work. For fonts that do have a Unicode mapping table, it might be used to pick regional variations, such as picking the correct glyph for a Han ideogram that is different in Simplified Chinese, Traditional Chinese, Japanese and Korean.
Some common font encoding IDs are:
- 0 - ANSI, Windows CP-1252 for Western-European languages.
- 1 - Default, depends on the configuration of the user's system, but also allows the font sub-system to dynamically pick a different mapping table in some circumstances.
- 2 - Symbol, codepoints in the 0-255 range are translated to per-font defined symbol glyphs, this is used for fonts such as Wingdings.
- 128 - Shift-JIS, used for Japanese.
- 129 and 130, respectively Hangeul and Johab, two encoding schemes for Korean.
- 134 - GB2312, used for Simplified Chinese.
- 136 - BIG5, used for Traditional Chinese.
- 162 - Turkish.
- 163 - Vietnamese.
- 177 - Hebrew.
- 178 - Arabic.
A more complete list can be seen the style editor dialog box.
In ASS files stored in non-Unicode encodings, this tag also affects what codepage the text following it should be interpreted in. Aegisub doesn't support this use and some renderers might not support it either. It is recommended you do not rely on this and instead always store your files in a Unicode encoding. (Aegisub stores files in Unicode UTF-8 by default.)
Set color
\c&H<bb><gg><rr>&
\1c&H<bb><gg><rr>&
\2c&H<bb><gg><rr>&
\3c&H<bb><gg><rr>&
\4c&H<bb><gg><rr>&
Set the color of the following text. The \c
tag is an abbreviation of \1c
.
\1c
sets the primary fill color.\2c
sets the secondary fill color. This is only used for pre-highlight in standard karaoke.\3c
sets the border color.\4c
sets the shadow color.
The color codes are given in
hexadecimal in Blue Green Red
order. Note that this is the opposite order of HTML color codes. Color codes
must always start with &H
and end with &
.
The Pick Color toolbar buttons can assist in picking colors and entering the color codes.
Set alpha
\alpha&H<aa>
\1a&H<aa>
\2a&H<aa>
\3a&H<aa>
\4a&H<aa>
Set the alpha (transparency) of the text.
\alpha
sets the alpha of all components at once.\1a
sets the primary fill alpha.\2a
sets the secondary fill alpha. This is only used for pre-highlight in standard karaoke.\3a
sets the border alpha.\4a
sets the shadow alpha.
An alpha of 00 (zero) means opaque/fully visible, and an alpha of FF (ie. 255 in decimal) is fully transparent/invisible.
\alpha&H80&
Set the alpha of all components to hexadecimal 80, decimal 128, making the text 50% transparent in general.
\1a&HFF&
Set the primary fill alpha to hexadecimal FF, decimal 255, making it invisible and effectively leaving only the border and shadow.
Line alignment
Specify the alignment of the line. The alignment specifies the position of the line when no position override or movement is in effect, and otherwise specifies the anchor point of positioning and rotation.
The \an
tag uses "numpad" values for the pos, ie. the alignment values
correspond to the positions of the digits on the numeric keypad on a regular
keyboard:
- Bottom left
- Bottom center
- Bottom right
- Middle left
- Middle center
- Middle right
- Top left
- Top center
- Top right
Line alignment (legacy)
Specify the alignment of the line using legacy alignment codes from SubStation
Alpha. This tag is supported but considered deprecated; you should usually use
\an
in new scripts instead, as it is more intuitive.
Calculate pos as follows: Use 1 for left-alignment, 2 for center alignment and 3 for right-alignment. If you want sub-titles you're done. To get top-titles, add 4 to the number, to get mid-titles add 8 to the number:
- 1: Bottom left
- 2: Bottom center
- 3: Bottom right
- 5: Top left
- 6: Top center
- 7: Top right
- 9: Middle left
- 10: Middle center
- 11: Middle right
Karaoke effect
\k<duration>
\K<duration>
\kf<duration>
\ko<duration>
Please note that these tags alone only create some very specific effects and all other effects are created with a combination of multiple different tags.
The \k
family of tags mark up subtitles for karaoke effects by specifying
the duration of each syllable. You place a \k
tag before each syllable in
the line.
The duration is given in centiseconds, ie. a duration of 100 is equivalent
to 1 second. You generally don't enter \k
tags manually but rather use
karaoke timing tools such as Aegisub's karaoke
mode.
The different \k
tags create various effects:
\k
: Before highlight, the syllable is filled with the secondary color and alpha. When the syllable starts, the fill is instantly changed to use primary color and alpha.\K
and\kf
: These two are identical. Note that\K
is an uppercase K and is different from lowercase\k
. The syllable fill starts out secondary color, when the syllable starts, the fill changes from secondary to primary with a sweep from left to right, so the sweep ends when the syllable time is over.\ko
: Similar to\k
, except that before highlight, the border/outline of the syllable is removed, and appears instantly when the syllable starts.
Note: There is an additional karaoke tag, \kt
, which is very different from
the other ones. It is rarely useful and Aegisub does not support that tag, so
it is not documented.
Wrap style
Determine how line breaking is applied to the subtitle line. The following _style_s are available:
- 0: Smart wrapping, make each line approximately equally long, but top line
wider when equal width is impossible. Only
\N
forces line breaks. - 1: End-of-line wrapping, fill as much text in a line as possible, then break
to next line. Only
\N
forces line breaks. - 2: No word wrapping, wide lines will extend beyound the edges of the screen.
Both
\n
and\N
force line breaks. - 3: Smart wrapping, similar to style 0, but bottom lines are made wider.
Reset style
\r<style>
Reset the style. This cancels all style overrides in effect, including animations, for all following text.
The first form that does not specify a style will reset to the style defined for the entire line, while the second form, that specifies the name of a style, will reset the style to that specific style.
-Hey\N{\rAlternate}-Huh?\N{\r}-Who are you?
Assuming the current line style is "Default", this has first "Hey" in the Default style, then follows on next line "Huh?" in the style "Alternate", and on the third line the style is reset to "Default" for the "Who are you?" text.
Set position
Set the position of the line. The X and Y coordinates must be integers and are given in the script resolution coordinate system. The meaning of X and Y changes slightly depending on alignment.
In VSFilter 2.39 and later, you can use non-integer numbers for coordinates, for sub-pixel precision to to one eighth of a pixel. Note that this might not be safe for softsubbing.
The alignment of the subtitle line is used as anchor point for the position.
I.e. when you have a line with alignment top-left, the top-left corner of the
subtitle is placed at the coordinates given to \pos
, and for bottom-center
alignment, the bottom center of the subtitle is placed at the coordinates
given.
The following screenshots illustrate the way alignment affects positioning. The green cross marks the point (320,240) on the video.
Movement
\move(<x1>,<y1>,<x2>,<y2>)
\move(<x1>,<y1>,<x2>,<y2>,<t1>,<t2>)
The \move
tag works similar to \pos
in that it
positions the subtitle line, the difference is that \move
makes the subtitle
move.
The two versions of \move
differ in that one makes the movement occur over
the entire duration of the subtitle, while on the other you specify the time
over which the movement occurs.
The coordinates x1, y1, x2 and y2 are given in the script resolution
coordinate system, like \pos
. The subtitle starts out at point (x1,_y1)
and moves with constant speed so it ends up at (x2,_y2).
Alignment influences movement coordinates the same
way as it influences \pos
coordinates.
In VSFilter 2.39 and later, you can use non-integer numbers for the X and Y coordinates. Note that this might not be safe for softsubbing.
In the second version, the times t1 and t2 are given in milliseconds, ie. one thousandth of a second, and are relative to the start time of the subtitle. For example, a t1 value of 1500 means that the movement begins 1.5 seconds (one and a half second) after the line has appeared on screen. When you specify times for the movement, the position of the subtitle is as follows:
- Before t1, the subtitle is stationary at point (x1,_y1_).
- Between t1 and t2, the subtitle moves with constant speed from (x1,_y1) to (x2,_y2).
- After t2 the subtitle is stationary at point (x2,_y2_).
Note that it is legal to have t1 and t2 specify times greater than the
duration of the line, but it might not be very useful to do so. Specifying
both t1 and t2 as 0 (zero) is the same as using the first version of
\move
, ie. the movement will occur from the start time of the line to the
end time of the line.
There are some things \move
can not do:
- Non-constant-speed movement is not possible. The movement can not, for example, start out slow and end fast.
- There can only be one positioning or movement tag in a line. Putting both a
\pos
and a\move
tag in a line will not work. It will also not work to put two or more\move
tags in a single line.
If you need to do do any of those two you will need to split the movement into segments that are done on separate subtitle lines. (How to do this is outside the scope of this page.)
\move(100,150,300,350)
When the line appears on screen, the subtitle is at (100,150). While the subtitle is displayed, it moves at constant speed such that it will arrive at point (300,350) at the same time it disappears.
\move(100,150,300,350,500,1500)
The line appears at (100,150). After the line has been displayed for half a second (500 milliseconds) it begins moving towards (300,350) such that it will arrive at the point a second and a half (1500 milliseconds) after the line first appeared on screen.
Rotation origin
Set the origin point used for rotation. This affects all rotations of the line. The X and Y coordinates are given in integer script resolution pixels.
When there is no \org
tag in a line, the rotation origin is implicitly the
same as the position anchor point. This means that
the rotation origin will move if the line moves and there is no origin set
with \org
. Note that you can not animate the \org
tag, you are limited
to a fixed origin if you use it.
If the rotation origin is placed on the vanishing point in a 3D scene, 3D rotations of subtitle line will produce the correct perspective to match the scene.
It's perfectly possible (and occasionally useful) to place the origin point far outside the actual image; if it is sufficiently far away, doing appropriately calculated small rotations will seem to move the text along a straight (or almost straight) line through the image. This is somewhat hard to control, but can be used to work around format limitations with \move, such as the inability to do accelerated moves or several moves per line.
There can be at most one \org
tag in a single line, if you put more than one
in a single line, only the first is used.
\org(320,240)
Fix the rotation origin at point (320,240).
\org(10000,0)
Placing the rotation origin at a far away point allows you to use slight
\frz
rotations to produce "jumping" effects; the text will move up or down
without seeming to rotate.
Fade
Produce a fade-in and fade-out effect. The fadein and fadeout times are given in milliseconds, ie. 1000 means one second. You can specify fadein or fadeout as 0 (zero) to not have any fade effect on that end.
Adding a fade effect does not extend the duration of the line, rather the start or end of the line's display time is used for the fade effect. For this reason, you should be careful that fadein+_fadeout_ is not greater than the duration of the line. For example, for a line displayed for 4 seconds, the sum of fadein+_fadeout_ should not be greater than 4000.
\fad(1200,250)
Fade in the line in the first 1.2 seconds it is to be displayed, and fade it out for the last one quarter second it is displayed.
Fade (complex)
Perform a five-part fade using three alpha values a1, a2 and a3 and four times t1, t2, t3 and t4.
The alpha values are given in decimal and are between 0 and 255, with 0
being fully visible and 255 being invisible. The time values are given in
milliseconds after the start of the line. All seven parameters are required.
(For most common fade effects the <a href="./#fade">\fad</a>
tag works fine.)
- Before t1, the line has alpha a1.
- Between t1 and t2 the line fades from alpha a1 to alpha a2.
- Between t2 and t3 the line has alpha a2 constantly.
- Between t3 and t4 the line fades from alpha a2 to alpha a3.
- After t4 the line has alpha a3.
\fade(255,32,224,0,500,2000,2200)
Starts invisible, fades to almost totally opaque, then fades to almost totally invisible. First fade starts when the line starts and lasts 500 milliseconds. Second fade starts 1500 milliseconds later, and lasts 200 milliseconds.
Animated transform
\t(<style modifiers>)
\t(<accel>,<style modifiers>)
\t(<t1>,<t2>,<style modifiers>)
\t(<t1>,<t2>,<accel>,<style modifiers>)
Perform a gradual, animated transformation from one style to another. The
style modifiers are other override tags as specified in this reference. Only
a limited set of the override tags are animateable with \t
:
| Font | Geometry | Other effects |
|---|---|---|
| \fs \fsp \c \1c \2c \3c \4c \alpha \1a \2a \3a \4a |
\fscx \fscy \frx \fry \frz \fr \fax \fay |
\bord \xbord \ybord \shad \xshad \yshad \clip \iclip \be \blur |
Note: For \clip
and \iclip
, only the rectangle versions can be animated. The
vector drawing versions cannot be animated.
Note: Mixing \clip
and \iclip
in \t
tags has undesireable results.
The t1 and t2 parameters specify the time interval to perform the
transformation over. In the versions without t1 and t2 the transformation
is performed over the entire duration of the line. The times are given in
milliseconds and are relative to the start time of the line. (For the rest of
the description of \t
, t1 and t2 are assumed to be specified, or
implicitly be respectively 0 and the duration of the line.)
The accel parameter can be used to make the animation non-linear and instead follow an exponential curve. An accel parameter of 1 (one) causes the animation speed to be linear. A value bewteen 0 and 1 causes the animation to start fast and end slow. A value greater than 1 causes the animation to start slow and end fast. (For the mathematically inclined, the function is y = x with x ∈ [0;1] = (t-_t1)/(t2-_t1), t being the current time.)
Before t1, the style is as all tags before the \t
tag specify. After t2
the style is as all tags before the \t
tag, and further overridden by the
given style overrides. Between t1 and t2 the style is gradually animated
between those two points, following the acceleration function described above.
{\1c&HFF0000&\t(\1c&H0000FF&)}Hello!
The text starts out blue, but fades towards red so it is completely red when the line ends.
{\an5\t(0,5000,\frz3600)}Wheee
Makes the text rotate 10 times, counterclockwise, lasting for 5 seconds.
{\an5\t(0,5000,0.5,\frz3600)}Wheee
Same as above, but it will start fast and slow down, still doing the 10 rotations in 5 seconds.
{\an5\fscx0\fscy0\t(0,500,\fscx100\fscy100)}Boo!
Text starts at zero size, i.e. invisible, then grows to 100% size in both X and Y direction.
Clip (rectangle)
\clip(<x1>,<y1>,<x2>,<y2>)
\iclip(<x1>,<y1>,<x2>,<y2>)
Define a rectangle to clip the line, only the part of the line that is inside
the rectangle is visible. The \iclip
tag has the opposite effect, it defines
a rectangle where the line is not shown.
The x1, y1, x2 and y2 coordinates are given in script resolution pixels and are relative to the top-left corner of the video. The coordinates must be integers, there is no possibility to use non-integer coordinates. (Increasing the script resolution will not increase the precision, the clipping always happens on video pixel boundaries.)
\clip(0,0,320,240)
Assuming 640x480 script resolution, only the part of the line within the top left quadrant is visible.
\iclip(0,0,320,240)
Similar to above, but instead the part of the line within the top left quadrant is hidden.
Example of \clip(0,0,704,245)
on a 704x480 video:
Clip (vector drawing)
\clip(<drawing commands>)
\clip(<scale>,<drawing commands>)
\iclip(<drawing commands>)
\iclip(<scale>,<drawing commands>)
Use the shape defined by a vector drawing to selectively display (\clip
) or
hide (\iclip
) parts of the line.
The drawing commands are drawing commands as those used with the \p
tag,
the coordinates are given in script resolution pixels and are relative to the
top left corner of the video.
If the scale is not specified it is assumed to be 1 (one), meaning that
coordinates correspond directly to pixels. The scale works the same way as
the scale for \p
drawings.
Unlike the rectangular clip, the vector drawing clip can not be animated
with \t
. If you need to animate a vector drawing clip, you must create
multiple similar subtitle lines with each their own "frame" of the clipping
animation.
\clip(1,m 50 0 b 100 0 100 100 50 100 b 0 100 0 0 50 0)
Only show the portion of the line within the defined pseudo-circle.
Drawing tags
Advanced Substation Alpha also supports some advanced drawing tags that allow you to draw with vectorial graphics. Certain familiarity with vectors and splines will make the understanding of this much simpler.
\p<0/1/..> - Toggle drawing mode
Setting this tag to 1 or above enables drawing mode. Text after this override block will then be interpreted as drawing instructions, and not as actually visible text. Setting this to zero disables drawing mode, restoring normal behavior. When turning on, the value might be any integer larger than zero, and will be interpreted as the scale, in 2^(value-1) mode. This is done to allow sub-pixel accuracy. e.g.: \p1 (Enables drawing with normal coordinates) \p0 (Disables drawing) \p2 (Enables drawing, and resolution is doubled. So drawing to 200,200 will actually draw to 100,100) \p4 (Enables drawing, and resolution is 8x larger (2^(4-1)). So drawing to 400,400 will actually draw to 50,50)
\pbo - Baseline offset
Defines baseline offset for drawing. This is basically an Y offset to all coordinates. e.g.: \pbo-50 (Draws everything 50 pixels above specified) \pbo100 (Draws everything 100 pixels below specified)
Drawing commands
These commands should appear either in a \clip tag (vectorial overload) or between \p# and \p0, outside override blocks. For example (taken straight from the ASS specs):
- Square:
{\p1}m 0 0 l 100 0 100 100 0 100{\p0}
- Rounded square:
{\p1}m 0 0 s 100 0 100 100 0 100 c{\p0}
(c equals to "p 0 0 100 0 100 100" in this case)
- Circle (almost):
{\p1}m 50 0 b 100 0 100 100 50 100 b 0 100 0 0 50 0{\p0}
(note that the 2nd 'b' is optional here)
Drawing commands use the primary color for fill and outline color for borders. They also display shadow. The idea of drawing vectors is that there is an invisible "cursor" (think of it as the mouse pointer in a drawing program, or as a pen moving through the image) on the video frame, and you tell it to move to other positions. As it moves, it draws on the area behind it, and when you close the line formed, it fills it with the primary color.
m - Move
Moves the cursor to x,y. If you have an unclosed shape, it will automatically be closed, as the program assumes that you are now drawing a new, independent shape. All drawing routines must start with this command.
n - Move (no closing)
Moves the cursor to x,y, without closing the current shape.
l - Line
Draws a line from the current cursor position to x,y, and moves the cursor there afterwards.
b - Cubic Bézier curve
Draws a cubic (3rd degree) Bézier curve from the cursor position to (x3,y3),
using (x1,y1) and (x2,y2) as the control points. Check the article on
Wikipedia for more
information about Bézier curves. In this picture taken from that article, P0
is the cursor position, P1 is x1,y1, P2 is x2,y2 and P3 is x3,y3:
Note that the curve begins at P0, heads towards P1, then arrives at P3 coming
from P2's direction.
s .. - Cubic b-spline
Draws a cubic (3rd degree) uniform b-spline to point N. This must contain at least 3 coordinates (and is, in that case, the same as b). This basically lets you chain several cubic Bézier curves together. Check this other article on Wikipedia for more information.
p - Extend b-spline
Extends the b-spline to x,y. This is essentially the same as adding another pair of coordinates at the end of s.
c - Close b-spline
Closes the b-spline.
Note: The vector clip visual typesetting tool only supports the m, l and b commands, and may corrupt drawings which use the other commands.


Class EasyPilot. Main class of the program.
More...
#include <EasyPilot.h>
|
| static void | computePrefix (const string &pattern, int prefix[]) |
| | Computes the prefix of the given pattern. More...
|
| |
| static int | exactMatch (const string &text, const string &pattern) |
| | Uses the KMP algorithm to find an exact match. More...
|
| |
| static unsigned int | editDistance (const string &pattern, const string &text) |
| | Gets the edit distance between pattern and text. More...
|
| |
Class EasyPilot. Main class of the program.
| EasyPilot::EasyPilot |
( |
unsigned int |
windowWidth, |
|
|
unsigned int |
windowHeight |
|
) |
| |
EasyPilot constructor.
< Image height
- Parameters
-
| windowWidth | Graphical interface window width |
| windowHeight | Graphical interface window height |
| void EasyPilot::computePrefix |
( |
const string & |
pattern, |
|
|
int |
prefix[] |
|
) |
| |
|
static |
Computes the prefix of the given pattern.
- Parameters
-
| pattern | Pattern to compute the prefix |
| prefix | Prefix |
| unsigned int EasyPilot::editDistance |
( |
const string & |
pattern, |
|
|
const string & |
text |
|
) |
| |
|
static |
Gets the edit distance between pattern and text.
- Parameters
-
| pattern | Pattern to search for |
| text | Text to search in |
- Returns
- Returns the edit distance
| int EasyPilot::exactMatch |
( |
const string & |
text, |
|
|
const string & |
pattern |
|
) |
| |
|
static |
Uses the KMP algorithm to find an exact match.
- Parameters
-
| text | Text to search in |
| pattern | Pattern to search for |
The documentation for this class was generated from the following files:


Change By Degrees
Tips on making small changes that to lead to a big difference.
Tips on making small changes that to lead to a big difference.
12 Tipps für nachhaltigen Konsum mit wenig Geld.
Tips on living using less plastic for a better life for all.
10 Tipps für mehr Nachhaltigkeit
Green eco tips for zero waste sustainable living.
Strom sparen leicht gemacht: Die 25 besten Stromspartipps
#ClimateStrike für #ClimateJustice immer freitags 10-12noon @ Bundestag.
#ClimateStrike für #ClimateJustice immer freitags @Invalidenpark.
MACH BEI DER REBELLION MIT!
Plastisphere Podcast on plastic, people and the planet.
atmosfair - effektiver Klimaschutz durch CO₂-Kompensation.
Liberation Berlin is a non-hierarchical vegan activist group working to abolish the exploitation of humans, animals and the planet.
We make Youth Leadership part of everyday life.
We suggest ways you can reduce your carbon footprint and take action.
We promote the use of wind propulsion in commercial shipping to reduce fuel consumption and decrease climate change related emissions.
We work on the vision of "100 percent renewable power" to make sure it becomes a reality in Germany soon.


The Great Debate
The most heated debate in world football today, is who do you think is better. Messi or Ronaldo? There can only be one. I've said multiple times, they are both great, and they bring different things to their respective teams. Why can't we appreciate them both? That opinion gets no respect, and often ridiculed, so I decided to look into their performances this year for their clubs.
Ronaldo pushed for his transfer out of Madrid, and we can now see what he brought to that team, as they have had a sub-par year on all fronts. People assumed Juventus bought Ronaldo was like buying Champions League success, and getting knocked out of the Champions League by Ajax this past week, was a referendum on the transfer, misses the point of how well he has played this season. One thing we can say about Ronaldo, is that he has now proved himself in the three biggest leagues out there, while Messi has been coddled at Barcelona, and doesn't strive to succeed elsewhere, including for the big occasion for Argentina.
When comparing him to Messi, you may think he is under-performing this year, but just look at his comparison compared to the other forwards in Serie A, and you can truly appreciate what he is doing, in what is considered a tougher defensive and more tactically astute league.
Final Say
I think we can say that Messi is a step above this year, and has clearly bounced back after what was considered a severly dissapointing World Cup for Argentina. He leads all of the leagues with 32 goals this season, and his Assists, Dribbles/game and Key Passes/game are all at elite levels across the continent. We can also point to the performance of Barcelona, and as they progress to the Champions League semi-final and Barcelona are well on their way to claiming La Liga with little suspense.
You can always count on the Italians for Drama. Piatek is challenging Ronaldo and Fabio Quagliarella for most goals in Serie A at this point of the season. If we had aggregated his stats for both Genoa and Milan the chart would reflect that, but you can tell by the rest of his per game stats, he doesn't stack up to the quality that Ronaldo has showed. Still Piatek's impressive return of 13 goals in 19 games in his first season after his transfer from the Polish league, earned him a mid-season transfer to AC Milan. Fabi "Wondergoal" Quagliarella, who at 36, is seeing quite a resurgance, and is the stand out attacking performer of the Italian league along with Ronaldo. Meanwhile, Icardi of Inter, has been a mainstay atop the Italian goal-scoring charts for some time now, started the season well, and has since refused to play for Inter Milan, and we are expecting a transfer out at the end of the season. O the Drama!
Comments
David Jones
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Omar Larus
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Walker Jen
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Follow these steps to install Anaconda on your Mac with an Intel chip:
- Download the latest 64-bit Graphical Installer for macOS.
- Click Continue on the Introduction, Read Me, and License pages.
- Agree to the license by clicking Agree.
- Click Install on the Installation Type page to install to start the installation.
- After the installation has finished, click Continue on the PyCharm IDE page and Close on the Summary page to close the installer.


Table of Contents #
The best way to start is to read through the specification documents. Next, introduce yourself on our Slack Channel. Finally, review the GitHub Issues for the respective repository to look for a task you can take on. The P2P VPS code is split up into the primary areas of the P2P VPS system:
To get code accepted into the repository, you need to fork the repository and submit a Pull Request (PR) with your code changes. Here is a rough step-by-step process on how to get started contributing to this project:
- Fork this repository to your own account
- Make any code changes that you'd like to see added to this repository.
- Submit a Pull Request (PR) and link the PR to your forked repository.
- An administrator of this project will review your Pull Request for acceptance into the main branch of the repository, or send you a note of additional changes that need to be made.


Object | +--Xml
| SUMMARY: Constructor | Properties | Methods | DETAIL: Constructor | Properties | Methods |
| Methods Summary | |
HopObject
|
get(<String> urlString)
Retrieves an XML document from a given URL and transforms it into a HopObject. |
HopObject
|
getFromString(<String> xmlString)
Parses the string argument as XML and transforms it into a HopObject. |
HopObject
|
read()
Reads an XML tree from file and transforms it into a HopObject. |
HopObject
|
readFromString()
Reads an XML tree from a string and transforms it into a HopObject. |
void
|
write()
Dumps a HopObject as XML tree to a file. |
String
|
writeToString()
Stores a HopObject as XML tree in a string. |
| Method Detail |
HopObject get(<String> urlString)
Xml.get(urlString) Xml.get(urlString, filenameString)
var obj = Xml.get("http://localhost:8080/antville/rss10"); for (var i in obj) res.writeln(i + ": " + obj[i]); xmlns_sy: http://purl.org/rss/1.0/modules/syndication/ xmlns_dc: http://purl.org/dc/elements/1.1/ item: HopObject item channel: HopObject channel xmlns: http://purl.org/rss/1.0/ xmlns_rdf: http://www.w3.org/1999/02/22-rdf-syntax-ns#
urlString
- as String, containing the URL to fetch the XML from
HopObject getFromString(<String> xmlString)
Xml.getFromString(xmlString) Xml.getFromString(xmlString, filenameString)
var obj = Xml.getFromString("hello world"); for (var i in obj) res.writeln(i + ": " + obj[i]); b: HopObject b text: hello
xmlString
- as String in XML format
HopObject read()
Xml.read(filenameString) Xml.read(filenameString, HopObject)
var obj = Xml.read("/tmp/dump.xml"); res.write(obj); HopObject message
String
-
HopObject readFromString()
Xml.readFromString(String) Xml.readFromString(String, HopObject)
var f = new File("/tmp/dump.xml"); var obj = Xml.readFromString(f.readAll()); res.write(obj); HopObject message
String
-
void write()
Xml.write(HopObject, filenameString)
var obj = new message(); obj.title = "The Message"; obj.text = "Don't push me 'cause I'm close to the edge."; root.add(obj); Xml.write(obj, "/tmp/dump.xml"); File /tmp/dump.xml: <?xml version="1.0"?>   <xmlroot xmlns:hop="http://www.helma.org/docs/ guide/features/database"> <hopobject id="8" name="message" prototype="message" created="1026487524440" lastModified="1026487524440"> <hop:parent idref="0" prototyperef="root"/> <title>The Message</title> <text>Don't push me 'cause I'm close to the edge.</text> </hopobject> </xmlroot><
HopObject
- and file name as string
String writeToString()
Xml.writeToString(HopObject)
var str = Xml.writeToString(this.get(0)); res.write(str); <?xml version="1.0"?>   <xmlroot xmlns:hop="http://www.helma.org/docs/ guide/features/database"> <hopobject id="8" name="message" prototype="message" created="1026487524440" lastModified="1026487524440"> <hop:parent idref="0" prototyperef="root"/> <title>The Message</title> <text>Don't push me 'cause I'm close to the edge.</text> </hopobject> </xmlroot>
HopObject
-
| SUMMARY: Constructor | Properties | Methods | DETAIL: Constructor | Properties | Methods |


mongoc_init()
Synopsis
void mongoc_init (void);
Description
This function should be called at the beginning of every program using the MongoDB C driver. It is responsible for initializing global state such as process counters, SSL, and threading primatives.
When your process has completed, you should also call mongoc_cleanup.


Hi all,
I have an arduino uno with a emonTX shield purchased recently, along with a AC-AC adapter (77DE-06-09) with a euro plug.
I'm using the standard sketch from here:
https://github.com/openenergymonitor/emonTxFirmware/tree/master/emonTxSh...
However, I'm getting readings around 275-285 V on the mains voltage... This seems much too high... I also checked with a standard energy meter that plugs into the power outlet, this showed 230 V (as would be expected).
I didn't change the calibration factors yet -- just seems strange the measurement is so far off, when I got the AC-AC adapter from the shop ?
The calibration factor in the sketch is 300.6 as shown in this code line
if (CT1) ct1.voltage(0, 300.6, 1.7); // ct.voltageTX(ADC input, calibration, phase_shift).
However, the calibration page only makes reference to the factors 220.0 and 260.0, if I read the page correctly. (http://openenergymonitor.org/emon/buildingblocks/calibration).
Can someone confirm the 300.6 figure for the emonTX shield?
Since I have the energymeter I can adjust my calibration figure to make the output correct. Shall I just do that, or should I be concerned something else is wrong?
Attached picture of setup (the arduino was powered by a USB-PC cable). The green cable is to set the DS18B20 to dig4 on the uno, by the way...
Many thanks for your kind input
Lasse
ps: additional question popped up: when I power the arduino from an external power supply (not the PC), I can't get my sketch to run before I hit the "reset" button on the arduino... When powering from the PC this is done upon uploading the sketch and when hitting the "serial monitor" command...
However, when the emonTX shield is on top of of the UNO, its not easy to actually reach the RESET button on the UNO PCB since its underneath the shield... Am I doing something wrong - should the sketch start without hitting reset? I tried adding a 3s delay in the setup(), read somewhere that that may be a good idea so the RFM12B would have time to startup... But still the sketch doesn't start unless I physically hit the RESET button.
The power adapter should be fine: 9V and >500mA (650mA I think),
--------------------
delay(3000);
rf12_set_cs(5); //set RFM SS pin 5, according to option 2 http://wiki.openenergymonitor.org/index.php?title=EmonTx_Arduino_Shield
rf12_initialize(nodeID, RF_freq, networkGroup); // initialize RFM12B
rf12_sleep(RF12_SLEEP);
Re: Too high voltage measurement compared to mains voltage (uno + emonTX Shield)
Don't think the picture uploaded - trying again.
Re: Too high voltage measurement compared to mains voltage (uno + emonTX Shield)
hmmm file upload is not really working for me.
Anyway, I'll upload it to the web in stead.
Picture is here: http://www.lassetobiasen.dk/images/2014-10-23_uno%20setup.jpg
Sketch is here: http://www.lassetobiasen.dk/images/Shield_CT1234_Voltage_Temp_LST.ino
Re: Too high voltage measurement compared to mains voltage (uno + emonTX Shield)
If you look at the circuit diagram on Solderpad, the voltage divider is 120 kΩ and 10 kΩ, so plugging those numbers into the formula
voltage constant = 230 × 13 ÷ 11.5 = 260
("13" is the inverse of the voltage divider ratio, "11.5" is the Euro adapter output voltage from the data sheet for 230 V in). There are component tolerances of course, 5% on the adapter voltage and 1% on each resistor, so if those have all gone the wrong way you might well see a very high voltage. The purpose of calibration is to correct for those. I suggest you start with a calibration constant of 260, and adjust it so that you get the same voltage as your energy meter (but check its claimed accuracy first).
(I suspect the example sketch hasn't been corrected for the newer adapters and the changed divider ratio, it was 11 on the earlier shield.)
Sorry I can't help with the reset problem.
Re: Too high voltage measurement compared to mains voltage (uno + emonTX Shield)
The coefficients for the Shield are in the table - now! I don't quite know why they were missed off. They are the same as the emonTx V3, as the divider ratio is the same for both.
Re: Too high voltage measurement compared to mains voltage (uno + emonTX Shield)
In the case where it doesn't run without a manual reset, does the Uno's LED flash briefly, or does the LED remain completely dark?
If the LED flashes and then goes off, that suggests it's coming out reset ok and probably jumping to the system image ok. Most bootloaders turn the LED off just before they jump to the system image. You could then add some code right at the beginning of setup() to turn the LED on, and see if that runs. Check the Blink example if you're unsure of how to do that, but basically you need to make pin 13 an output and set it high. Assuming that works, i.e. you've now got a hung system with the LED on, then move that LED-on code further south until it doesn't come on, and you'll be able to narrow down where it's hanging.
If the LED remains completely dark then that suggests not even the bootloader is able to run, which would suggest a voltage issue, but given it "recovers" with a manual press of the RESET button that seems unlikely. The BOD is pretty good at bringing the CPU out of reset after the voltage has stabilised, so my money is on a firmware hang.
Re: Too high voltage measurement compared to mains voltage (uno + emonTX Shield)
@ Robert:
Thank you for your reply, that makes more sense. As you may remember I was getting watt readings slightly too high (+20%) but this was due to the voltage having an incorrect calibration figure. So this all seems to come together.
@dBC:
The UNO POWER LED goes green, and remains green (I don't think the other LEDs on the uno flash though). And the emonTX shield red LED doesn't flash at all -- I have it set for 2 seconds on in my sketch, this doesn't happen unless I hit the manual reset on the UNO (kind of fiddly with the shield in the way!)
I am away on business for a few days (Ahh France) but I'll take your advice on moving some LED-on code around to see where it hangs!
Previously I have had some mishaps due to my own bad soldering, hopefully this is not again an issue ;-)
Thanks both for replying!
Kind regards,
Lasse


George was only 7 years old when he wrote code for the first time. He was just playing on his mom's laptop while spending the day at his grandmother's house. He was always so fascinated by video games that mirrored the real world, even if the world he was playing in was fictional.


{% load socialregistration_tags %}
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{% else %} {% if claim_account %} To use your existing account, please enter its credentials below: {% else %} Please choose a username for your account. You can optionally provide an email address. {% endif %} {% endif %}


Thursday — November 12, 2020
by Ashley Dudarenok
4 hours ago
8
by Ashley Dudarenok
4 hours ago
8
by Ashley Dudarenok
4 hours ago
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Cloud engineers are making close to $150K a year, here's how you can train to become one
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SEED FOUND
Fitness
David Giampaolo, +4
Venture Catalysts’ 9Unicorns bets on Oga Fit in pre-Series A investment on VCCircle
UNDISCLOSED
Messaging
Compass Venture Capital, +2
FinChatBot, SA fintech startup, raises $1.6m for Europe, West Africa expansion
SERIES A
Finance, +3
Global Brain, +7
Railsbank, the Banking-as-a-Service, raises $37M in growth funding
SERIES B
Open Source, +3
Sequoia Capital, +2
Fishtown Analytics raises $29.5M Series B for its data engineering platform
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
Warren Buffett might've just sold $5B worth of Apple stock
The Complete Become A Product Manager Certification Bundle
$2032 $39
The Complete Become A Product Manager Certification Bundle
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The Complete Become A Product Manager Certification Bundle
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The Complete Become A Product Manager Certification Bundle
$2032 $39
The Complete Become A Product Manager Certification Bundle
$2032 $39
The Complete Become A Product Manager Certification Bundle
$2032 $39
The Complete Become A Product Manager Certification Bundle
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The Complete Become A Product Manager Certification Bundle
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You wake up, dazed and confused. Everything was just a blur and you’re still coming to grips with reality. Dr.  As you regain your strength after gaining consciousness you look your apartment, or at least what used to be your apartment. Everything is just ruined. You check the time.
Jordan: “Already half past 1. How long have I been out…?”
At that moment you remembered what Albert has done to you. The vest-like device strapped to your chest was making a high-pitched whining noise as its blue light coming from the centerpiece gave off a distinct warmth that contrasted with the device’s cold metal plating. You feel sick and vomiting seems very possible at the moment.
But, that is something you’ll need to put in the back of your head for now. You need to find Susan. What do you do?
Panicking won’t solve anything, you know that. Now is the time to come up with a carefully thought out plan and calling for backup might be your best option. You notice a note on the refrigerator; the number of your partner, Detective Charlie Danton.  But will he be enough? The police might be a better option.
You hurry for the holophone in what is now a poor excuse for an apartment after Albert and his goons were through with it. The holographic screen comes up and you punch the numbers into the number pad. The ringing increases your anxiety as the phone rings through an entire cycle and Charlie’s automated voicemail plays. You call again.
Jordan: “Pick up, dammit…”
*Click*
Charlie: “Jordan? Do you have any idea what time it is?”
Jordan: “Please Charlie! My baby, they’ve taken her.”
Charlie: “Woah woah, slow down and take it easy. What’s happening?”
Jordan: “Albert. Dr. Franklin Albert is out of jail. He came into my apartment with some thugs, kidnapped Susan, and put this thing on me. Some type of time device or something…”
Charlie: “Shit… Alright, don’t worry. I’ll be over in a bit.””
Jordan: “No, I’ll be able to handle this. I just need you to tell me where I might be able to find Albert. There might still be some useful information at the Albert Industries lab that your team raided that night. Do you know where it is?”
Charlie: “Yeah, it’s over on the western side of town. I can send you the address, but Jordan, you’re gonna need some help on this one. Let me come with you.”
You know that this is dangerous and the fact that having Charlie onboard could not only put him in harm’s way, but also potentially endanger Susan’s life if Albert caught wind that you were receiving help. However, this might be your best bet to saving her life.
Jordan: “Okay, I accept. I’ll meet you at the lab in 30 min.”
Lights and other vehicles seem to race by as you speed your way through Downtown to get to the lab. Hopefully Susan is safe and that deranged man hasn’t done anything to harm her.
You arrive at the exterior of a broken down lab. The building has an electronic Police Tape barrier around it, keeping all those without proper clearance out of the building. Charlie is already at the entrance, smoking a cigarette and looking off down the street until he notices you.
Charlie: “Hey, there you are. Let’s hurry up and get inside. I’m sure there’ll be something at least somewhat useful in here.”
Charlie pulls out his Badge, clearing him from the Police Tape.
Jordan: “You have clearance for this building?”
Charlie: “I was just put on this case again. The department wants to know why Albert Industries were performing the experiments and who exactly was behind them in addition to gathering any research material that we can find. Don’t know why the sudden interest after so long.”
You walk into the building and find the map of the lab facility on a wall that serves as a directory. There is a lab on the 4th floor that reads “Temporal Research and Development”.
Jordan: “Are we headed for the 4th floor then? The time lab is up there.”
Charlie: “No, there’s useful information about time travel in that lab, but not what we’re looking for. The basement is our best bet. That’s where the human experiments took place."
Jordan: “That’d make sense, but how do we get down there? Doesn’t seem like there’s a basement level on the map, so the elevator probably won’t go down there.”
Charlie begins to walk towards the elevator. The door is slightly open and he is able to push them apart easily. Charlie pokes open a hatch that is on the ceiling of the elevator and climbs through.
Charlie: *yelling* “Well, are you coming?”
You walk into the elevator and climb through the hatch. The elevator shaft is much larger than you expected. You turn around to see Charlie descending a ladder into the darkness.
Charlie: “Watch your step.”
Jordan: “How deep is this shaft…?”
Charlie: “Let’s just say dropping down wouldn’t be too good for your health. Come on.”
The two of you climb down the shaft and eventually get to the bottom, where a wide open elevator door leads you into Albert Industries Human Experimentation division did their work on time devices.
Jordan: “Charlie, let’s not waste time. Let’s start looking.”
The two of you fan out and look for something that might help you out. You decide to look for Joseph Albert’s office. The head researcher and son of Albert must have information that could help with your search. You find his office in shambles, with papers and other assorted documents scattered along the ground and an older model Holodesk computer console on his desk. You take a seat in his chair and roll up to the desk.
Jordan: “Pretty old-fashioned, keeping all of these papers and files. And this computer doesn’t seem to have worked in ages…”
It seems as though the only information you’ll be getting is out of one of these papers. You pull away from the desk, but then you notice something you brushed up against. You look under to find a drawer with a broken lock. Inside was a schematic on a device that looks similar to the one you are wearing. Much of the functionality is similar to what Albert had told you before. You notice that on the back of the device there is a small square hole close to the bottom right of the device. You continue reading: “Device strapped to wearer and secured to ensure device is not lose during time travel. KEY WILL BE PROVIDED TO HANDLER. If wearer is captured and/or killed, they will be brought back to the point of activation.”
Jordan: “This thing… It seems to be a weapon. Were they going to sell this?”
But at least you found some useful information. The device you have will stay on until you find its key, which is most likely with Albert. To get this thing off of you and save Susan, you’ll have to find him.
Suddenly, you hear a noise. Sounds like voices and they aren’t coming from Charlie.
Charlie: *whispers* “Jordan, we have to go! Did you find anything?”
Jordan: “Nothing about where Albert might be. I need more time.”
Charlie: “I have no idea who these guys are and they don’t sound like anyone from the department. We might be in some serious trouble if we don’t leave.”
You look down at your standard issue handgun. You have enough ammo to take them out but will it be worth risking your life just for the extra information?
You can override background transitions per-slide.
<section data-background-transition="zoom">
function linkify( selector ) {
if( supports3DTransforms ) {
var nodes = document.querySelectorAll( selector );
for( var i = 0, len = nodes.length; i < len; i++ ) {
var node = nodes[i];
if( !node.className ) {
node.className += ' roll';
}
}
}
}
Code syntax highlighting courtesy of highlight.js.
| Item | Value | Quantity |
|---|---|---|
| Apples | $1 | 7 |
| Lemonade | $2 | 18 |
| Bread | $3 | 2 |
These guys come in two forms, inline:
“The nice thing about standards is that there are so many to choose from”
and block:
“For years there has been a theory that millions of monkeys typing at random on millions of typewriters would reproduce the entire works of Shakespeare. The Internet has proven this theory to be untrue.”
You can link between slides internally, like this.
There's a speaker view. It includes a timer, preview of the upcoming slide as well as your speaker notes.
Press the S key to try it out.
Presentations can be exported to PDF, here's an example:
Set data-state="something"
on a slide and "something"
will be added as a class to the document element when the slide is open.
Additionally custom events can be triggered on a per slide basis by binding to the data-state
name.
Reveal.addEventListener( 'customevent', function() {
console.log( '"customevent" has fired' );
} );
Press B or . on your keyboard to pause the presentation. This is helpful when you're on stage and want to take distracting slides off the screen.


Unbeatable Tic Tac Toe!
X
O
{{gameboard[0]}}
{{gameboard[1]}}
{{gameboard[2]}}
{{gameboard[3]}}
{{gameboard[4]}}
{{gameboard[5]}}
{{gameboard[6]}}
{{gameboard[7]}}
{{gameboard[8]}}


This is a random paragraph used for testing purposes. Using jQuery now! Yay!
So this is the second paragraph. Created to help learn jQuery.


Bootstrap navbar
You would need to modify a few header and page styles to use the Bootstrap navbar component. The styles are currently configured for a custom navbar component.
You would need to modify a few header and page styles to use the Bootstrap navbar component. The styles are currently configured for a custom navbar component.


This application is currently only supported by
Chrome
DOWNLOAD
Chromium
DOWNLOAD
Opera
DOWNLOAD
Firefox Nightly
DOWNLOAD
We are hoping that multistream support for Firefox would not be long so that we could all use this application with our favorite browser.


Torquay United get a home draw in the opening round of the FA Trophy
It will give United, losing finalists in the 2008 Trophy Final, an attractive pre-Christmas and holiday programme
by Guy HendersonORQUAY United have a home draw in the First Round of the Buildbase FA Trophy - against old league and cup rivals Aldershot Town.
The Gulls and the Shots will meet at Plainmoor on Saturday, December 14.
It will give United, losing finalists in the 2008 Trophy Final, an attractive pre-Christmas and holiday programme - home to Aldershot on the 14th, and then to Chesterfield (Dec 21) before the Boxing Day/New Year's Day double-header against Yeovil Town away and home, split by Woking at Plainmoor on December 28.
Gary Johnson's Gulls have already beaten Aldershot once this season, 2-0 at Plainmoor in the National League in August, and they will collect £4,500 in prizemoney if they can overcome them again next month.
The Shots are currently 18th in the NL table.
Torquah-v-Aldershot was one of only two all-National League ties in Monday's draw - the other will see Sutton United host Dagenham & Redbridge.
But there will be three NL clashes in the Northern Section.
Top of the bill is the meeting of Chesterfield and Notts County at the Proact Stadium, but Harrogate Town also entertain Hartlepool United and FC Halifax Town are at home to Wrexham.
Holders AFC Fylde play Curzon Ashton at Mill Farm.


http://www.susangranger.com/
Susan Granger's review of "SUNSHINE" (Paramount Classics)
Hungarian director Istvan Szabos' epic, three-hour saga chronicles the rise and fall of three tumultuous generations of a troubled Hungarian Jewish family. Their name is Sonnenschein, which means sunshine in German; the title also refers to a delicious herbal tonic that the family brews. Ralph Fiennes plays three roles: the patriarch, Ignatz Sonnenschein, who marries his cousin and begins the process of assimilation by changing the family name to Sors; his son, Adam, who converts to Roman Catholicism, primarily to get into Budapest's best fencing club, and becomes an Anti-Semitic snob, slashing his way to Olympics victory; and Adam's son, cynical Ivan Sors, who joins the Communist secret police after W.W.II. The sweeping story by Israel Horovitz begins in 1840 and extends through the fall of Communism, encompassing more than 100 years - like Bertolucci's "1900" and Visconti's "Leopard." Its theme is how all governments - Monarchy, Fascism or Communism - are corrupt, and how the choices we make - for better or worse - determine our future. In a unique casting twist, Jennifer Ehle plays Valerie, the woman whom Ignatz loves, and, as she ages, Ms. Ehle's real-life mother, acclaimed actress Rosemary Harris, continues the same character about whom a grandson says, "She was the only one of us who had the gift of breathing freely." Recently, mother and daughter were both Best Actress Tony-Award competitors; Ms. Ehle won for "The Real Thing." On the Granger Movie Gauge of to 10, "Sunshine" is a thoughtful, ambitious, elegant 8 - but, because of its length, it's better suited as a three-part TV miniseries on an adult-oriented channel that could accommodate the graphic brutality of one torture scene in a concentration camp, along with the sexual content and nudity.
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


DART security alert system receiving dozens of passenger texts each month
by Stephen McNeiceFireworks being set off on-board, passengers drinking and taking drugs and people urinating on platforms are some of the alerts sent to DART security staff.
145 texts were sent over a three-month period after the monitored alert system was introduced in August.
More than a third of passengers complained about anti-social behaviour involving groups of teenagers, the Irish Times reports.
Barry Kenny from Irish Rail said 'large groups being intimidating' remains one of the biggest concerns for DART users, and that has been reflected in the text alerts.
He explained: "It isn't a situation where there's a violent situation, but nonetheless... we recognise how intimidating that can be.
"We're ensuring that our security personnel are addressing these issues as they're reported."
Mr Kenny said there are often situations when an alert is sent, but the passengers involved would get off the train shortly after.
However, he stressed that the company is ready to deploy security teams 'immediately' when needed.
He added that they're hoping to expand the alert system to Commuter train services in early 2020.
Anyone who sees something that concerns them on a DART or is the victim of an incident can text TRAIN to 51444.
The text alerts the DART security centre and allows them to dispatch roving security teams - or, where appropriate, alert gardaí.


|
MRSL DecompUtil Library
0.0
An implementaion of convex decomposition over point cloud
|
Line Segment Class. More...
#include <line_segment.h>
Public Member Functions | |
| LineSegment () | |
| Simple constructor. | |
| LineSegment (const Vec3f &p1, const Vec3f &p2) | |
| Basic constructor. More... | |
| void | set_virtual_dim (decimal_t x, decimal_t y, decimal_t z) |
| Adding virtual bounding box around line seg. More... | |
| void | set_obstacles (const vec_Vec3f &obs) |
| Import obstacle points. | |
| vec_Vec3f | obs () const |
| Retieve obstacel points. | |
| Ellipsoid | ellipsoid () const |
| Retrieve ellipsoid. | |
| Polyhedron | polyhedron () const |
| Retrieve polyhedron. | |
| decimal_t | polyhedron_volume () |
| Calculate the volume of polyhedron. | |
| decimal_t | ellipsoid_volume () |
| Calculate the volume of ellipsoid. | |
| void | dilate (decimal_t radius) |
| Infalte the line segment. More... | |
| void | shrink (const Vec3f &p1, const Vec3f &p2, decimal_t thr) |
| Shrink the polyhedron. More... | |
| void | adjust (Face &v) |
| Adjust the norm of half plane to prevent cutting off the line seg whhile shrinking. More... | |
Protected Member Functions | |
| void | add_virtual_wall (Polyhedron &Vs) |
| void | cal_spheroid (const Vec3f &pw, const Quatf &qi, const Vec3f ¢er, Vec3f &axes, Quatf &qf) |
| Ellipsoid | find_ellipsoid (const Vec3f &p1, const Vec3f &p2) |
| Polyhedron | find_polyhedron (const Ellipsoid &E) |
Protected Attributes | |
| Vec3f | p1_ |
| Vec3f | p2_ |
| vec_Vec3f | obs_ |
| Ellipsoid | ellipsoid_ |
| Polyhedron | polyhedron_ |
| decimal_t | robot_radius_ = 0 |
| decimal_t | virtual_x_ = 5 |
| decimal_t | virtual_y_ = 5 |
| decimal_t | virtual_z_ = 2 |
Line Segment Class.
The basic element in EllipseDecomp
Basic constructor.
| p1 | One end of the line seg |
| p2 | The other end of the line seg |
| void LineSegment::adjust | ( | Face & | v | ) |
Adjust the norm of half plane to prevent cutting off the line seg whhile shrinking.
Details are introduced in the related paper
| void LineSegment::dilate | ( | decimal_t | radius | ) |
Infalte the line segment.
| radius | Robot radius |
Adding virtual bounding box around line seg.
| x | Distance in x axis |
| y | Distance in y axis |
| v | Distance in z axis |
This virtual bounding box is parallel to the line segment, the x,y,z axes are not w.r.t the world coordinate system, but instead, x-axis is parallel to the line, y-axis is perpendicular to the line and world z-axis, z-axis is perpendiculat to the line and y-axis
Shrink the polyhedron.
| p1 | One end of the line seg |
| p2 | The other end of the line seg |
| thr | Shrinking distance |


Today I finally cut a new release of “What I Wish I Knew When Learning Haskell”. I added a lot of new modern topics, stack projects for all example source code, a new cross-referenced language extension guide and a lovely new stylesheet. I’m happy with this release, but it’s likely the last version I’ll write.
It started out literally as, as the namesake implies, a list of things that I wish I knew when learning Haskell. That was almost six years ago though now, I wrote the first draft on a whim in a little coffee shop in Harvard Square after drinking too many espressos. That was a different time for the language and Haskell really suffered from the problem that it was hard to get an overview of the ecosystem and current practices. Now a couple years later now I consistently get hundreds of emails telling me it’s been invaluable for many people in helping them transition from the novice books like Learn You a Haskell to working on full Modern Haskell. Which is good, if a few more people have gotten into Haskell because of it I consider that a success.
To make a contrived metaphor: Haskell has a lot of parallels to nuclear fusion work. It has the capacity to change the world, is always 10-15 years out from widespread use and requires an enormous influx of time and capital to make it viable. I’ve always felt documentation is the best way to bootstrap this process and this has been my motivation for writing. The more people who can learn the language and use it in industry the more resources get poured back into letting people have free time to contribute back. Just like a reaction, eventually this will become self-sustaining and produce more energy than it takes in.
But personally now I’m getting older and with that you find yourself reflecting on what matters and what you want to spend your finite number of days doing. I have a lot of other projects that I’m excited about working on over the next couple years, but maintaining unofficial documentation for a growing programming language ecosystem just isn’t a great time investment anymore.


Hello $fullname, Thank you for joining . Your account has been created. You may login using the following email and password.
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| DOSE: T+ 0:00 |
3.5 tablets |
|
MDMA |
(pill / tablet) |
| T+ 0:00 |
3 hits |
|
LSD |
(blotter / tab) |
| T+ 0:00 |
|
|
2C-B |
|
| T+ 0:00 |
2 hits |
|
LSD |
|
| T+ 0:45 |
2 hits |
|
LSD |
|
| T+ 0:00 |
|
smoked |
Cannabis |
(plant material) |
Before I begin to share my experience, I must say that I am only 15. Now, with that said, I am much more experienced with drugs than most 15 year olds. I have decided to share this trip with others before I forget what happened.
To fully explain why my experience was so odd, I must travel even further back. It was an amazing day for a concert.  For those of you that don't know, Trey Anastasio was the front man of an amazing band called Phish. Basically, this day was going to be one of the best experiences of my life. With a bottle full of very strong MDMA, a few 2CBs, some opium, and of course, some cannabis, we ventured to the show.
The show was a mind-blowing experience, and while we were there we traded some of our MDMA for some extremely potent LSD. I took 3 triple dipped tabs, while I was already rolling off of 3.5 rolls. In case there are those out there who don't know, that means I took 9 hits of acid. Once we got back to our hotel, I took the 2cb. I was feeling amazing.
However, about two hours after we got back to the hotel, my mind went completely blank. I can not remember one single moment of consciousness from that point until about 6 in the morning. From what my friends tell me, I was continuously walking throughout the room, standing on tables, and not speaking a word. I still don't know exactly what happened to me. But I know for sure that I was not psychedelically sleepwalking, as I was not the least bit tired when I 'fell out of consciousness'.
Now, for the actual story.
 Of course, I accepted when they asked me to trip with them. It was all set that we would get a hotel room at the holiday inn just downtown. But, things don't always go as planned. Even though we had gotten very little snow all year, the weather just decided to snow about a foot. This meant that no one was aloud to drive. We weren't about to let a little thing like snow come in the way of us tripping, so we all just decided to go to L's house. I took a train over, bringing my Nintendo 64, a pastel set, and a sketchbook.
About ten minutes after arriving, they asked if we should start dosing, as it was only 5 PM. Without pausing, we all dropped 2 hits. About 45 minutes later, we all agreed we were feeling something, but we needed a bit more. So, J gave me 2 or 3 more hits. We went upstairs to L's room to come up. L and I started to feel a little sick, but nothing significant. All of a sudden, it hit me. A completely white lamp turned rainbow and patterns were everywhere. I told the group, but only L agreed. So, J decided to take more.
Due to the storm, it was very difficult to find any weed. Eventually, we got a dealer, RC, to drive to us. We waited for him outside for what seemed like hours. But I didn't mind much because for some reason it felt as if I could not get cold. Also, the patterns our feet would make with the snow were beautiful.
Finally, RC came through with a dank quarter. We went inside, and got dried off. J continuously ate more, as we went into the basement to 'dry our clothes'. This was just an excuse to her parents so that we could blaze in the basement.
We went down, and began to toke. This, of course, heightened the acid very much. At this point, I was starting to peak. Everything began to turn into lines of energy. This is where things began to get foggy. I can then remember everything starting to flash in different extremely vibrant colors. I could feel every inch of my body become pixilated. It felt as though a million dull needles were pressing against my body. It was not necessarily a bad feeling, just very odd. Out loud, I then stated 'It's coming again'. This was, subconsciously, referring to the night I tripped in the hotel.
The room then turned into a giant maze with the colors still changing. It was not necessarily the kind of maze one would think of. I, actually, can not describe in words what exactly it was. All I knew was that there was a strong voice saying 'you MUST get out of this maze, or you will die'. At this point I could hardly control my body. I started running around the maze, and climbing up it. I could not control my voice either.  There was no reality anymore. I did not know anything of real life. All there was was me and the maze.
Now, this may sound like I was having an extremely bad trip. However, in my mind, I kept remembering that I had just taken acid and this will be over at some point. I kept thinking to myself 'I might die, alright. Let's just see where this goes'. However, out loud I was still yelling. J covered my mouth because L's parents were directly upstairs. J said to me 'It's ok, you're just having a bad trip, and you’ll be fine'. I knew this, and I believed him. But, my body would not let me stop. I continued running and getting out of my maze. Finally, I made it out. J and L looked extremely scared. Again, I had absolutely no recollection of what had just happened.
Now, you may be asking yourself how I retold that if I had no recollection. I will explain that later.
J and L explained to me what I had just done. From what they said, it sounded like I just screamed once very loudly. I was still very disoriented, and had trouble doing anything normally. Although, now, at least I had somewhat of a sense of reality. I apologized greatly to L. However, we later found out her parents did not hear. We went back upstairs to L's room to try and sort out what had happened.
We turned on the Nintendo, and tried to play. I looked down at the controller, and then realized I could not see what it was whatsoever. I then, forgot completely what a Nintendo controller was. I did not tell the others because I could barely speak. It took an extreme amount of effort to do anything. L then turned to me and said she did not think I should do any more acid. I said nothing. I forgot how to communicate. In my head, I thought 'What is acid?'.  I could not remember the simplest things such as what death was, or how it occurs. I could not even remember that one needs to eat to survive.
Everything was a giant blur, when suddenly BAM. It all came back. I told them both that I was fine, and did not have a bad trip. Throughout the rest of the night I was a little quiet, but still had a great trip. Slowly, very few parts came back to my memory. About a week later, I remembered almost everything else from that part of the trip. However, there are still parts today I can not quite pinpoint exactly what happened.
I think there is a small link between my first blank out, and my second experience. However, I do not think that they were in any way the same thing. The second one was by far more intense and psychological than the first. I have also thought about how my age may have effected what happened to me. After this experience, I have decided to take a little hiatus from acid. However, it won’t be too long.
Finally, one effect that I love that has come from this experience is that previous to this trip, I very seldom remembered my dreams.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


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